One of our good customers had this to say about some Hot Stampers he purchased years ago:
Hey Tom,
So yeah, you folks have DONE IT AGAIN. Absolutely slayed me, with your copy of Bad Company’s debut album – and in particular, “Seagull” – which is simply the finest rendering of it I’ve ever heard. Sat there like the blubbering old fool that I am.
Fantastic stuff. And DEAD silent vinyl.
You folks ROCK. Truly, THANK YOU.
Steve
Steve,
That’s great to know. An amazing recording when you can hear it right!
As Steve described it, this is indeed the kind of sound you can expect to hear on the better Hot Stamper pressings:
The drums on this album are so solid, punchy and present, they put to shame 99% of the rock records on the planet.
As well as having great drums, the overall sound of the best pressings is raw, real and wonderfully unprocessed.
Here you will find none of the glossy artificiality you might hear on many of the rock and pop records we sell.
There’s nothing wrong with that sound, mind you, but this recording captures much more of what the real instruments sound like in the studio.
And, if you’re playing this album good and loud, you’ll feel like you’re in the room with the boys as they kick out the jams. “Ready For Love” sounds great here — shocking clarity, tons of ambience, and silky sweet highs.
This album was one of Ron Nevison‘s early engineering jobs.
The year before (1973) he had been behind the board at Ronnie Lane’s Mobile Studio for Quadrophenia, one of the best sounding Who albums we know of, and a longtime member of our Top 100 (as is this album).
He also knocked it out of the park on Bad Company’s follow-up, 1975’s Straight Shooter.
In 1975 he worked on the sprawling mess that turned into Physical Graffiti.