- Two outstanding sides rating Double to Triple Plus (A++ to A+++) for sound, coming in just behind our shootout winner – quiet vinyl too
- This glorious early UK pressing is huge, rich and punchy, with guitar solos that soar like few others you’ve heard
- Brilliant engineering by Geoff Emerick at George Martin’s AIR studios – maybe the best sounding album Emerick ever made
- Top 100 (soon), AMG: “Guitarist Robin Trower’s watershed sophomore solo disc remains his most stunning, representative, and consistent collection of tunes. Mixing obvious Hendrix influences with blues and psychedelia, then adding the immensely soulful vocals of James Dewar, Trower pushed the often limited boundaries of the power trio concept into refreshing new waters…”
We’ve been wandering around in the dark for more than a decade with Bridge of Sighs — that is, until we found a clean early UK Chrysalis pressing. Now we know just how good this album can sound, and that means astonishingly good. The three-dimensional space is really something else on the better UK copies.
There is a substantial amount of Tubey Magic and liquidity on the tape, recalling the kind of hi-rez vintage analog sound that makes the luminous A Space in Time (1971) such a mind-expanding experience. Both albums have the kind of High Production Value sound that we go crazy for here at Better Records. You can find many of our favorites in our Rock and Pop Top 100, and if we can find more of this title, it will surely be on the list as well.
If you’re looking to demonstrate just how good 1973 All Analog sound can be, this killer copy will do the trick.
This pressing is super spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.
This IS the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. Of course there is a CD of this album, but those of us in possession of a working turntable and a good collection of vintage vinyl could care less.
import Vs. Domestic
No domestic pressing could touch our better British imports I’m sorry to say, and I’m sorry to say it because finding the right Brit copies in good condition is going to be a very expensive proposition going forward. I expect I shall be paying much too much to get a fairly high percentage of noisy, heavily played, old beat up records shipped to me. There is, unfortunately, simply no other way to do it. We Americans put up with dubby domestic pressings for decades because we had no idea how good the album could sound and no equipment capable of showing us. That’s all changed now.
Fortunately for our Rock Guitar loving customers, when the sound and the music are good, all the effort and expense are more than worth it.
Size and Space
One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.
Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.
We often have to go back and downgrade the copies that we were initially impressed with in light of such a standout pressing. Who knew the recording could be that huge, spacious and three dimensional? We sure didn’t, not until we played the copy that had those qualities, and that copy might have been number 8 or 9 in the rotation.
Think about it: if you had only seven copies, you might not have ever gotten to hear a copy that sounded that open and clear. And how many even dedicated audiophiles would have more than one of two clean British original copies with which to do a shootout? These records are expensive and hard to come by in good shape. Believe us, we know whereof we speak when it comes to getting hold of original British pressings of Classic Rock albums.
One further point needs to be made: most of the time these very special pressings just plain rock harder. When you hear a copy do what this copy can, it’s an entirely different – and dare I say unforgettable — listening experience.
Day of the Eagle
Bridge of Sighs
In This Place
The Fool and Me
Too Rolling Stoned
About to Begin
Little Bit of Sympathy
AMG Rave Review
Guitarist Robin Trower’s watershed sophomore solo disc remains his most stunning, representative, and consistent collection of tunes. Mixing obvious Hendrix influences with blues and psychedelia, then adding the immensely soulful vocals of James Dewar, Trower pushed the often limited boundaries of the power trio concept into refreshing new waters…
One of the few Robin Trower albums without a weak cut, Bridge of Sighs holds up to repeated listenings as a timeless work, as well as the crown jewel in Trower’s extensive yet inconsistent catalog.