Stunning sound from start to finish with side two earning our top grade of Triple Plus (A+++) and side one earning a solid Double Plus (A++)
Big, rich, energetic, with tons of Analog Tubey Magic, this original Orange Label British pressing has exactly the sound you want
Oh Well, Parts One and Two, Black Magic Woman and Albatross are all KILLER here
Peter Green is hands down our favorite British Blues Guitarist of All Time – this record single-handedly will show you why
If you’re a fan of early Fleetwood Mac, this copy will blow you away. Like any good vintage British pressing, the sound is smooth, rich and full. This is ANALOG baby; they don’t make ’em like this anymore because they don’t know how to.(more…)
A well-known reviewer has many kind things to say about this pressing, but we think it sounds like a hi-fi-ish version of a ’70s London, which means it’s opaque and the strings are badly lacking in Tubey Magic.
The bass is like jello on the MoFi, unlike the real London which has fairly decent bass.
MoFi had a bad habit of making bright classical records. I suppose you could say they had a bad habit of making bright records in general. A few are dull, some are just right, but most of them are bright in one way or another. Dull playback equipment? An attempt to confuse detail with resolution? Whatever the reasons, the better and more accurate your equipment becomes, the most obvious this shortcoming will be. My tolerance for their phony EQ is at an all time low. But hey, that’s me. (more…)
Man, this record has more TUBEY MAGIC than any Sinatra record I can remember playing.
Find me a Sinatra CD, any Sinatra CD, that sounds like this and I will eat it.
If you want to know what the best sounding Sinatra records sound like, this is your chance. Folks, in my opinion it simply does not get any better than a killer Hot Stamper pressing of Strangers In The Night.(more…)
Forget the dubby domestic pressings. Like so many British bands on the A&M label, when it came time to master the album for the domestic market, the people in charge (whoever they may have been) took the easy way out and simply ordered up a dub of the master tape to cut the album from.
Spooky Tooth, Procol Harum, Fairport Convention, (my beloved) Squeeze and too many others to think about all had their records ruined by sub-generation masters.
But this is the real British-pressed vinyl from the real master tape, and that makes all the difference in the world.(more…)
On the better copies the multi-tracked chorus and background vocals are as breathy, rich, sweet and Tubey Magical as any pop recording we know of. An extended top end opens up the space for the huge, dense production to occupy. There is Midrange Magic To Die For exceeding anything to be found on Thriller.
Don’t Stop ‘Til You Get Enough
The first single from the album was designed to go to Number One and it certainly met all expectations in that regard.
On the properly mastered and pressed copies the vocals and percussion will be a bit brighter than those on most of the tracks that follow. The percussion is often somewhat brittle on even the best copies; it’s surely on the tape that way.
It should be big, clear and lively right out of the gate.(more…)
With two seriously good Double to Triple Plus (A++ to A+++) sides, this UK LP is sure to be one of the best sounding Roxy Music records you’ll ever play
These sides are unbelievably rich and Tubey Magical – Roxy just does not get much better than this!
We’ve been working on this shootout for over ten years – here is one of the better copies we have to show for our effort
AMG 5 Stars: “…another extraordinary record from Roxy Music, one that demonstrates even more clearly than the debut how avant-garde ideas can flourish in a pop setting.”
This album is a MASTERPIECE of Art Rock, Glam Rock and Bent Rock all rolled into one. Spacious, dynamic, present, with HUGE MEATY BASS and tons of energy, the sound is every bit as good as the music. (At least on this copy it is. That’s precisely what Hot Stampers are all about.)(more…)
An outstanding copy of Madman with Double Plus (A++) sound from the first note to the last
A ridiculously tough album to find with the right sound and reasonably quiet surfaces – which is why we so rarely have them on the site
The last of the classic albums Elton recorded at Trident, the best of which have more Tubey Magic than anything that came after
4 1/2 stars on Allmusic: “The record remains an ambitious and rewarding work, and John never attained its darkly introspective atmosphere again.”
This Madman is guaranteed to blow your mind.
The amount of effort that went into the recording of this album is comparable to that of the engineers and producers of bands like Supertramp, Yes, Jethro Tull, Pink Floyd, The Beatles (of course) and far too many others to list. This is some of the best high production value rock music of the ’70s.(more…)
In some ways yes, in some ways no, and we are happy to lay it all out for you based on the critical listening we undertook recently. Here’s how we weighed the tradeoffs in the sound of the originals versus that of the reissues, with VTA advice to follow.
This superb sounding ORIGINAL Black Label Contemporary pressing of Benny Carter’s swingin’ jazz quartet is the very definition of a top jazz stereo recording from the late ’50s mastered through an all tube chain.
There’s good extension on the top end for an early pressing, with TONS of what you would most expect: Tubey Magic and Richness. If that’s what you’re looking for, this copy has got it!
We prefer the later pressings in most ways, but this record does something that no later pressing we have ever played can do — get Benny’s trumpet to sound uncannily REAL. If you want to demonstrate to your skeptical audiophile friends what no CD (or modern remastered record) can begin to do, play side two of this copy for them. They may be in for quite a shock.(more…)
KILLER sound from start to finish: Triple Plus on side two, nearly that good (A++ to A+++) on side one
DEMO DISC QUALITY – full-bodied, rich, spacious, BIG and PRESENT, with practically zero smear on the horns (nice!
The Tubey Magical keyboards found on the title cut are really something to hear, especially on this copy
The Grand Wazoo now gets my vote as the best sounding record Zappa ever made (along with Absolutely Free)
Wow – big, present and clear, with lots of lovely studio space, yet full-bodied. These sides about as right as any we’ve ever heard.
As noted above, the Tubey Magical keyboards at the start of The Grand Wazoo are amazing sounding here. How Zappa ever decided to go digital when he managed to record so well in analog (from time to time, let’s be honest) is beyond me.(more…)
With a nearly Triple Plus (A++ to A+++) side one and a side two that’s very respectable in its own right, this copy has the rich, sweet, sound we love
This kind of Tubey Magical, tonally correct, spacious sound on this stereo 360 pressing is nothing less than a THRILL
The only other Robbins record that can hold a candle to this one is Gunfighter Ballads & Trail Songs
“Robbins performs beautifully, creating a breezy mood that marks one of pop music’s better attempts at the genre.”
Fairly quiet vinyl too!
The Analog sound of this pressing makes a mockery of even the most advanced digital playback systems, including the ones that haven’t been invented yet. I’d love to play this for Neil Young so he can see what he’s up against. Good Luck, Neil, you’re going to need it.
We’ve been through dozens of Columbia albums from the ’60s since we discovered how good the Marty Robbins titles on Columbia can sound. Most of the popular vocal and country albums we play have an overall distorted sound, are swimming in reverb, and come with hard, edgy, smeary vocals to boot.
To find an album with freakishly good sound such as this involves a healthy dose of pure luck. You will need to dig through an awfully big pile of vinyl to uncover a gem of this beauty.(more…)