Month: July 2021

Lou Rawls – Live!

More Lou Rawls

Well Recorded Albums that Should Be More Popular with Audiophiles

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Well Recorded Soul. RnB, Blues, Etc. Albums – The Core Collection

  • Lou Rawls Live! is an amazing recording that really comes to life on the best Hot Stamper pressings
  • The songs are fantastic, the musicians are brilliant, the sound is superb – Stormy Monday & Tobacco Road are highlights, but really, there’s not a bad track here
  • If you could only have one Lou Rawls album, no question it would have to be this one – everything that’s good about the man’s music is fully on display
  • 4 stars: “Lou Rawls gives a riveting performance on Live!, covering standards from Basie/Rushing’s tambourine-jumpin’ ‘Goin’ to Chicago’ to T-Bone Walker’s foot-stompin’ ‘Stormy Monday,’ and whole lot in between.”

What an album! For live soul-infused vocals, we know of none better. (more…)

Joe Cocker – With a Little Help From My Friends on Speakers Corner

More of the Music of Joe Cocker

Sonic Grade: B

One of the better Speakers Corner Rock and Pop releases. We haven’t played a copy of this record in years, but back in the day we liked it, so let’s call it a “B” with the caveat that the older the review, the more likely we are to have changed our minds. Not sure if we would still agree with what we wrote back in the ’90s when this record came out, but here it is anyway.

“Speakers corner knocks one out of the park with this wonderful reissue! Those conga drums and the back-up singers sound so much better than I remember them! If you’re going to own one Joe Cocker album make it this one. It’s a man-size serving of English Soul.”

The Beach Boys / Pet Sounds – A DCC Shootout

More of the Music of The Beach Boys

More Reviews and Commentaries for Pet Sounds

Sonic Grade: D to C+

Not long ago [2014 or so] we pulled out the three copies we had in our leftover stock of DCC vinyl and gave them a spin. They weren’t awful, but they weren’t very good either. They sounded like most Heavy Vinyl we’ve played over the years: airless, blurry, smeary, two-dimensional, dull and opaque.

Not surprisingly (to us anyway) one copy was quite a bit better than the other two. I would say that the sound of the three copies would plot on a curve from about a D to maybe a C+, so let’s figure the average would be around a C- or so.

I’d be surprised if the DCC Gold CD didn’t sound better. More often than not it does. (Kevin Gray’s lousy cutting system would not be involved and that is almost a guarantee that the sound would improve markedly.)

The no-longer-surprising thing about our Hot Stamper pressings of Pet Sounds is how completely they trounce the DCC LP. Folks, it’s really no contest. Yes, the DCC is tonally balanced and can sound decent enough, but it can’t compete with the best “mystery” pressings that we sell. It’s missing too much of the presence, intimacy, immediacy and transparency that we’ve discovered on the better Capitol pressings.

As is the case with practically every record pressed on Heavy Vinyl over the last twenty years, there is a suffocating loss of ambience throughout, a pronounced sterility to the sound. Modern remastered records just do not BREATHE like the real thing. Good EQ or Bad EQ, they all suffer to one degree or another from a bad case of audio enervation. Where is the life of the music? You can try turning up the volume on these remastered LPs all you want; they simply refuse to come to life.

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Bill Connors – Of Mist And Melting

More Jazz guitar

  • Jazz guitar great Bill Connors makes his debut on the site with this phenomenal sounding copy of Of Mist And Melting
  • This pressing boasts Shootout Winning Triple Plus (A+++) sound on side two and an outstanding Double Plus side one
  • The sound of this vintage ECM pressing is really quite amazing – fans of adventurous jazz, the kind ECM is known for, should get a lot out of this LP
  • “A beautiful session by the ever searching guitarist Bill Connors… intense, lyrical, and introspective… continued to show his great talents as a composer…

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Coop! The Music Of Bob Cooper – Killer on the Right OJC Pressing

  • These guys are playing live in the studio and you can really feel their presence on every track — assuming you have a copy that sounds like this one
  • An amazing 1958 All Tube Live-in-the-Studio Jazz recording by the legendary Roy DuNann
  • “Tenor saxophonist Bob Cooper’s only Contemporary album is a near-classic and one of his finest recordings … This set is an underrated gem.”

Another undiscovered gem, brought to you by the folks at Better Records who know a good sounding record when they hear one.

This is a superb Contemporary recording from 1958. Cooper is joined by top West Coast musicians like trombonist Frank Rosolino, vibraphonist Victor Feldman, pianist Lou Levy, bassist Max Bennett, and drummer Mel Lewis. On some parts of the Jazz Theme the group grows to be ten pieces. Normally this might present a problem for a recording engineer, but Roy DuNann is up to the task! If you want to hear the sound of brass recorded properly, Roy is your man.

Both sides are Tubey Magical, rich, open, spacious and tonally correct. These guys are playing live in the studio and you can really feel their presence on every track — assuming you have a copy that sounds like this one.

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Elvis Costello – More Heavy Vinyl Trash from Rhino

Hot Stamper Pressings of Elvis’s Albums Available Now

Letters and Commentaries for My Aim Is True

Sonic Grade: D

I’m embarrassed to say we used to like the Rhino Heavy Vinyl version, and in our defense let me tell you why: it was (for the most part) tonally correct, fairly low distortion, and had tight punchy bass.

Boy, Was We Ever Wrong. 

Now it sounds positively CRUDE and UNPLEASANT next to the real thing — if by “the real thing” you mean an honest to goodness properly-mastered, properly-pressed copy (also known as a Hot Stamper).

Kevin Gray’s transistory, opaque, airless, low-resolution cutting system did this album no favors.

The average copy of this record is aggressive and unpleasant. 

The British pressings are mud.

You either have to work very hard to find a good domestic pressing (which means buying, cleaning and playing lots and lots of them), or you have to luck into a good one by accident. (more…)

The Lovin’ Spoonful – John Sebastian Songbook, Vol. 1

More John Sebastian

More Sixties Pop Recordings

  • With STUNNING Shootout Winning Triple Plus (A+++) grades on both sides, the sound quality of the tracks on this compilation is impressive
  • Both sides are rich, full-bodied, Tubey Magical, and natural with a solid bottom end – no sign of radio EQ to be found
  • Features most of the band’s best songs, including Do You Believe In Magic, You Didn’t Have To Be So Nice, Six O’clock and Nashville Cats (a personal fave)
  • The Allmusic critic is not too crazy about this album, but the User Rating is 4 1/2 stars, which we think is about right

Great sound for some the biggest hits of The Lovin’ Spoonful, a band I wouldn’t have expected to hear sound good on vinyl if I lived to be a hundred, and yet, here it is. This is one of the rare cases where, in our experience, the hits compilation sounds BETTER than the original records. Why? Who knows? We don’t pretend to have all the answers. What we do have (that no one else has, if that’s not too obvious) are the records that back up the claims we make for them.

How they came to be that way is anyone’s guess. All we know for sure is that, judging by the best copies of this album, somebody got hold of some awfully good tapes and somebody mastered them with uncanny skill to what sounds to these ears like near perfection.

Actually, the mastering engineer for this compilation and the Best of from the same year is a person well known to us record collecting audiophiles — the person that ends up with this record can look in the dead wax for his info and the rest of you are welcome to guess — so it’s really no surprise that this compilation sounds as good as the Best of that we rave about.

Another Record We’ve Discovered with (Potentially) Excellent Sound…

and One We Will Probably Never Shootout Again

Some records are just too consistently noisy for us to offer to our audiophile customers no matter how good they sound.

We have a section for records that tend to be noisy, and it can be found here.

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Letter of the Week – “whole thing is hopping and dancing with huge beautiful sound”

More of the Music of Simon and Garfunkel

Reviews and Commentaries for Bridge Over Troubled Water

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

Hey Tom, 

That latest S&G album — BOTW — is absofuckinglutely blowing my mind tonight. Wow. Those deep horns (?) blasting at times (end of Keep the Customer Satisfied, chorus of Why Don’t You Write Me, end of The Boxer… whole thing is hopping and dancing with huge beautiful sound. Hard to sit down!!

Dear C.

The power of those horns is exactly what I was telling you about –  they cannot be reproduced until you have speakers with dynamic drivers large enough to play the weight of the brass.

TP

We discuss the idea of Big Speakers in this boilerplate commentary all over the site:

Let’s face it, this is a BIG SPEAKER record. It requires a pair of speakers that can move air with authority below 250 cycles and play at fairly loud levels. If you don’t own speakers that can do that, this record will never really sound the way it should.

It’s the kind of recording that caused me to pursue Big Stereo Systems driving Big Dynamic Speakers for as long as I can remember. You need a lot of piston area to bring this recording to life, and to get the size of all the instruments to match their real life counterparts.

For that you need big speakers in big cabinets, the kind I’ve been listening to for more than forty years. (My last small speaker was given the boot around 1974 or so and I have never looked back.) (more…)

Kenny Burrell with Gil Evans – Guitar Forms

More Kenny Burrell

More Gil Evans

  • This STUNNING pressing offers Shootout Winning Triple Plus (A+++) sound or close to it from start to finish
  • Gil Evans wrote the superb orchestral arrangements and Rudy Van Gelder captured them on lovely analog tape – what’s not to like? 
  • We’ve really been digging these Creed Taylor productions for years now – it may not be serious jazz, but it’s no less interesting and captivating for it
  • “His landmark 1965 collaboration with Gil Evans, Guitar Forms rivals anything the arranger did with Miles Davis. Indeed, the track “Lotus Land” has a bolero form very reminiscent of Sketches of Spain. Throughout, Burrell takes thoughtful, concise, and utterly musical solos, and even switches to acoustic classical guitar on “Prelude #2” and “Loie.””

For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1965 All Tube 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. (more…)

War / Why Can’t We Be Friends? – A True Demo Disc

More War

This Well Recorded Album Should Be More Popular with Audiophiles

  • An incredible copy of the band’s 1975 release, with Shootout Winning Triple Plus (A+++) sound or close to it throughout
  • One of our favorite albums here at Better Records and clearly the band’s Masterpiece – the bass and dynamics on the better pressings make this a Demo Disc on the right system
  • 4 stars [but we give it 5]: “Cut from the same cloth as the band’s 1973 Deliver the Word LP, War’s 1975 Why Can’t We Be Friends? is a masterpiece in its scope and breadth. [It] remains one of War’s truly outstanding efforts, and has become an integral part of the funk genre’s landscape. It also remains the nightcap of their finest hour.”

Engineered by the brilliant Chris Huston, this recording displays all his trademark gifts. His mixes feature lots of bass; huge, room-filling choruses that get loud without straining or becoming congested; and rhythmic energy that few pop recordings could lay claim to in 1975.

Low Rider sounds AWESOME on this one. This is the kind of record you can take to any stereo store or audiophile friend’s house and bring their stereos to their knees. Audiophile systems are rarely designed to play this kind of music at the levels it demands, but that doesn’t mean they shouldn’t be. Records like this are the challenge we audiophiles need to make our stereos even better. When the music is this good it’s worth the effort

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