- Jailbreak makes its Hot Stamper debut here with superb Nearly Triple Plus (A++ to A+++) sound from first note to last – just shy of our Shootout Winner
- This copy has real depth to the soundfield, full-bodied, present vocals, plenty of bottom end weight, and lovely analog warmth
- 5 stars: “. . . this myth-making is married to an exceptional eye for details; when the boys are back in town, they don’t just come back to a local bar, they’re down at Dino’s, picking up girls and driving the old men crazy. This gives his lovingly florid songs, crammed with specifics and overflowing with life, a universality that’s hammered home by the vicious, primal, and precise attack of the band.”
These Nearly White Hot Stamper pressings have top-quality sound that’s often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers (“relative” meaning relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don’t agree, please feel free to return the record for a full refund, no questions asked.
This vintage Vertigo pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What the Best Sides of Jailbreak Have to Offer Is Not Hard to Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1976
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
What We’re Listening For on Jailbreak
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Angel From The Coast
Romeo And The Lonely Girl
The Boys Are Back In Town
Fight Or Fall
AMG 5 Star Rave Review
Thin Lizzy found their trademark twin-guitar sound on 1975’s Fighting, but it was on its 1976 successor, Jailbreak, where the band truly took flight. Unlike the leap between Night Life and Fighting, there is not a great distance between Jailbreak and its predecessor. If anything, the album was more of a culmination of everything that came before, as Phil Lynott hit a peak as a songwriter just as guitarists Scott Gorham and Brian Robertson pioneered an intertwined, dual-lead guitar interplay that was one of the most distinctive sounds of ’70s rock, and one of the most influential.
Lynott no longer let Gorham and Robertson contribute individual songs — they co-wrote, but had no individual credits — which helps tighten up the album, giving it a cohesive personality, namely Lynott’s rough rebel with a heart of a poet. Lynott loves turning the commonplace into legend — or bringing myth into the modern world, as he does on “Cowboy Song” or, to a lesser extent, “Romeo and the Lonely Girl” — and this myth-making is married to an exceptional eye for details; when the boys are back in town, they don’t just come back to a local bar, they’re down at Dino’s, picking up girls and driving the old men crazy. This gives his lovingly florid songs, crammed with specifics and overflowing with life, a universality that’s hammered home by the vicious, primal, and precise attack of the band.
Thin Lizzy is tough as rhino skin and as brutal as bandits, but it’s leavened by Lynott’s light touch as a singer, which is almost seductive in its croon. This gives Jailbreak a dimension of richness that sustains, but there’s such kinetic energy to the band that it still sounds immediate no matter how many times it’s played. Either one would make it a classic, but both qualities in one record makes it a truly exceptional album.