BY ROBYN FLANS
How sweet it is! The James Taylor track of that name with Carly Simon vocals and a David Sanborn sax solo went to Number 5 on the Billboard 100 in 1975, dominating radio and adding a sweet voice to the din of the turbulent mid-1970s.
The Russ Titelman/Lenny Waronker production of “How Sweet It Is (To Be Loved By You)” became the most successful version of the Holland-Dozier composition, originally recorded by Marvin Gaye in 1964. (more…)
This Minty looking Deutsche Grammophon LP has rich, smooth sound. We didn’t have any other copies to compare it to, but we’ve played enough DG LPs around here to know that the average DG record is nothing to get excited about.
Nowadays we would not be able to sell a record such as this.
Without a proper cleaning and shootout, no record can go up on the site.
It’s the only way we know of to guarantee that the quality would be superior to whatever pressing you have or have heard.
Hot Stamper Pressings of British Blues Rock Albums Available Now
Is it the worst version of the album ever made?
That’s hard to say. But it is the worst sounding version of the album we’ve ever played, and that should be all any audiophile contemplating spending money on this kind of trash needs to know.
Compressed, thick, dull, opaque, and almost completely lacking in ambience, this record has all the hallmarks of the Modern Heavy Vinyl Reissue.
Whether made by DCC or any other label, starting at some point in the mid-’90s, many remastered audiophile pressings started to have a tonal shortcoming that we found insufferable from day one: they are just too damn smooth.
Almost any domestic or British original pressing of Fresh Cream will be better in almost every way. Read our Hot Stamper review below for the full story.
UPDATE
[This is an old review. We buy very few domestic pressings of Fresh Cream. They are often noisy, and they don’t sound remotely as good as the right British imports, including some late reissues. But anything beats the DCC LP.
It is, in our experience, the worst version ever.
Our Hot Stamper Commentary from 2008
AN EXCEPTIONAL SIDE ONE BACKED WITH GREAT SIDE ONE, both on surprisingly quiet vinyl! We just finished a shootout for this hard-rockin’ debut album and were delighted to hear how good this music can sound on the right pressing. This copy has the kind of bottom end that this music absolutely demands but is sadly missing in action from most of the pressings we played. If your Cream record can’t rock, remind me, what exactly is the point again? (more…)
UPDATE 2024
A long time ago I liked a mono pressing of La Boutique Fantasque with Solti.
I doubt I would be impressed by it now, but I can’t rule out the possibility.
Some monos can be amazing. We should know, we’ve played plenty of them.
However, when the stereo pressings are also amazing, as is the case here, wouldn’t you rather hear it in stereo? We didn’t even bother to buy one to put into our recent shootout, which was, shockingly, 14 years in the making.
This London Mono Radio Promotion Copy is a stunner. DEMO QUALITY SOUND.
They even knew it back then — it was given the Hi-Fi Record Of The Month award. The orchestration and the sound of this music are ideal for audiophile listening.
The Sorcerer’s Apprentice that closes out side two has slightly better sound by the way — it’s quite good.
One of our good customers had this to say about some Hot Stampers he purchased a while back:
Hey Tom,
Love your efforts to upgrade audio listening. Keep it up! FYI (and you may already be aware of this) the original Aphex units were handmade tube pieces that used the nature of “Tubey Magic” to accentuate the even-order harmonics so pleasing to the human ear when they occur in music and voice.
The later solid state units just didn’t sound the same and are basically crap. Only a handful of original tube models survived and are rented out to studios or artists when they feel the need. Here’s a great link to an interview with Val Garay.
Cheers!
Paul K.
This is the cleanest, quietest original colored vinyl Fantasy pressing I have ever played in my life. To say these are normally beat to death is the understatement of the year.
Even more surprising is the superb saxophone playing of Jose Silva, a tenor man with whom I was not familiar. I thought he was Ben Webster or maybe Coleman Hawkins, his tone is so rich and sweet. The tracks that he’s on sound amazing — very full bodied and not a trace of hi-fi-ishness.
Overall the sound is a bit dark. A little treble boost would do wonders.
“… the highlights of the album are the four ballads that showcase Guaraldi’s distinctive piano style and the light tone of tenor saxophonist Jose Silva: Howard Arlen’s “Happiness Is a Thing Called Joe,” “Out of Nowhere,” “Close Your Eyes,” and the bolero-like “Contigo.” – AMG
This is an Older Jazz Review.
Most of the older reviews you see are for records that did not go through the shootout process, the revolutionary approach to finding better sounding pressings we developed in the early 2000s and have since turned into a fine art.
We found the records you see in these older listings by cleaning and playing a pressing or two of the album, which we then described and priced based on how good the sound and surfaces were. (For out Hot Stamper listings, the Sonic Grades and Vinyl Playgrades are listed separately.)
We were often wrong back in those days, something we have no reason to hide. Audio equipment and record cleaning technologies have come a long way since those darker days, a subject we discuss here.
Currently, 99% (or more!) of the records we sell are cleaned, then auditioned under rigorously controlled conditions, up against a number of other pressings. We award them sonic grades, and then condition check them for surface noise.
As you may imagine, this approach requires a great deal of time, effort and skill, which is why we currently have a highly trained staff of about ten. No individual or business without the aid of such a committed group could possibly dig as deep into the sound of records as we have, and it is unlikely that anyone besides us could ever come along to do the kind of work we do.
The term “Hot Stampers” gets thrown around a lot these days, but to us it means only one thing: a record that has been through the shootout process and found to be of exceptionally high quality.
Not just a good sounding record. A record that was played in a shootout and did well.
The result of our labor is the scores of jazz titles seen here, every one of which is unique and guaranteed to be the best sounding copy of the album you have ever heard or you get your money back.
Dear Tom,
I want to thank you once again…
Quite a few years ago now I contacted you and talked about this concept called “hot stampers”…It ended up both saving me a lot of misdirection and foolishly trying to rebuild my vinyl collection with new vinyl re-releases often called “audiophile” and “half-speed” issues.
After a few confirmations of what you said I quickly sold all those copies and began building a real world class collection of vinyl “original” hot stamper level records. A good number cam from your business and I also made a hobby of trying to do what you do in finding “hot stampers.” Fortunately Philadelphia has a reasonable number of used record stores but unfortunately, as you well know, this is a rigorous and costly endeavor…..but it can be rewarding at times and at other times requires that I rely on you.
So today I’m snowed in here so I fired up the rig and decided to do some small scale shoot outs and find the true great copies from my already culled collection. Put on several Hall and Oates and focused on “She’s Gone”… one was just clearly dynamic, clear and present…..then put on several Dire Straits “Love over Gold” and ended up with 3 killer copies (such a good lp).. I then put on about 5 copies of Phil Collins “Face Value” with “If Leaving Me is Hard”….What a great love song….and narrowed it to 2.
Yes my rig is really awesome for close up intimate listening at any level. It is something I have worked on for decades to become resolving, dynamic, harmonic, dimensional, transparent, and involving. I can listen loud and close without distortion. When I suddenly find that “hot stamper” Phil Collins is in the room where I hear his voice articulate and rich with background singers just as good and the band perfectly balanced to his vocal. And it is then I think of your contribution to all of this and want to tell you.
So that is what I am doing. I know what three pluses means…..I can’t afford many of them as I would assume some wealthy customers can but I really appreciate them and their unfortunate rarity….. and I appreciate all the work you have done to make this possible, (more…)
Hot Stamper Pressings of the Music of Blondie Available Now
Sonic Grade: D or worse
EMI and Simply Vinyl both released Heavy Vinyl versions of the album with little sonic success.
I remember being underwhelmed by the Simply Vinyl version, the perfect example of the smeary sub-gen sound you get when a record is made from a tape dub.
The EMI 180 was brighter and thinner and every bit as wrong in its own way. Choosing among them would have been difficult.
The best choice: none of the above.
As is so often the case, the Heavy Vinyl Reissues are simply a disgrace.
