- Flyin’ Shoes makes its Hot Stamper debut here with outstanding Double Plus (A++) sound from first note to last on this original Tomato pressing
- Exceptionally present, real and resolving, this pressing is guaranteed to murder any remastering undertaken by anyone, past, present and future
- The LIFE of the man’s music is captured on this pressing, and you can be pretty sure that that is simply not going to be the case with whatever they’re peddling to record buyers these days
- 4 stars: “The melodies here are strong, the lyrics full of Van Zandt’s razor sharp insight, and the production is sparse and to the point, bringing to mind the inconspicuous polish of High, Low and in Between. The feel here is a balance between folk and country, with Van Zandt’s voice and guitar up front, letting the songs speak for themselves.”
Fred Plaut is one of our favorite recording and mixing engineers. Click on the link to find our in-stock Fred Plaut engineered or produced albums, along with plenty of our famous commentaries.
Frederick “Fred” Plaut was a recording engineer and amateur photographer. He was employed by Columbia Records during the 1940s, 1950s, and 1960s, eventually becoming the label’s chief engineer.
Plaut engineered sessions for what would result in many of Columbia’s most famous albums, including the original cast recordings of South Pacific, My Fair Lady, and West Side Story, jazz LPs Kind of Blue and Sketches of Spain by Miles Davis, Time Out by Dave Brubeck, Mingus Ah Um and Mingus Dynasty by Charles Mingus.
- This superb compilation boast a Shootout Winning Triple Plus (A+++) side one mated with an outstanding Double Plus (A++) side two – exceptionally quiet vinyl too
- The sound is especially rich, warm and natural, with exceptional immediacy to Judy’s vocals and Tubey Magic for days
- Tons of breath of life, superb production and mastering, and some of the best sounding echo ever recorded
- Note that Artisan cut this record a whole helluva lot better than DCC – the so-called audiophile label – ever did
- 4 1/2 stars: “Lovingly programmed (it leads off with her excellent country-pop hit ‘Someday Soon,’ an Ian Tyson classic), this is Collins at her finest… This anthology brings the ‘best-of’ collection to a new art form.”
I remember being a bit taken aback by how much better my original Artisan pressing sounded compared to the supposedly superior DCC, pressed at high quality Heavy Vinyl at RTI to the most exacting standards possible.
What finally turned me completely against DCC were the awful Paul Simon solo albums they remastered. Two were released, two I had as unreleased test pressings, and all of them were barely second rate compared to a good original pressing.
So much for believing in DCC. Since that time we have learned that placing your faith in any record label or cutting operation is a mistake. You have to play the records to know how they sound. Nothing else works, and nothing else can work. (more…)
Sonic Grade: D?
The Speakers Corner remastered Heavy Vinyl pressing of this famous jazz album has two big strikes against it from the get go. It’s both congested and hard.
When these guys are hell-bent on one-upping each other right off of the stage, even our best Hot Stamper pressings struggle with clarity, transparency and harmonic sweetness
Do you really want to add all the problems of the modern remastered heavy vinyl pressing to a tape that has no small share of its own?
Congested and hard is the kind of sound Speakers Corner should be quite familiar with by now. You can hear it on plenty of their mostly mediocre pressings. Sourced from a digital tape of the master? Maybe, but who cares what tape was used to make this dog?
It’s a loser and should be avoided at any price.
Our Hot Stamper pressings of this very album will be dramatically more transparent, open, harmonically-correct, resolving of musical information, clear and just plain REAL sounding, because these are the most obvious areas in which heavy vinyl pressings tend to fall short, if our experience with hundreds of them over the last few decades has any bearing.
- Physical Graffiti finally returns to the site with outstanding Double Plus (A++) sound or BETTER on all FOUR sides of this killer double album
- Transparency, the other side of the Tubey Magical Richness coin, is key to the better pressings of this album, as well as many of our other favorite demo discs
- Of course the main attributes that set the best copies apart from the also-rans are size, energy, weight, vocal presence and an overall freedom from grit and grain, and we guarantee that this copy will do better in all of these areas than any you have ever heard
- 5 stars: ” Physical Graffiti captures the whole experience of Led Zeppelin at the top of their game better than any of their other albums.”
*NOTE: On side three, the intro to Track One, In The Light, plays Mint Minus Minus, but the rest of the side is quieter.
A distinguished member of the Better Records Rock Hall of Fame and another in the long list of recordings that really comes alive when you Turn Up Your Volume .
If you’ve been waiting for a seriously powerful Kashmir Experience, today is your lucky day. (more…)
Presenting another entry in our extensive Listening in Depth series with advice on what to listen for as you critically evaluate your copy of Straight from the Heart. Here are more albums currently on our site with similar Track by Track breakdowns.
The best copies give you dynamics and immediacy like you have rarely heard outside of the live event.
Hell, this record IS live; it’s live in the studio. It’s a direct to disc recording, what else could it be?
There is simply nothing getting in the way of the music. If you have the system for it, you can recreate the live sound of this session in a way that few other recordings allow you to do.
This copy had one quality not heard on most of the others: Tubey Magic. The sound is rich and full-bodied, practically free of grit and grain – this is the kind of sound one hears occasionally on the best tube equipment and practically nowhere else. Of course this is an all-transistor affair, but tubey sound is what ended up on the record, so go figure.
Many copies were slightly lean, making the sax a bit aggressive in places. The killer copies fill out the horn sound, giving it the needed weight and body that the real instrument would have, without adding a euphonically artificial richness that the real instrument wouldn’t. (more…)
- David Grisman’s 1978 release finally arrives on the site – this STUNNING pressing boasts Shootout Winning Triple Plus (A+++) sound throughout – exceptionally quiet vinyl too
- These vintage stereo sides are As Good As It Gets – they’re rich, smooth and full-bodied, with the Tubey Magic that’s missing from most copies
- Transparency, speed and freedom from smear are key to the best copies – this one showed us just how good the record can sound
- 4 1/2 stars: ” Grisman’s lively “Dawg’s Bull” and guitarist Tony Rice’s upbeat “Devlin'” set a high standard at the opening of the album, yet the remaining tracks continue to meet the high watermark of the first two songs.”
- Stunning sound throughout with both sides earning Shootout Winning Triple Plus (A+++) sound or very close to it
- Both of these sides are SUPERB in all respects; there’s plenty of Tubey Magic, and that’s one quality that’s hard to come by on this album
- Rich, sweet, and lively — Woman’s Gotta Have It sounds fantastic here
- An underappreciated album that we’re big fans of here at Better Records!
The quality of the songwriting is what makes this album such a moving listening experience. These songs are superb, individually and collectively, and can hold their own up against those found on Gorilla, an album with which In the Pocket has much in common.
Just as they did on Gorilla, Taylor and his multi-talented, multi-tracking production team polish these songs into three and four minute gems of popcraft, and they do so without ever compromising the emotional heart of the material. I’ve searched and I honestly cannot find a bad song on the album. Better than that, not even a weak one.
Both of these sides are SUPERB in all respects. There’s plenty of Tubey Magic, and that’s one quality that’s hard to come by on this album. They’re super rich, smooth, yet transparent and high-rez. The vocals are breathy, and again, that is not something we heard nearly enough of in our shootout.
And no hardness. This is key. And the best tonal balance, which is also key. (more…)
The letter you see reproduced down below got me to thinking.
If I had to choose one record that separates the men from the boys, the stereos that really work from the phony, lifeless audiophile systems you might read about in the magazines or hear at an audio show, Blue would make a darn good choice.
The problem there is that you have to be one serious record collector to have a great copy of Blue. But good pressings are out there, if you can clean and play them properly. This is why we created the Blue Game. It can be done, and we can help you get there, but most of the work has to be done by you.
Naturally we are happy to do the shootouts for you and charge you the pretty penny the winners command, but for those of you who want to find out what’s wrong with the new Blue and don’t want to buy a Hot Stamper from us, there is a third way: Blue, The Game.
- This superb Vanguard recording of one of our favorite performances of the work boasts outstanding Double Plus (A++) sound throughout
- This pressing has all the qualities that make analog so involving and pleasurable — the warmth, the richness, the naturalness, and above all the realism
- The sound here has the power to transport you completely, with solid imaging and a real sense of space, qualities that allow us to forget we are in our listening rooms and not in the concert hall
Folks, we have some good news for those of you who have been waiting for one of the best-sounding, most beautifully performed Four Seasons ever recorded. Let’s just say that this small ensemble recording is as close to perfect as any we have ever heard. The harpsichord is especially good on the Vanguard recording, better than the RCA I would venture. Its placement in the soundfield is subtly natural, precisely the way one would expect to hear it in performance.
All four movements are performed with great spirit, and other than a sour note right at the start — listen for it! — the playing is of the highest quality. I prefer the performance — slightly — to the famous RCA. (more…)