Factory Sealed CS 6734 with the super rare Pioneer spacecraft booklet inside the shrink!
There’s a very good chance this is the last such copy on the planet. I have never seen one before, and I remember when this record came out, so probably few were made with this special booklet included. I’m guessing it has about a dozen pages or so, and probably talks about the Pioneer mission to Jupiter.
“Launched on 2 March 1972, Pioneer 10 was the first spacecraft to travel through the Asteroid belt, and the first spacecraft to make direct observations and obtain close-up images of Jupiter. Famed as the most remote object ever made by man through most of its mission, Pioneer 10 is now over 8 billion miles away.”
You’ll find superb Double Plus (A++) sound on both sides of this relatively quiet UK pressing
Includes two of our favorites: (Gotta Get A) Meal Ticket and the massive hit Someone Saved My Life Tonight
5 stars: “Elton John and Bernie Taupin recalled their rise to power in Captain Fantastic and the Brown Dirt Cowboy, their first explicitly conceptual effort since Tumbleweed Connection. It’s no coincidence that it’s their best album since then, showcasing each at the peak of his power, as John crafts supple, elastic, versatile pop and Taupin’s inscrutable wordplay is evocative, even moving.”
It isn’t easy to find clean early British copies of Captain Fantastic & the Brown Dirt Cowboy these days, let alone ones that actually sound very good, but this copy proves that it can be done. It’s killer on both sides.(more…)
Chesky is one of the WORST AUDIOPHILE LABELS in the history of the world. Their recordings are so artificial and “wrong” that they defy understanding. That some audiophiles actually buy into this junk sound is equal parts astonishing and depressing. Their own records are a joke, and their remasterings of the RCA Living Stereo catalog are an abomination. If there is a more CLUELESS audiophile label on the planet, I don’t know who it could be, and I don’t want to find out.
These are just some of the recordings by Chet Baker that we’ve auditioned recently and found wanting. Without going into specifics we’ll just say these albums suffer from poor performances, poor sound, or both, and therefore do not deserve a place in your collection, and may even belong in our Hall of Shame.
A Free Service provided to the Audiophile Public, courtesy of Better Records.+
With two outstanding sides rating a Double Plus (A++) for sound, this was one of the better copies in our most recent shootout
This original 6-Eye Stereo pressing blew us away with its superbly well recorded romantic big band jazz, of which Ellington was a true master
A near-perfect demonstration of just how good 1958 All Tube Analog sound can be – no modern record can hold a candle to a pressing as good as this one
If you like your jazz ballads performed with deep feeling, by a road-tested group of virtuoso players, this record is for you
The sound is tonally correct, Tubey Magical and above all natural. The timbre of each and every instrument is right and it doesn’t take a pair of golden ears to hear it. So high-resolution too.
If you love ’50s and ’60s jazz you cannot go wrong here. Ellington was a genius and the original music on this record is just one more album’s worth of proof of that undeniable fact.
If you like the sound of relaxed, tube-mastered jazz, you can’t do much better than Ellington Indigos. Many of the other Six Eye copies we played suffered from blubbery bass and transient smearing, but the clarity and bass definition here are surprisingly good. The warmth and immediacy of the sound on this copy may just blow your mind.
What to Listen For (WTLF)
We played a handful of later pressings that didn’t really do it for us. They offer improved clarity, but can’t deliver the tubey goodness that you’ll hear on the best early pressings. We won’t be bothering with them anymore. It’s tubes or nothing on this album.(more…)
KEN SCOTT is one of our favorite record engineers and producers. Click on the link to find the albums on our site that Ken worked on, along with plenty of our commentaries about the sound of his recordings.
Ken Scott (Ziggy Stardust, Magical Mystery Tour, Honky Chateau, Crime of the Century, Truth, Birds of Fire) is the man responsible for the sound of many of our All Time Favorite Albums here at Better Records.
The kind of Tubey Magical richness, smoothness and fullness he achieved at Trident in the early ’70s has never been equaled elsewhere in our opinion.
In 2008 I had the opportunity to hear Ken speak at an AES meeting here in Los Angeles. I won’t bore you by trying to recap his talk, but if it ever comes out on youtube or the like, you should definitely check it out. The Behind-The-Scenes discussion of these artists and their recordings was a thrill for someone like me who has been playing and enjoying the hell out of most of his albums for more than thirty years.
Many can be found in our Rock and Pop Top 100 List of Best Sounding Albums with the Best Music (limited to titles that we can actually find sufficient copies of with which to do our Hot Stamper shootouts).
You’ll find superb Double Plus (A++) sound or close to it from first note to last on this vastly underrated Rod Stewart classic
One of the few to hit our site in the last four years, and for that we apologize – Atlantic Crossing should be enjoyed by everyone in Hot Stamper form
This is some of the best Muscle Shoals rock- and soul-inflected pop from producer Tom Dowd we know of
AMG raves that “Three Time Loser and Stone Cold Sober catch fire,” and on this copy we guarantee they do
The last consistently good Rod Stewart album? Atlantic Crossing definitely gets my vote.
The copies we liked best were the biggest and richest, the least thin and dry. Many of the brighter copies also had sibilance problems which the richer and tubier ones did not.
What do the best pressings give you?
Energy for starters. What could be more important than the life of the music? The best copies rock like only “The Memphis Horns and three-quarters of Booker T. and the MG’s” can. We’ve been playing this record (at least I have) since it came out in 1975 and love the way it can sound on the better pressings.
The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
Then transient information — fast, clear, sharp attacks for the guitar notes, not the smear and thickness so common to most LPs.
Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Domestic Vs. British Vinyl
On some of the Rod Stewart albums that we happen to know well, the British pressings are clearly superior; the first two Rod Stewart albums come immediately to mind. After that, strange as it may seem, all the best pressings are domestic. This album is certainly no exception.(more…)
Casino Royale under the sway of Bernie’s penchant for bright, gritty, ambience-challenged sound? Not such a good match. There is no reissue, and there will never be a reissue, that will sound as good as a good 3s original. (And I hope it would go without saying that most copies cannot begin to do what a real Hot Stamper original can.)
As is often the case, the Classic Heavy Vinyl Reissue is simply a disgrace.
On a windy and unusually cold night in Los Angeles, each of the three musicians arrived before the session start time of 10 PM on November 28, 1975. At exactly 10 PM, The Doobie Brothers session that was going on since morning ended. Two assistants immediately started setting up for the session. The Steinway concert grand piano, delivered the previous day, was wheeled in to the center of the room and got tuned. Shelly Manne’s drum kit was assembled in a makeshift “booth.” Microphones were set up, checked and positions adjusted.(more…)
This is without a doubt the BEST ALBUM the man ever made. On top of that, this copy really has the kind of sound we look for, with an open, fully extended top end that gives all the elements of this complex music room to breathe.
We Love Fingers
Fingers is one of our all time favorite records, a Desert Island disc to be sure. I’ve been playing this album for more than thirty years and it just keeps getting better and better. Truthfully it’s the only Airto record I like. I can’t stand Dafos, and most of the other Airto titles leave me cold. I think a lot of the credit for the brilliance of this album has to go to the Fattoruso brothers, who play keyboards, drums, and take part in the large vocal groupings that sing along with Airto.
At times this record really sounds like what it is: a bunch of guys in a big room beating the hell out of their drums and singing at the the top of their lungs. You gotta give RVG credit for capturing so much of that energy on tape and transferring that energy onto a slab of vinyl. (Of course this assumes that the record in question actually does have the energy of the best copies. It’s also hard to know who or what is to blame when it doesn’t, since even the good stampers sound mediocre most of the time. Bad vinyl, worn out stampers, poor pressing cycle, it could be practically anything.)(more…)