Month: March 2024

Talking Heads – Talking Heads: 77

More of the Music of The Talking Heads

  • A vintage pressing of Talking Heads’ debut album (one of only a handful of copies to hit the site in years) with excellent Double Plus (A++) grades from top to bottom
  • Big and open with lots of layered depth to the soundfield, and sonics that positively jump out of the speakers
  • The sound here is so analog — warm, rich and smooth with the kind of fullness and life that are hard to come by for this music
  • The sound of the best pressings is raw, real and exceptionally unprocessed
  • 5 stars: “Talking Heads threw you off balance, but grabbed your attention with a sound that seemed alternately threatening and goofy. The music was undeniably catchy, even at its most ominous, especially on ‘Psycho Killer,’ Byrne’s supreme statement of demented purpose. And that made Talking Heads: 77 a landmark album

If I were to compile a list of my favorite rock and pop albums from 1977, this album would definitely be on it

We’re huge Talking Heads fans at Better Records, but we’d never tried to shoot out this album before 2011 because the copies we had played to that point were no great shakes. And that trend of mediocity only continued in the ensuing decade since, alas.

We’d forgotten how amazing this album can sound on the best pressings. I’d even say that it’s a sonic step up from Fear Of Music and Remain In Light, probably tying with More Songs About Buildings and Food and Little Creatures for top Talking Heads honors.

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Building a Good Sounding Record Collection – Hot Stampers Versus Collector Pressings

Record Collecting for Audiophiles – A Guide to the Fundamentals

I defy anyone who has not made a lifelong study of pressing variations to tell me which of the hundreds of records pictured below is likely to have audiophile quality sound.

There is not a chance in the world the owner knows either, and I suspect he does not care one way of the other. If this fellow describes himself as an audiophile, he is either mistaken or setting a very low bar for hinself.

An audiophile is defined as someone who “loves sound.” The owner of this collection may love sound on some level — he plays records, and they have sound, and if he loves the sound he hears on his records, that would make him an audiophile according to the dictionary.

For those of you who spend much time on this blog, to us an audiophile is a “lover of good sound,” not just any sound.

This fellow is not really an audiophile as we would define the term, certainly not much of one.

He is a record collector, plain and simple.

And that’s not a hard thing to be. Most anyone can amass a collection of records — one this big, ten times its size or one-tenth its size, the process of going about it is the same. You just buy whatever kinds of records you happen to like and organize them in whatever way you find most pleasing.

There is no limit to the kinds of records a person might collect: originals, imports, audiophile pressings, picture discs, the TAS List – you name it, you are free to collect it to your heart’s desire.

There are literally millions of records for sale around the world on any given day. They’re not hard to find, and being so common, collecting them could not be easier. A single collection for sale as of this writing contains more than 3 million records. That works out to a thousand records each for three thousand collectors. Do you really have time to play more than a thousand records? That’s a different record every day for almost three years!

Why Collect?

Some people see records as an investment.

We do not. We think audiophile-oriented music lovers should pursue good sounding records for the purpose of playing them and enjoying them, understanding that the better their records sound, the more enjoyable they will be.

Collecting records primarily to build a record collection that can be sold at a profit in the future should be the last thing on anyone’s mind.

Most of the following was written in response to a customer who wanted to know how original our Hot Stamper pressings were since he preferred to collect first pressings — which were also worth more money should he decide to sell them at a later date. We asked:

Why would you want a first pressing if it doesn’t sound as good? Or, if a later pressing sounded better, why would that make any difference in your desire to buy it? Isn’t the idea to get good sound?

If you buy records principally to collect original pressings, you will end up with one mediocre sounding collection of records, that I can tell you without fear of contradiction. The formula goes like this: Average pressing, original or otherwise = average sound.

On the other hand, if you want the best sounding pressings, we are the only record sellers on the planet who can consistently offer them to you. This is precisely the service we offer, unique in the world as far as we know. Hence the name Better Records.

Anyone can sell originals. Only we can offer the discriminating audiophile records with the best sound.

Others could of course, but none of them have ever bothered to try, so the practical effect is the same.

Finding the best sound is far more difficult and far more rewarding for both the seller and the buyer, as any of our customers will be happy to tell you.

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Stevie Ray Vaughan – The Sky Is Crying

More Stevie Ray Vaughan

Albums with Especially Dynamic Guitar Solos

  • SRV’s rock masterpiece, here with a KILLER Shootout Winning Triple Plus (A+++) side one mated to a solid Double Plus (A++) side two – exceptionally quiet vinyl too
  • A Triple Plus side one means you get a “Little Wing” that is guaranteed to be one of the best sounding tracks you have ever played in your audiophile life
  • Some of the most blistering performances of electric blues we have ever had the pleasure of rocking out to
  • Hands down the best sounding SRV recording – “Little Wing” is an absolute monster on this side one and a demo track to beat them all
  • 4 stars: “Doing away with vocals, Vaughan augments Hendrix’s concise two-and-a-half minute original, turning the track into a nearly seven-minute-long electric tour de force. The cover would earn Vaughan his sixth Grammy, for Best Rock Instrumental Performance, in 1992.”
  • We know about quite a few records that rock this hard. We seek them out, and we know how to play them.

This is one of the most blistering recordings of electric blues we’ve ever played. Few other records recorded in the ’80s have this kind of big, bold sound. Maybe none. The sheer impact and wallop of this music is a real treat, but only if you have the right pressing, and the right kind of stereo to play it on.

Stevie’s take on Jimi’s “Little Wing” is the surest proof that SRV was one of the greatest Electric Blues Guitarists of All Time. I know of no other guitar showcase to compete with it.

Turn it up good and loud and you will be amazed at how dynamic the guitar solos are.

Sonically it’s a knockout, with one of the tallest, widest, and deepest soundstages I have ever heard on record. It brings to mind Gilmore’s multiple solos on Money from the hottest Dark Side of the Moon pressings, high praise indeed.

“Little Wing” deservedly won SRV the Grammy in ’92 for Best Rock Instrumental.

And, if you want to hear Stevie channel Wes Montgomery instead of Jimi Hendrix, take a listen to “Chitlins Con Carne.”

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Enoch Light and the Light Brigade – Provocative Percussion, Vol. 2

More Exotica Recordings

More Amazing Sounding Percussion Records

  • Provocative Percussion, Vol. 2 debuts on the site with solid Double Plus (A++) sound on both sides of this original Stereo Command pressing – fairly quiet vinyl too
  • Simply remarkable space, ambience and depth – if you have never heard one of these kinds of records, you are really in for a treat with this one
  • Provocative Percussion, Vol. 2 is yet another record we’ve discovered with potentially excellent sound
  • 1959 was a phenomenal year for audiophile quality recordings – we’ve auditioned and reviewed more than a hundred and thirty to date, and there are undoubtedly a great many more that we’ve yet to discover

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Led Zeppelin II on Classic Records – Seriously, What Could Be Sadder?

Hot Stamper Pressings of the Music of Led Zeppelin Available Now

An unmitigated disaster — ridiculously bright and ridiculously crude.

In short, a completely unlistenable piece of garbage, and, along with the MoFi pressing from 1982, one of the worst sounding versions of the album ever made.

Over the years we have done many Led Zeppelin shootouts, often including the Classic Heavy Vinyl Pressings as a “reference.” After all, the Classic pressings are considered by many — if not most — audiophiles as superior to other pressings.

What could be sadder?

In fact, you will find very few critics of the Classic Zep LPs outside of those of us (me and the rat in my pocket) who write for this Better Records, and even we used to recommend three of the Zep titles on Classic: Led Zeppelin I, IV and Presence when they first came out.

Wrong on all counts.

Since then we’ve made it a point to review most of the Classic Zeps, a public service of Better Records. We don’t actually like any of them now, although the first album is still by far the best of the bunch.

Below you will find our reviews of the more than 200 Heavy Vinyl pressings we’ve played over the years.

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Sade – Stronger Than Pride

More Sade

More Soul, Blues and R&B

  • An original Epic import pressing (one of only a handful of copies to hit the site in nineteen months) with solid Double Plus (A++) sound from start to finish – exceptionally quiet vinyl too
  • This is probably the quietest copy to come out of our shootout — plenty of these had issues, including most of the best sounding pressings
  • This copy had more of the in-the-room vocal presence, note-like bass, and powerful dynamics we were looking for than most of the other pressings we played, many of which had exactly the same stampers
  • Forget the veiled, closed-in domestic pressings and whatever crappy Heavy Vinyl poseur may be in print – this copy will bring a living, breathing, oh-so-sultry Sade Adu (age 29) right into your very own listening room
  • “Sade demonstrated some intensity and fire on her third release… she had more animation in her delivery on such songs as ‘Haunt Me,’ ‘Give It Up,’ and the hit ‘Paradise.'”

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Letter of the Week – “It feels like you are at the concert.”

More of the Music of Emerson, Lake and Palmer

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

Hey Tom, 

One of my favorite albums growing up was pictures at an exhibition, but just for the music not the sound. I sold my domestic copy years ago but recall it was a muddy mess and always the worst sounding of all my ELP albums.

Fast forward decades later and I am totally blown away at what an amazing sounding album this really can be! Now the quality of the music matches the quality of the sound. The tonal balance is superb with just the right amount of weight down low. I never thought this record could sound this good. The wall of Organ sound as you put it when cranked to the lush acoustic guitar and tenderness of Greg’s vocals. It feels like you are at the concert.

That is why I am so impressed with all the hot stamper live albums I own. It shows a concert experience can be replicated with the right equipment but, most importantly, with the right pressing!

An amazing album and a great price to boot.

Thank you!!

Rob

Rob,

Fantastic to hear, thanks for your letter.

The “muddy mess” you refer to was no doubt the result of many things, but one of the main problems with your old copy was that it was the domestic pressing, which is made from second generation masters and therefore hopelessly outclassed by the right early Island pressings, which are of course the only ones we sell.

Even if you were lucky enough to have the right Island pressing, you would have had to know how to clean it using the right machines and fluids.

Not many audiophiles have either, and nobody had them back in the day, because they hadn’t been invented yet!

Your experience is what good records are all about, and we are gratified to have played a part in helping to bring that music to life in your very own listening room.

You can be at the concert as often as you want now. How could anyone put a price on that?

Oh, some folks find a way.

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Jimi Hendrix – Band of Gypsys

More Jimi Hendrix

  • A Band of Gypsys like you’ve never heard, with solid Double Plus (A++) grades or BETTER throughout this original pressing – fairly quiet vinyl too
  • Huge amounts of bass; rich, smooth vocals; here is the big, bold sound that we’re pretty sure you had no idea the album could have
  • Wonderful clarity and freedom from distortion characterize the overall sound of both sides, and that’s unusual because there are a lot of dreadful sounding copies floating around
  • These Robert Ludwig-mastered Capitol pressings are the only ones good enough to be called Hot Stampers – accept no substitutes!
  • Trust us on this one – you’re going to have a difficult (and expensive!) adventure finding a copy that sounds as good as this one on your own
  • We have a staff of ten and even we have a hard time with Classic Rock titles like these — people loved this album and played it to death on their shitty turntables, leaving few copies in clean condition for us audiophiles to enjoy 54 years later [see below]
  • 4 1/2 stars: “Although he could be an erratic live performer, for these shows, Hendrix was on — perhaps his finest performances… not only an important part of the Hendrix legacy, but one of the greatest live albums ever.”
  • If you’re a fan of Jimi’s, this 1970 release belongs in your collection.
  • When it comes to rock and pop music in 1970, our picks for the best of the best, numbering less than 30 titles, can be found here.

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In 1959 Columbia Let Leonard Bernstein Record an Awful Version of Scheherazade

More of the music of Rimsky-Korsakov (1844-1908)

Even worse, they made the mistake of releasing it!

Bernstein’s performance here is far too slow to be taken seriously. This is a record you can find in the bins for five bucks, and for five bucks it’s worth picking up just to hear how awful it is.

Our favorite Scheherazade has long been the one Ansermet conducted for Decca in 1961.

Outstanding Hot Stamper pressings of recordings from 1959, a great year for records, can be found here.

The complete list of titles from 1959 that we’ve reviewed to date can be found here.

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Listening for Harmonically Correct Acoustic Guitars on America’s Debut

More of the Music of America

The guitars on this record are a true test of stereo fidelity. As it says below, most of the pressings of this record do not get the guitars to sound right. They often sound veiled and dull, and on a copy with a bit too much top end they will have an unnatural hi-fi-ish sparkle.

This kind of sparkle can be heard on many records Mobile Fidelity made in the ’70s and ’80s. Tea for the Tillerman, Sundown, Year of the Cat, Finger Paintings, Byrd at the Gate, Quarter Moon in a 10 Cent Town — the list of MoFis with sparkling acoustic guitars would be very long indeed, and these are just the records with prominent acoustic guitars!

Three Roses and Rainy Day

The key song on side one that we use to test is Three Roses. There are three sonically-separated individuals each playing six string acoustic guitars, and when this side is cut right the guitars sound just gorgeous: sweet, with all their harmonic structures intact. (It’s also my favorite song on side one.)

The real test on side two is the song Rainy Day. Lots of guitars, and when the close-miked descending guitar figure comes in after the first few couplets, if it’s too bright, you’re going to know it. This song is the hardest one to cut and almost never sounds right. Some copies are cut JUST RIGHT. The vocals are breathy, the guitars are full-bodied, and the overall sound is airy, open, and spacious.

On the best copies Rainy Day is Demo Disc material — they just don’t know how to make acoustic guitars sound like that anymore. You have to go back to 50-year-old records like this one to find that sound.

Simply phenomenal amounts of Tubey Magic can be heard on every strum, along with richness, body and harmonic coherency, all the things that have all but disappeared from modern recordings (and especially from modern remasterings).

Of course, many 50 year old records are beat to death, and many of them don’t sound any good anyway. It’s no mean feat to find quiet, superb pressings of albums like this, but you can be sure that Better Records is up to the task.

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