We get letters from time to time chiding us for charging what strikes some as rather large amounts of money for records that admittedly do not have much in the way of Collector Value, the implication being that collectible records are of course worth the high prices they command in the marketplace. Hot Stampers, however, are somehow different. Clearly they cannot be worth the outrageously high prices we’re asking.
It is our opinion that the writers of these letters have made a rather glaringly erroneous assumption: That the records we sell are not subject to the same market forces as all other records..
This strikes us as just plain silly.
As anyone with a grounding in basic economics will tell you, we cannot force our customers to buy anything from us, especially old vinyl records, the kind of thing that most people have found they can easily do without, thank you very much. (more…)
Musically The Last Record Album is one of our favorite Little Feat releases, and the recording has many excellent qualities. Prime among them is amazing bass; the bass goes REALLY deep in places (Long Distance Love) and it’s punchy and rich throughout the albumThe problem has always been an overly smooth top end, combined with congestion, smear, and a serious lack of presence. The good news is that if you clean enough copies with the advanced cleaning techniques we’ve developed, and you make enough improvements to your stereo, room, etc., with the right copy you can actually get this album to sound clear AND rich.(more…)
Who knew that good sounding records were still being recorded in 1979?
Candy-O comes to mind, but the B-52s’ first album has virtually none of the grit and Roy Thomas Baker heavy-processing of that one, and a lot more Tubey Magic to boot — when you get a pressing like this of course.
Both of these sides are superb, with the kind of huge, spacious soundstage and amazingly rich, full-bodied tonality that earned this recording its place in our Top 100. Talk about jumpin’ out of the speakers! Every instrument is clear and present, laid out right there in the listening room.
The Best of ’79
This recording reminded me of a really good Don Landee / Ted Templeman production, the kind you hear on JT or Simple Dreams or the better Doobie Brothers albums. Everything is laid out clearly: there’s a space created for every part of the frequency spectrum from the lowest lows to the highest highs, with nothing crowding or interfering with anything else. The production is professional, clean, clear and REAL sounding everywhere you look.(more…)
This album is more common in mono than stereo, but we found the sound of the mono pressing we played unsatisfying. Where is the wall to wall space of the live club? It has been drastically shrunken into the area between the speakers. Much of the ambience disappeared with it, destroying the illusion the album was trying to create, that you are there.
In mono, you really aren’t.
Here are some other records that we don’t think sound very good in MONO.
Not long ago we found a White Hot Stamper pressing of Last Time Around that really blew our minds. We were surprised to hear some of the breathiest, silkiest vocals we’ve ever heard on ANY Buffalo Springfield album, with startling presence and immediacy to boot! This side two had BY FAR the most energy and life of any side of any copy we’ve ever played. Man, does it ROCK.
Even as recently as 2010 we would not have expected to find that kind of sound on a vintage ’60s pop/rock album. We know better now.
When you get hold of the right copy and know how to clean it and play it right, these vintage pressings (well, the White Hot ones anyway) are a damn sight better than the vast majority of audiophiles think they are. How is such apparently never-before-possible sound being heard now, 45 years after the record came out? Our answer can be found below.
Tubey Magical Midrange
The kind of MIDRANGE MAGIC on this pressing let us hear into the music in a way we (and you too I’m guessing) never imagined was possible.(more…)
We are so excited to tell you about the first of the Heavy Vinyl Beatles remasters we’ve played! As we cycle through our regular Hot Stamper shootouts for The Beatles’ albums we will be of course be reviewing more of them*. I specifically chose this one to start with, having spent a great deal of time over the last year testing the best vinyl pressings against three different CD versions of Rubber Soul.
The short version of our review of the new Rubber Soul vinyl would simply point out that it’s awful, and, unsurprisingly, it’s awful in most of the ways that practically all modern Heavy Vinyl records are: it’s opaque, airless, energyless and just a drag.
I was looking forward to the opportunity to take Michael Fremer (the champion of thick vinyl dreck from sources far and wide) to task in expectation of his rave review, when to my surprise I found the rug had been pulled out from under me — he didn’t like it either! Damn it all. (more…)
Click HERE to see the records we currently have on the site with the music of Tchaikovsky.
Click HERE to see the records with Tchaikovsky’s music that we’ve done Hot Stamper shootouts for (a substantially larger group as you can imagine).
On the better copies of the album pictured above, the lower strings are rich and surrounded by lovely hall space. This is not a sound one hears on record often enough and it is glorious when a pressing as good as this one can help make that sound clear to you.
The string sections from top to bottom are shockingly rich and sweet — this pressing is yet another wonderful example of what the much-lauded Decca recording engineers (Kenneth Wilkinson in this case) were able to capture on analog tape all those years ago.
The 1958 master has been transferred brilliantly using “modern” cutting equipment (from 1970, not the low-rez junk they’re forced to make do with these days), giving you, the listener, sound that only the best of both worlds can offer.(more…)
This early stereo pressing won our shootout – Triple Plus (A+++) on the first side and Double Plus (A++) on the second
Columbia records produced by Teo Macero in the early ’60s have consistently open, natural sound – this one from ’63 is no exception
The piano sounds amazing here — natural and dynamic, letting Monk’s passionate playing shine
“Thelonious Monk’s second album for Columbia Records features some of the finest work that Monk ever did in the studio with his ’60s trio and quartet … This is prime Monk for any degree of listener.” — Allmusic
I wish more Blue Note records had this kind of sound — natural, full-bodied, and sweet up top. The bass here is well-defined with real weight and lots of punch. Monk’s piano sounds correct from the highest notes all the way down to the lower register, and the sax sounds tonally right on the money. The clarity and transparency are superb throughout. (more…)
Romantic Warrior is my favorite JAZZ/ROCK FUSION album of all time. As good as the music is, the sound is even better. This is the Jazz/Rock Demo Disc that stands head and shoulders above the rest. In my experience, no record of this kind is more DYNAMIC or has better BASS. Not one. Demo Disc doesn’t begin to do this kind of sound justice.
Simply put, not only is this one of the greatest musical statements of all time, it’s one of the great recording statements. Few albums in the history of the world can lay claim to this kind of POWER and ENERGY.(more…)