Month: January 2017

A Thiller Like You Have Never Heard in Your Life

This copy has Triple Plus Shootout Winning sound on side one!

A killer Top Copy: Triple Plus (A+++) on the first side, Double Plus (A++) on the second
The sound is huge — big, wide, deep, and open, with the kind of three-dimensional soundstaging that lets the music unfold in front of you and around you
Billie Jean and Beat It sound out of this world here, but that’s not fair to the rest of the album since every track does
“More than just a phenomenon…it is simply great music.” — AMG 5 stars

The sound on this copy is huge — big, wide, deep, and open, with the kind of three-dimensional soundstaging that lets the music unfold in front of you and around you as well. You get the bottom end punch that’s so crucial to this music and tons of energy as well. The bass is meaty and well-defined, showing you the rhythmic foundation that the music needs. The overall sound is transparent with amazing texture to practically every element.

Michael’s voice is marvelous on this copy — breathy, textured, and positively dripping with emotion (just listen to him break down on The Lady in My Life).

A Real Thrill(er)

Thanks to constant improvements in our stereo, we’re now getting this album to sound better than it ever has. Extended highs appeared where none had been before. We were hearing synthesizers buried deep in the mix we’d never heard. All of a sudden, these ’80s pop records had amazing analog magic.

If your system is up to the task, you won’t believe how big and lively this album sounds. Who woulda thunk it? (more…)

Advice on Elvis Costello’s Recordings

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All About Elvis

TRUST is my favorite Elvis Costello album, although the first album is every bit as good.

I remember loving the sound of my old Brit copy from twenty years back, even to the point of agreeing with Michael Fremer when he put it on his top 40 rock album list. Now I know better: that most of them leave something to be desired, especially down below. Did I have good one? Does he? Who can say? Everything is different, and revisiting old sonic favorites can sometimes be a bit of a shock. (Of course this is especially true for all the old MOFIs I used to like. Now most of them make me gag.)

Elvis: Still The King

By the way, we played a domestic copy of this album, just for fun you might say, and sure enough, it was a real mess. Boosted highs, poor bass definition and copious amounts of grit and grain — ’70s Columbia at their best, what else is new? The first album and Spike are the only Elvis records I know of that sound good on domestic vinyl. Forget the rest. If you love Elvis Costello as much as we do around here, we suggest you do yourself a favor and trash your domestic LPs — you need a British copy to even get in the ballpark, and that’s far from a guarantee of good sound. Elvis is “Still the King,” but you would never know it without the right pressing.

Listening in Depth to Pretzel Logic

Yet another album we are clearly obsessed with

Click on the link below to pull up the many reviews and commentaries we’ve written, as well as Hot Stamper copies that are currently available on the site.

Pretzel Logic

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It’s positively criminal the way this amazingly well-recorded music sounds on the typical LP. And how can you possibly be expected to appreciate the music when it sounds like that?

The reason we audiophiles go through the trouble of owning and tweaking our temperamental equipment is we know how hard it is to appreciate good music which sounds bad. Bad sound is a barrier to understanding and enjoyment, to us audiophiles anyway.

In-Depth Track Commentary

Side One

Rikki Don’t Lose That Number (more…)

Today’s Heavy Vinyl Mediocrity – Linda Ronstadt’s Greatest Hits on DCC

[This review was written many years ago, around 2004 I think. This was one of the first DCC records I did a shootout with against regular TML domestic pressings and found wanting.]

Sonic Grade: C

As much as I admire Steve Hoffman’s work for DCC, on this title the DCC is not as good as the best domestic copies. The best domestic pressings are leaner and meaner than the DCC, and just plain more fun. The DCC sounds thick in the midrange and fat in the bass, although some of that boost in the bass could have been used to the advantage of some of the domestic pressings we played. 1 DB or so at 50-60 cycles would help, but the DCC has a boost in the middle and upper bass that causes the bass to sound bloated next to a good pressing. (more…)

Dire Straits Love Over Gold – Testing for the Piano and Snare

Another in our series of Home Audio Exercises.

Telegraph Road does something on this copy that you won’t hear on one out of twenty pressings: It ROCKS. It’s got ENERGY and DRIVE.

Listen to how hard Allan Clark bangs on the piano on side one — he’s pounding that piano with all his might. No other copy managed to get the piano to pop the way it does here, clear and solid. Wow, who knew? Maybe this is the reason HP put the record on the TAS Super Disc List. (I rather doubt he’s ever heard a copy this good but who’s to say?)

More Dire Straits

Best test for side two?

The snare drum on Industrial Disease. Play five copies of the album and listen for how much snap there is to the snare on each of them. It will be obvious which ones get the transient attack right and which ones don’t. (If none of them do try five more copies!) (more…)

Sinatra – Swingin’ in ’61 with the Help of Billy May

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

Of the five records Sinatra released in 1961 (Sinatra’s Swingin’ Session!!!; Come Swing with Me!; Ring-a-Ding-Ding!; Swing Along with Me; and I Remember Tommy), this is clearly one of our favorites. (And by the way, what’s with all the exclamation marks?)

Billy May deserves much of the credit for the “swing” that’s all over the album. His band is jumpin’, and on the best pressings — such as this one — the sound conveys the energy with virtually none of the grit and hardness you hear on so many of Sinatra’s other albums (Sinatra at the Sands comes immediately to mind, but there are far too many others).

More Frank Sinatra

This is 1961, and tubes and ribbon mics are in charge of the live-in-the-studio proceedings. With a vintage original pressing such as this one, you hear the kind of sound they heard. (And if you play the record at ear-splitting levels you will hear even more of that sound. Can you imagine how loud this band was playing?)

We were especially impressed with the large dynamic swings of the arrangements. And the fact that the best pressings never get aggressive even during their most dynamic passages.

MORE RECORDINGS FROM 1961

AMG Review

Recorded with Billy May, Sinatra Swings was Frank Sinatra’s first straight swing album for Reprise Records. In terms of content and approach, the record is remarkably similar to his final Capitol swing effort, Come Swing with Me. In fact, Capitol thought the album, originally titled Swing Along with Me, was so close in its sound and title that they sued Sinatra. The record label won the suit, and the singer had to change the name of his Reprise album to Sinatra Swings.

Of course, that didn’t change the actual content of the record. Even though the tone was similar, there were some differences from Come Swing with Me — the ballads have strings, there are saxophones on the record, and the material is more lighthearted on Sinatra Swings, much like the songs on Come Fly with Me.

The restored sense of humor makes Sinatra Swings preferable to Come Swing with Me, even if it doesn’t have the concentrated precision of the first two Sinatra/May sets.

Frank Zappa’s Big Band Jazz Fusion Masterpiece

Waka/Jawaka

This copy is an absolute KNOCKOUT, with Triple Plus (A+++) sound on both sides
A Top 100 Title, and deservedly so: the sound is HUGE – big, rich, punchy, lively and clear
The size and power of a big band, Zappa style, with White Hot Stamper sound? There is (almost*) nothing like it
Rolling Stone raved that it’s “…some of the best material he’s done in years.”

(*Other than The Grand Wazoo, which can have sound every bit as good but is not the equal of Waka/Jawaka musically.)

What an incredible album. I know of no other music like it in the world. It’s not big band, it’s not rock, it’s not jazz, it’s a unique amalgamation of all three with an overlay of some of Zappa’s idiosyncratic compositional predilections (say that three times fast) thrown in for good measure.

In our opinion it’s nothing less than Zappa’s MASTERPIECE, the summation of his talents, and a record that belongs in every right-thinking audiophile’s collection. (We say that about a lot of records audiophiles don’t know well, but we’ve been doing it for most of our 27 [32 as of 2019] years in this business and don’t see much reason to stop now.) (more…)