Month: December 2018

Santana’s Guitar Solos Soar on Inner Secrets

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Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your copy of the album.

On side two the final guitar solo Santana takes on Well All Right gets LOUDER in the mix than any guitar solo on any rock record with which I am familiar. The sound gets louder after the first chorus, then louder still right before the second solo, and then the solo itself gets even louder until it seems to be as loud as live music. (Operative word: seems.)

Some copies get loud and some do not. Some stereos are dynamic and some are not. If you have the right stereo, set at the right volume, and THIS copy, you will hear something that not one out of one hundred audiophiles (or music lovers) have ever heard on a record — LIVE ROCK SOUND. (more…)

John Coltrane’s A Love Supreme – Better Sounding than the Original Pressings?

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A distinguished member of the Better Records Jazz Hall of Fame.

The original Impulse pressings on the brown and orange label are the best, right?

Not in our experience. We think that plays into one of the biggest canards in all of record collecting, that the first pressings are always the best sounding.

For this album, having sampled a large group of pressings from every era, we found the originals to be inferior to the best reissues we played. Naturally the ones we offer here as Hot Stampers will be the best of those reissue pressings. We are not the least bit worried that this vintage Impulse LP won’t beat the pants off of any original as well as any reissue you may have heard. And of course it is guaranteed to be dramatically better sounding than any Heavy Vinyl pressing produced by anyone, anywhere, at any time. (more…)

Rachmaninoff Piano Concerto #3 / Janis / Dorati

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A distinguished member of the Better Records Orchestral Music Hall of Fame.

This Super Hot Stamper (or better) original Colorback Mercury pressing is not only the BEST sounding copy we have ever heard, it also boasts the quietest side one we’ve experienced, playing mostly Mint Minus. For a fifty year old Mercury that is QUIET.

Not only is the sound amazing — yes, it’s on the TAS Super Disc list, and for good reason, a copy as good as this one really is a Super Disc — but this copy has another vitally important characteristic that most copies of the record do not: virtually no Inner Groove Distortion

We can’t begin to count the times we have had to return (or toss) a copy of this very record because the piano breakup for the last inch or two of the record was just unbearable. That’s a sound no serious listener could possibly tolerate, yet I would venture to guess that MOST Mercury Piano Concerto recordings suffer from this kind of groove damage. (more…)

Letter of the Week – Tapestry, What Were Once Vices…, Sweet Baby James, McCartney, Houses of the Holy, Countdown to Ecstasy and The Nightfly

One of our good customers had this to say about some Hot Stampers he purchased recently:

As a newcomer to your business, and to the entire concept of “Hot 
Stamper” records, I was naturally skeptical. Many of us have invested in 
a wide variety of vinyl that simple failed to live up to expectations. 
Initially I was going to order one and only one record from you, and 
test your bold promises. Instead, I ended up ordering a nice variety to 
truly put it to the test… investing a couple thousand dollars on faith. 
In short, I am now your customer for life.

As a point of reference, my system includes a pair of Wilson Audio 
Alexia powered by 2 mono-block McIntosh tube Amps and a Mc-tube preamp. 
Most importantly, a Brinkmann mag drive turntable with a Sumiko low 
output moving coil cartridge. So, not the world’s best system, but 
enough to discern what is to follow.

I ordered the following:
* Carole King Tapestry, ((White Hot Pressing)
* The Doobie Brothers, What Were Once Vices (White Hot Pressing)
* James Taylor, Sweet Baby James (White Hot Pressing)
* Paul McCartney, McCartney (Super Hot Pressing)
* Led Zeppelin, Houses of the Holy (Super Hot Pressing)
* Steely Dan, Countdown to Ecstasy (Super Hot Pressing)
* Donald Fagen, The Nightfly (White Hot Pressing) 

I warmed up my amps with the tuner for an hour or so and then sat and 
listened to some of my other records and reacquainted myself with the 
music from my system. First up was “What Were Once Vices…”. It was 
immediately apparent that I was getting a range as wide, if not wider 
than anything I had ever heard from my stereo. Then when I got to the 
last song on side one, “Road Angel” the guitar and drum interplay in the 
instrumental jam completely blew me away. Midway through I took the 
volume from loud to louder, and it exposed nothing but pure, sweet rock 
and roll. Literally gave me goose bumps. (more…)

Grover Washington – Winelight – A Demo Disc for Bass (on the Right Copy)

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Another in our series of Demo Discs for Bass.

What’s unusual about this album — shocking really — is how MEATY the bottom end is. I don’t know of a pop jazz recording with beefier, more articulate or weightier bass. The only record I can think of in this genre of jazz with comparable bass is Mangione’s Children of Sanchez. We played some copies of that album recently and were just knocked out with how well recorded the bass is, just the way we were knocked out by the best copies of Grover Washington’s Winelight from a recent shootout. Both of these albums really set the standard for recording this kind of music.  (more…)

Cannonball Adderley – Bill Evans – Know What I Mean? – Our Shootout Winner from 2015

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A distinguished member of the Jazz Hall of Fame

One of our favorite Cannonball Adderley albums here at Better Records, and the sound is killer on this copy. Both sides are Tubey Magical, rich, open, spacious and tonally correct. We’ve never heard the record sound better, and that’s coming from someone who’s been playing the album since the ’80s when it was first reissued in its current form.

These guys are playing live in the studio and you can really feel their living, breathing presence on every track — assuming you have a copy that sounds like this one.

Based on what I’m hearing my feeling is that most of the natural, full-bodied, smooth, sweet sound of the album is on the master tape, and that all that was needed to get that vintage sound correctly on to disc was simply to thread up that tape on a reasonably good machine and hit play.

Original Vs. Reissue

The original Riverside pressings are the best, right?

Not in our experience. We think that’s just another Record Myth. (more…)

Steeleye Span – Commoners Crown – We Love Dynamic Choruses, and These Are Amazing!

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Yet another in the long list of recordings that really comes alive when you Turn Up Your Volume.

This is one of the rare pop/rock albums that actually has actual, measurable, serious dynamic contrasts in its levels as it moves from the verses to the choruses of many songs . The second track on side two, Demon Lover, is a perfect example. Not only are the choruses noticeably louder than the verses, but later on in the song the choruses get REALLY LOUD, louder than the choruses of 99 out of 100 rock/pop records we audition. It sometimes takes a record like this to open your ears to how compressed practically everything else you own is. (more…)

Carly Simon – Boys In The Trees – How Clearly Can You See the Hi-hat

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The Hi-hat Listening Test — yet another in our series of Home Audio Exercises.

Carly’s soulful version of You Belong To Me is what made this album a Must Own back in the day (and still does). During our shootout, as we listened to the song over and over again on copy after copy, it became clear that the best pressings allowed us to easily hear the drummer’s hi-hat within the dense mix of this heavily produced pop song. On most copies it’s buried and all but inaudible.

If the pressing you own is full-bodied and tonally correct, and you can easily pick out the rhythmic contribution of the hi-hat within the mix, you have a copy with the kind of transparency that few we played managed to achieve.

Transparency (and all the other stuff we talk about) can and does make a big difference in your enjoyment of the music. If the average record sounded even close to right nobody would need us to find good sounding copies for them, copies would be in every record bin in town and we would have to find some other records to sell. Copies of this album may be in every bin in town — that’s where we found this one — but the sound sure isn’t.

(And without the very best cleaning technologies, the ones invented only recently as a matter of fact, there is no chance of achieving the kind of transparency our best copies have. We consider it one of the most important Revolutions in Audio of the last twenty years. If you want your records to sound their best, we would love to help you do it.) (more…)

Benny Carter – Swingin’ The ’20s – Our Shootout Winner from 2012

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STUNNING SOUND ON BOTH SIDES — we’ve never played a better copy! The immediacy and presence of this copy will BLOW YOU AWAY — it’ll put a swingin’ jazz quarter right in your living room. There’s plenty of extension on the top end anchored by some nice deep bass. The tonality is Right On The Money, and the overall sound is open and spacious with lots of room around the instruments. (more…)

Neil Young – After the Gold Rush – Listening in Depth

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Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your copy of After the Gold Rush.

Folks, a Hot Stamper collection of the Greatest Records of All Time would not be complete without a knockout copy of After the Gold Rush. That’s why it’s been a Better Records All Time Top Ten Rock Title right from the start. We built our reputation on finding Demo Disc Quality recordings like this. Who else can offer you a copy of the album that delivers this kind of ANALOG MAGIC?

Side One

Tell Me Why

Just listen to those Tubey Magical acoustic guitars. You know right away that you’re about to have a sublime musical experience. Nothing sounds that way but analog. (more…)