- A superb vintage UK copy of the band’s masterpiece, boasting Nearly Triple Plus (A++ to A+++) sound from start to finish – just shy of our Shootout Winner
- We guarantee the sound is dramatically bigger, richer, fuller, and livelier than any pressing you have ever heard, and on this record that is saying a LOT
- A tough record to find in audiophile playing condition – copies without audible marks were not easy to come by
- The band’s Magnum Opus, a Colossal Production to rival the greatest Prog, Psych and Art Rock recordings of all time (Whew!)
- 4 stars: “Thanks to the duo’s uncompromising stubbornness, expansive creative vision, and Dave Bascombe’s final production, The Seeds of Love has dated better than either of its predecessors and is inarguably Tears for Fears’ masterpiece.”
Some records were just too much work to find, too expensive to buy and whose sales never really justified the investment in time and money required to find Hot Stamper pressings of them to offer to our customers.
This is one such album, and the link above will take you to many more.
- For its debut on the site, we present this amazing sounding British original pressing, with a Triple Plus (A+++) side one (the Rod Stewart side)
- Side two (the Elton John produced side) was outstanding as well, earning a Double Plus (A++) for its rich, tubey sound
- No wonder side one sounds like the best of Rod Stewart & The Faces’ early-’70s albums – Mike Bobak engineered them
- “The backing band on Stewart’s side include fellow Face and future Rolling Stone, Ron Wood, on electric guitar and acoustic guitarist Sam Mitchell, who appeared on many of Stewart’s early-’70s solo albums.”
Here’s how this shootout got started.
A few years ago while I was working on the site I had music on youtube playing. The song “Flying” came on from the It Ain’t Easy album, and when the chorus came in I could not believe how big, rich and powerful it sounded — this, on computer speakers! (more…)
- Insanely good CCR sound, with Shootout Winning Triple Plus (A+++) sound from start to finish – exceptionally quiet vinyl too
- An essential, Must Own for every Classic Rock collection, this LP includes some of the band’s biggest hits: Green River and Bad Moon Rising, Lodi, Wrote a Song for Everyone and plenty more
- 5 stars “If anything, CCR’s third album Green River represents the full flower of their classic sound initially essayed on its predecessor, Bayou Country. One of the differences between the two albums is that Green River is tighter, with none of the five-minute-plus jams that filled out both their debut and Bayou Country, but the true key to its success is a peak in John Fogerty’s creativity.”
This copy is bigger, livelier, richer, more spacious, more relaxed and just plain more musically involving than every other pressing we played in our recent shootout. (more…)
- An outstanding pressing of Insight Out, with solid Double Plus (A++) sound or BETTER throughout
- The Tubey Magical sound, the lively, tight playing by The Wrecking Crew, not to mention some killer Chart Topping ’60s pop, make this THE Association album to own
- With this copy the Sound of the Sixties will fill your room like never before – wall to wall, floor to ceiling, with layers upon layers of analog depth
- These original Gold Label stereo pressings are potentially the best sounding, with the ideal balance of richness and transparency
- POTENTIALLY – again, the label is no guarantee of top quality sound, only proper cleaning and careful shootouts can do that
- “The harmonies and choruses are among the most beautifully textured singing in a rock outfit this side of the Beach Boys.”
We discuss two qualities essential to the sound of the album Why Can’t We Be Friends? — Richness and Transparency.
As usually happens in these shootouts we learned that there’s so much more to this album than just big bass. What really makes this music come alive on the best copies was the result of two qualities we found were in fairly short supply.
When the vocals sound thin and pinched as they do on so many copies of this album, possibly the result of the grainy crap vinyl UA is infamous for, that sour sound takes all the fun out of the music. Many tracks have group vocals and choruses, and the best copies make all the guys sound like they are standing in a big room, shoulder to shoulder, belting it out live and in living color. These are not classically trained singers. These are guys who love their music, who make up in enthusiasm what they lack in polish. I say more power to them. Smoke ’em if you got ’em and turn it up!
The good copies capture that energy and bring it into the mix with the full-bodied sound it no doubt had live in the studio. When the EQ or the vinyl goes awry and their voices start to take on a lean or gritty quality, the party’s over. (Seriously; this album has a party atmosphere; it’s overflowing with fun energy. If you can’t play it loud enough to rock because the sound is fighting you with every click of the volume knob, what is the point of playing it all?) (more…)
Superb engineering by Greg Ladanyi (Toto 4, The Pretender, El Rayo-X, demo discs one and all).
If you know the “Asylum Sound” — think of the Tubey Magical Analog of The Eagles first album and you won’t be far off — you can be sure the best copies of All This and Heaven Too have plenty of it. Rarely do we run into recordings from the mid- to late-’70s with richer, fuller sound. The bass on the best copies is always huge and note-like. In the ’80s the very engineer for this record, Greg Ladanyi, would produce solo albums for the likes of Don Henley with no bass. How this came to be I cannot begin to understand, but record after record that we play from that decade are bright and thin like a transistor radio. This accounts for why you see so few of them on the site.
But Andrew Gold’s albums from the later ’70s are amazingly rich and tubey. That sound never went out of style with us. In fact albums with those sonic qualities make up the bulk of our sales, from The Beatles to The Eagles, Pink Floyd to Elton John, Simon and Garfunkel to Graham Nash. In our world the more “modern” something sounds the lower the grade.
- A STUNNING sounding copy and the first to hit the site in many years — Shootout Winning Triple Plus (A+++) sound throughout
- These sides are dripping with Analog magic — transparent, sweet and rich from beginning to end and the bass is especially meaty and well-defined
- Those of you who have tried our Hot Stampers of JT will know exactly what to expect; Garay LOVES BASS and so do we
- “An abundance of riches can be heard in Andrew Gold’s first solo album. There are great Beatlesque melodies here, as well as heartfelt love songs that are Gold’s specialties. Playing nearly all of the instruments himself makes this a truly “solo” effort.” – All Music, 4 Stars
As audiophiles we all know that sound and music are inseparable. My comments for this copy note how spacious and present and full of energy it is. After dropping the needle on a dozen or so copies, all originals by the way, you KNOW when the music is working its magic and when it’s not.
As with any pop album there are always some tracks that sound better than others, but when you find yourself marvelling at how well-written and well-produced a song is, you know that the sound is doing what it needs to do. It’s communicating the Musical Values of the material. This Hot Stamper copy brings Andrew Gold’s music to LIFE.
This record is dripping with Analog Tubey Magic. It’s transparent, sweet and rich from beginning to end. The bass is especially meaty and well-defined. Val Garay puts plenty on his recordings, one of the reasons we love listening to them. The vocals are present and clear, the studio is huge, and the snare is FAT the way it always is on Val’s recordings. (more…)
A customer recently contacted us after making his first purchase and being disappointed with the White Hot Stamper pressing we had sent him.
Wondered who I can talk to about this record that I purchased. I’ve listened to it numerous times and it just does not have that sound stage I was expecting.
I am not looking for a refund. In fact, I refuse a refund. However, I would appreciate the opportunity to speak to someone about the factors that make this a “White Hot Pressing.”
I’m sure you need to understand what amplifier, speakers, setting, etc. I am using. Without Going into the details, I have a McIntosh amplifier and Focal 936 speakers. I know how much of a difference equipment makes in the sound of a record.
I love to hear amazing records, some of which I have in original pressings I purchased when they were released and can truly feel it when there is something special about the record. This one does not seem to have it to me, but I am interested in finding and purchasing one from you that gives that amazing feeling.
Please let me know if there is someone I can speak to about finding that record.
I replied with an overwhelming amount of information (and opinions!) designed to help Sanjay understand more about records, as follows:
Tom here. Let me see if I can help.
The first thing I would need to know is what version of the album do you have that you think sounds better, or, if not better, comparable?
[He had no other pressing, not surprising as our White Hot copies are almost impossible to beat.]
Assuming you don’t have a better copy — we would be very surprised if you did — we would say that it’s likely there are two factors at play:
White Hot does not mean amazing Demo Disc sound. It means the best sound we can find for this recording, relative to the others we play. In other words, the best there is within the limitations of the recording.
We can’t fix the recording, we can only find you the best available pressing. If you were expecting more, something along the lines of Dark Side of the Moon, then I understand your disappointment. (more…)
The band’s MAGNUM OPUS, a Colossus of Production to rival the greatest Prog, Psych and Art Rock recordings of all time. (Whew!)
When it comes to Genre Busting Rock I put this album right up at the top of the heap, along with several other landmark albums from the Seventies: Roxy Music’s first, The Original Soundtrack, Crime of the Century, Ambrosia’s first two releases, The Yes Album, Fragile, Dark Side of the Moon and a handful of others.
The Seeds Of Love is clearly the band’s masterpiece, and being able to hear it on a White Hot Stamper pressing is nothing short of a THRILL.
I have a long history with this style of Popular Music, stretching all the way back to the early ’70s. I grew up on Bowie, Roxy Music, 10cc, Eno, The Talking Heads, Ambrosia, Peter Gabriel, Supertramp, Yes, Zappa and others, individuals and bands that wanted to play rock music but felt shackled by the constraints of the conventional pop song. Nothing on Sowing the Seeds of Love fits the description of a Conventional Pop Song.
Which albums by The Beatles break all the rules? Side two of Abbey Road and the whole of The White Album, which is why both are Desert Island Discs for me. Can’t get enough of either one.
The Discovery of a Lifetime
When I discovered these arty rock bands in my early twenties I quickly became obsessed with them and remain so to this day.
My equipment was forced to evolve in order to be able to play the scores of challenging recordings issued by these groups and others in the ’70s. These albums informed not only my taste in music but the actual stereo I play that music on. I’ve had large dynamic speakers for the last four decades precisely because they do such a good job of bringing to life huge and powerful recordings such as these.
Tears For Fears on this and their previous album continue that tradition of big-as-life and just-as-difficult-to-reproduce records. God bless ’em for it. (more…)
- Both sides earned Triple Plus (A+++) grades, a huge step up over every other copy in our shootout – exceptionally quiet vinyl too
- Whatever you do, don’t waste your money on the awful Heavy Vinyl remasters of CCR’s albums that Acoustic Sounds commissioned – they are so wrong it will make your head ache
- Features Down On The Corner, Fortunate Son, Midnight Special and more
- 5 stars: “[A] fun record, perhaps the breeziest album CCR ever made. Fogerty’s rage remains, blazing to the forefront on “Fortunate Son,” a working-class protest song that cuts harder than any of the explicit Vietnam protest songs of the era, one of the reasons that it hasn’t aged where its peers have. Also, there’s that unbridled vocal from Fogerty and the ferocious playing on CCR…”