Once again, the right Decca reissue blows the doors off the original we played. This has lately become a pattern, but keep in mind it’s a pattern that’s reliable less than half the time, if memory is any guide. Many of the Decca reissues we’ve played over the last few years have failed badly in a head to head with their earlier-mastered and -pressed counterparts. But the ones that beat all comers are the ones that stick in our minds and show up on our site. Clearly a case of confirmation bias, but at least we know something about our own biases.
Record collectors and record collecting audiophiles will tell you it shouldn’t happen, but fools like us, who refuse to accept the prognostications of those supposedly “in the know,” have done the work and come up with the experimental data that’s proven them wrong again and again.
Sort of. We had one, and only one, pressing of the original London (CS 6185), and boy was it a mess — crude as crude can be. It sounded just like an “old record” — we’ve played them by the thousands, so we know that sound fairly well at this stage of the game — not the Decca engineered and mastered vintage collectible we know it to be.(more…)
With a Shootout Winning Triple Plus (A+++) side one and outstanding Double Plus (A++) sides two, three and four, this copy delivers top quality sound for this famously difficult recording – exceptionally quiet vinyl too!
Some of our favorite Clapton songs are here: Bell Bottom Blues, Tell The Truth, Little Wing, Layla and Have You Ever Loved A Woman?
One of the most difficult albums to find audiophile sound for, but a lot easier for us now that we know what pressings can actually sound good
Clapton’s greatest album: “But what really makes Layla such a powerful record is that Clapton, ignoring the traditions that occasionally painted him into a corner, simply tears through these songs with burning, intense emotion.”
Outstanding sound for all four sides of this classic album. Unless you plan on playing a very big pile of copies you will be hard-pressed to find a copy with sound like this.(more…)
We used to get the original Contemporary pressings in all the time, but so few are mastered right practically none ever make it to the site. Some are pure muck; others have bass that’s so bloated it’s hard to tell if it’s electric or acoustic. And where’s the presence? We dropped the needle on a few Black Label copies of this title and were entirely
Don’t buy into that record collecting / audiophile canard that Original Equals Better. It’s complete bullshit. Records just don’t work that way, and anyone with two good ears, two good speakers and a decent-sized record collection should know better. (The fact that a minority of audiophiles or record collectors do understand these things is a sad commentary on the state of reproduction in the home. But that’s a subject we’ve discussed at some length on the site already and see no need to belabor further here.)(more…)
EXCELLENT SOUND and mostly quiet vinyl throughout, the big highlights being an A++ side three and an A+++ side four! We finally found enough copies of this album to do another proper shootout, and this one was one of the very best. Drop the needle on side four to find out just how amazing Ray Charles can sound on vinyl when you’ve got a killer pressing. The vocals are silky and breathy with natural texture and amazing presence. You will not believe how much tubey magic you get on this side!(more…)
The first White Hot copy of this great Byrds album — 4 stars on Allmusic — to EVER hit the site, and it’s a killer Triple Triple copy! Anyone who has played the typical copy of this album is probably familiar with the dull, lifeless, opaque sound that plagues most pressings. We collect these in bulk (natch) and it’s disappointing how mediocre most copies sound.(more…)
Outstanding sound throughout with both sides rating a solid Double Plus (A++) or close to it
The sound here is, above all, natural – the tonality is correct, and the recording sounds right for Riverside circa 1961
4 1/2 stars: “Explorations proves that the artist was worth waiting for no matter what else was going on out there. Evans, with Paul Motian and Scott LaFaro, was onto something as a trio, exploring the undersides of melodic and rhythmic constructions that had never been considered by most… an extraordinary example of the reach and breadth of this trio at its peak.”
A stunning sounding copy with Triple Plus (A+++) sound on ALL FOUR SIDES!
Forget the originals – like so many of the early songbook pressings, they suffer from painfully hard and honky mastering EQ (and gritty sounding vinyl)
We know whereof we speak when it comes to early Ella records – we’ve played plenty of them and found that most just don’t sound very good
Exceptionally quiet vinyl throughout* — Mint Minus to Mint Minus Minus
“Duke’s spectacular catalog dazzles, and his sprightly, lush textures are transfigured under Fitzgerald’s warm-timbred voice and elegant, precise delivery… each tune as familiar as it is delightful to hear in this new context.”
This mono reissue is the only way to find the MIDRANGE MAGIC that’s missing from modern records. As good as the best of those pressings may be, this record is going to be dramatically more REAL sounding.
Ella is no longer a recording — she’s a living, breathing person. We call that “the breath of life,” and this record has it in spades. Her voice is so rich, sweet, and free of artificiality you cannot help but find yourself lost in the music, because there’s no “sound” to distract you.
Rich, smooth, sweet, full of ambience, dead-on correct tonality — everything that we listen for in a great record is here. You could certainly demonstrate your stereo with a record this good, even one that’s not nearly this good, because this one is superb.
What amazing sides such as these 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 1957
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. (more…)
You’ll find outstanding Double Plus (A++) sound on this Emus pressing of Count Basie and Tony Bennett’s 1959 classic collaboration
The originals we have played are uniformly horrible sounding compared to these wonderful reissues – the tonality here is Right On The Money
4 1/2 stars: “… the pairing between Bennett and Basie remains impressive. The band raves through tunes like “With Plenty Of Money And You,” and Bennett matches them, drawing strength from the bravura arrangements, while band and singer achieve a knowing tenderness on “Growing Pains.” This is an album well worth owning…”
This vintage pressing has the kind of Tubey Magical Midrange that modern records cannot even 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.(more…)
For this album, having sampled a large group of pressings from every era, we found the originals to be inferior to the best reissues we played. Naturally the ones we offer here as Hot Stampers will be the best of those reissue pressings. We are not the least bit worried that this vintage Impulse LP won’t beat the pants off of any original as well as any reissue you may have heard. And of course it is guaranteed to be dramatically better sounding than any Heavy Vinyl pressing produced by anyone, anywhere, at any time.(more…)
One of our favorite Cannonball Adderley albums here at Better Records, and the sound is killer on this copy. Both sides are Tubey Magical, rich, open, spacious and tonally correct. We’ve never heard the record sound better, and that’s coming from someone who’s been playing the album since the ’80s when it was first reissued in its current form.
These guys are playing live in the studio and you can really feel their living, breathing presence on every track — assuming you have a copy that sounds like this one.
Based on what I’m hearing my feeling is that most of the natural, full-bodied, smooth, sweet sound of the album is on the master tape, and that all that was needed to get that vintage sound correctly on to disc was simply to thread up that tape on a reasonably good machine and hit play.
Original Vs. Reissue
The original Riverside pressings are the best, right?