A KILLER shootout winning UK copy with Triple Plus (A+++) sound on both sides, on quiet vinyl too
The overall sound here is incredibly big and full, with punchy bass and energy that’s off the charts
Probably his most consistent recording, with the estimable Robert Fripp on guitar – some of his most innovative mainstream music
A 4 1/2 star: “…stunning slices of modern rock circa 1978, bubbling with synths, insistent rhythms, and polished processed guitars, all enclosed in a streamlined production that nevertheless sounds as large as a stadium.”
This is one of our favorite Peter Gabriel albums around here, and may well be the best recording he ever made. The typical copy, though, barely hints at just how good this album can sound. Only the best early British pressings have any hope of sounding this good.
Thankfully the second PG album does not suffer from the digital spit, grit and hash of So and Security. It’s arguably his best recording overall with superb dynamics and a clean, punchy rock sound that perfectly fits the music. Some of the cymbal crashes on the hot copies of this album really CRASH.
This is The Peter Gabriel Rock and Roll Album. To my knowledge he never made another.(more…)
This Island British Import LP has amazing sound! It’s super full-bodied with excellent clarity and transparency. The low end has real weight and heft, so when Emerson really lays into the organ it’ll rattle your walls!(more…)
Presenting another entry in our extensive Listening in Depth series, this time for The Beatles’ amazing fifth album, released in 1965, Help.
Much like we said about the Please Please Me Hot Stampers, on the top copies the presence of the vocals and guitars is so real it’s positively startling at times. Drop the needle on You’ve Got To Hide Your Love Away and turn up the volume — on the best copies it will be as if John and Paul were right there in your living room!
The best import copies of this album sound AMAZING, but the typical one is pretty mediocre. Most tend to be dull, with not enough extension up top, as well as thin, lacking weight and body from the lower midrange on down.
A letter from a good customer tells of his experience playing a top copy of the album.
Just when I thought you guys could not surprise me, you did it again. Morrison Hotel was not in my collection when I was growing up although I was familiar with some of the tracks on the album. I picked up a SHS 2/1.5 copy; it was good and I added it to my collection. I saw the WHS 3/3 copy come up on the site and thought I would give it a try because of my past experience (Jackson Browne, Beatles – White Album, Crowded House). Holy smokes, my intuition was correct the 3/3 copy transforms the musical experience. I don’t know how or why this happens; how a SHS side 2 that sounds good goes exponentially up with a WHS 3 copy; it just does. When one gets a WHS 3/3 in single album as opposed to a 2 pack; it is a musical treat beyond compare. Thanks as usual.(more…)
You could’ve fooled me. And somebody’s been messing around with the sound of the drums on the new version — a certain Mr. Frank Zappa no doubt. He really did the album a disservice.
Bernie’s version for Classic beats a lot of copies out there — the later Reprise pressings are never any good — but it can’t hold a candle to a good one. What’s wrong with the Classic? Well, to my ears it just doesn’t sound natural or all that musical. Sure, it’s a nice trick to beef up those drums and give them some real punch, but does it sound right? The other quality that the best copies have going for them and the Classic has none of is Tubey Magic. The Classic is clean, and at first that’s a neat trick since the originals tend to be a bit murky and congested. But it’s clean like a CD is clean, in all the wrong ways. This is analog? Coulda fooled me. (more…)
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We have a section specifically devoted to our favorite pastime here at Better Records, a little something we like to call Debunking The Pseudo-Audiophile LP. The Audiophile’s Choice — the record that will do the best job of communicating the music through its superior sound quality — is almost never going to be the one marketed to him as an Audiophile Pressing. If you find this in any way hard to believe, we encourage you to read on.
This pressing has the glorious sound of 1963 in its grooves. It has the kind of Tubey Magical Midrange that modern records cannot even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.(more…)
At 32, Florence already largely had his writing style together. He utilized top L.A. studio players for this set including such soloists as altoist Bud Shank, the tenors of Bill Perkins and Bob Hardaway, and trombonist Herbie Harper, but it is the tricky charts on the four originals and four standards (including “The Song Is You” and “Straight No Chaser”) that make this an LP worth searching for.” – AMG
This early UK pressing has a stunning Triple Plus (A+++) side two backed with an excellent Double Plus (A++) side one
Just full of that Moodies Magic: warm, full-bodied, rich and smooth with excellent size and energy
The first Moody Blues album to feature their trademark mellotron arrangements
“…the album on which the Moody Blues discovered drugs and mysticism as a basis for songwriting and came up with a compelling psychedelic creation, filled with songs about Timothy Leary and the astral plane and other psychedelic-era concerns.”
The main reason it’s so difficult to find a good sounding pressing of this record is that most copies have a tendency towards hardness, shrillness and aggressiveness. There is a great deal of mid- to high-frequency information in this recording, and the problems arise when you take all that energy and try to stamp it into a piece of domestic vinyl.
If the vinyl wasn’t good on the day they pressed the record, it doesn’t matter how good the mastering is. The result is grain and grunge. Since Joni pushes her voice hard into her higher registers on many of these songs it’s often enough to make you leave the room. At the very least you would have to turn down the volume.
That’s on the copies that are mastered right! The copies that are mastered with thin and aggressive sound to start with can only get worse. Those are the rule, not the exception.