Albums that Come Alive on Big Speakers at Loud Levels

Stephen Stills – Self-Titled

More Stephen Stills

  • With outstanding sound throughout, this copy of Still’s superb debut is doing just about everything right
  • Love the One You’re With and Sit Yourself Down are to die for, but there’s really not a bad track on the album
  • A triumph of engineering for Bill Halverson and Andy Johns – this and Deja Vu are the very definition of Big Production Rock
  • A member of our top 100 and a true rock demo disc, especially if you can play it on big speakers at loud levels
  • 4 1/2 stars: “Listening to this album three decades on, it’s still a jaw-dropping experience, the musical equal to Crosby, Stills & Nash or Déjà Vu, and only a shade less important than either of them.”
  • This is a Must Own album from 1970, one that deserves a place in any audiophile’s pop and rock section

When we say it’s getting harder and harder to find clean copies of albums such as this in the bins of our local record stores, we are not kidding. (more…)

Steely Dan / The Royal Scam 2-pack

More Steely Dan

  • A stunning 2-pack copy, with side one of the first disc and side two of the second disc both earning Nearly Triple Plus (A++ to A+++) grades – just shy of our Shootout Winner
  • The general idea behind our 2-packs — examples of which prove that the two sides of the same album can sound very different from each other — can be found here
  • These pressings of The Dan’s hard-rockin’ classic from 1976 has the right sound for this music – rich and meaty, with powerful rhythmic energy
  • 5 stars: “Drummer Bernard ‘Pretty’ Purdie lashes out the rolling grooves on most of the nine tracks, establishing the album’s anxious feel, and Larry Carlton’s jaw-dropping guitar work provides a running commentary to Fagen’s strangulated vocals… These are not the sort of Steely Dan songs favored by smooth-jazz stations.”
  • Steely Dan’s fifth release is a Must Own album from 1976, Every one of the first 6 albums belong in any audiophile quality Rock and Pop music collection worthy of the name.

The best copies of Steely Dan’s brilliant effort from 1976 — so different from the album before, Katy Lied, as well as the album to follow, Aja — manage to combine richness and smoothness with transparency and clarity, a tough combination to find on The Royal Scam. (more…)

Creedence Clearwater Revival – Willy and the Poor Boys

More of the Music of Creedence Clearwater Revival

More Rock Classics

  • Both sides of this early pressing were giving us the big and bold sound we were looking for, earning stunning Nearly Triple Plus (A++ to A+++) grades – just shy of our Shootout Winner
  • 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 they should make your head ache
  • Features “Down On The Corner,” “Fortunate Son,” “Midnight Special,” and more, and we guarantee you’ve never heard them sound as good as they do on this vintage copy
  • 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…”
  • This is a Must Own album from 1969, one that deserves a place in any audiophile collection’s pop and rock section, especially for fans of roots rock

The Virtues of Shootouts

The story of our recent shootout is what real progress in audio is all about.

Many copies were gritty, some were congested in the louder sections, some never got big, some were thin and lacking the lovely analog richness of the best — we heard plenty of copies whose faults were obvious when played against two top sides such as these. The best copies no longer to seem to have the problems we used to hear all the time.

Of course the reason I hadn’t heard the congestion and grittiness in the recording is that two things changed. One, we found better copies of the record to play — probably, can’t say for sure, but let’s assume we did, and, Two, we’ve made lots of improvements to the stereo since the last time we did the shootout.

(more…)

801 – 801 Live

More of the Music of Brian Eno

  • 801 Live rocks as hard as ever on this original UK Island copy boasting outstanding Double Plus (A++) sound or BETTER from start to finish – exceptionally quiet vinyl too
  • We shot out a number of other imports and this one had the presence, bass, and dynamics that were missing from most of what we played, not to mention that live rock and roll energy that old records have and new records don’t
  • Recorded at Queen Elisabeth Hall in September 1976 – one of only three gigs the group (a side project of Roxy Music’s Phil Manzanera) did over a two-month period
  • 4 1/2 stars: “This album marks probably one of the last times that Eno rocked out in such an un-self-consciously fun fashion, but that’s not the only reason to buy it: 801 Live is a cohesive document of an unlikely crew who had fun and took chances. Listeners will never know what else they might have done if their schedules had been less crowded, but this album’s a good reminder.”
  • If you’re an Eno fan, or perhaps more a fan of mid-70s Art Rock, this title from 1976 is surely a Must Own.

801 Live has some of the biggest, boldest sound we have ever heard. It may not be seen as an audiophile album but it should be, if you have the system to play it. The sound is glorious — wall to wall, floor to ceiling, and as rich and dynamic as it gets.

It’s clearly a big speaker demo disc. Play this one as loud as you can. The louder you play it, the better it sounds.

It’s also transparent, with a large, deep soundfield that really allows you to hear into the music and the space of the venue in which it was recorded.

The real kicker is the amount of energy and musical drive that these two sides have going for them.

This is what the master tape is really capable of — mind bogglingly good sound.

Top of the List

801 Live ranks near the top of the list of my All Time Favorite Albums — a desert island disc if ever there was one.

I stumbled across it decades ago and have loved it ever since. (It started when a college buddy played me the wildly original “Tomorrow Never Knows” from the album and asked me to name the tune. Eno’s take is so different from The Beatles version that I confess it took me an embarrassingly long while to catch on.)

(more…)

The Rolling Stones – Exile On Main Street

More Rolling Stones

Reviews and Commentaries for Exile on Main Street

  • With roughly Nearly Triple Plus (A++ to A+++) sound on all FOUR sides, this copy is close to the BEST we have ever heard, right up there with our Shootout Winner – remarkably quiet vinyl too
  • This is Exile raw and real the way it should be – with full-bodied, immediate vocals and plenty of hard-rockin’ energy
  • The better copies are also much less gritty and hard, but manage to keep the raw, grungy, heavily tube-compressed sound the Stones and their exceptionally talented engineer, Glyn Johns, were going for
  • 5 stars: “Few other albums, let alone double albums, have been so rich and masterful as Exile on Main St., and it stands not only as one of the Stones’ best records, but sets a remarkably high standard for all of hard rock.”
  • If you’re a Classic Rock fan, this Must Own from 1972 surely belongs in your collection.
  • Exile on Main Street is a founding member of our prestigious none rocks harder club.
  • The sound may be too grungy for some, making Exile fairly difficult to reproduce, but the best sounding pressings — played at good, loud levels on big dynamic speakers, in a large, heavily-treated room — are a blast.

The harder you work to get distortion out of your system and room, the more enjoyable you will find this album, which is exactly the reason you want to do all that work in the first place — in order to get the most out of difficult-to-reproduce albums like Exile.

All four sides here have the kind of bass, energy, and presence that is essential for this music to rock the way it wants to. A copy like this conveys the emotional power of The Stones’ performances in a way that most pressings simply fail to do.

This shootout is always a struggle, an uphill battle all the way. You’d have to find, clean and play a ton of copies to come up with four sides that can do this music justice. We’re sure that Stones fans and Hot Stamper die-hards are going to be very pleased with this copy.

This vintage Artisan mastered pressing (the only ones that have any hope of sounding good) has the kind of Tubey Magical Midrange that modern records can barely 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. (more…)

Toto – Self-Titled

More Toto

Reviews and Commentaries for the Music of Toto

  • Outstanding sound for the band’s debut LP, with both sides earning Double Plus (A++) grades
  • Toto’s albums have the kind of analog sound we love here at Better Records – they’re rich, huge and present, with tons of Tubey Magic and wall to wall spaciousness
  • Lukather’s overdriven guitar adds so much power to the music – the perfect combo of grungy guitars and rock star vocals makes “Hold the Line” a staple of rock radio to this day
  • 4 stars: “Toto’s rock-studio chops allowed them to play any current pop style at the drop of a hi-hat: one minute prog rock, the next hard rock, the next funky R&B. Singles like ‘I’ll Supply the Love’ made the charts, and ‘Hold the Line’ hit the Top Ten.”

This is analog, make no mistake about it. Those smooth sweet vocals, open top and rich full bottom are a dead giveaway that you are playing a record and not a CD. (I understand the CD for this title is awful; bright, thin and downright painful. This is the problem with the CD: if they do a bad job making it, and you no longer own a turntable, what are your options? Squat, pretty much.)

Pop production techniques were very advanced by 1978, providing plenty of natural sounding roomy reverb around the vocals and guitars. Lukather’s overdriven, distorted guitar has near-perfect tonality; it adds so much power to the music.

Just like the Hot Stampers for Aqualung, when the guitar sounds this good, it really makes you sit up and take notice of the guy’s playing. When the sound works the music works, our definition of a Hot Stamper in seven words or less.

Turn up the volume? You better believe it!

(more…)

Elvis Costello / My Aim Is True

More Elvis Costello

Letters and Commentaries for My Aim Is True

  • This vintage pressing of Costello’s debut LP boasts two superb Double Plus (A++) sides
  • Exceptionally quiet vinyl – I don’t recall ever listing a quieter one
  • The sound is lively, punchy, and powerful – with all due respect, it should murder whatever copies you may have
  • A massive step up sonically from most domestic pressings, early or otherwise, and guaranteed to handily beat the imports as well
  • 5 stars: “A phenomenal debut, capturing a songwriter and musician whose words were as rich and clever as his music.”
  • Our favorite “unprocessed-sounding” rock recording – with virtually none of the euphonic glossy artificiality you might hear on many of the rock 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, or should I say the garage, because that’s what these guys are trying to sound like, a garage band

Yes, it’s lively and has that driving punk rock bass, but what sets this copy apart from the average pressing is the top end — it’s extended, silky and correct. As a consequence, the vocals end up being much more present and natural, with almost none of the grit and spit common to most of the copies anyone is ever likely to come across.

That said, we want our rock records to rock. Here are some others you might want to read about:

(more…)

Free / Fire and Water

More British Blues Rock

  • Fire and Water is finally back on the site after a four year hiatus, here with hard rockin’ Shootout Winning Triple Plus (A+++) sound on both sides of this wonderful copy of the band’s third release
  • Yes, it takes us about four years to find a copy that sounds this good and plays this quietly – if you want to find your own Hot Stamper pressing, we wish you the best of luck
  • The recording sounds more alive than 99 out of 100 rock records we’ve played, and we’ve played the best sounding rock records ever made
  • Present, spacious and lively, with a solid bottom end – this is the lean and mean sound you want from Free
  • Top 100 and 4 1/2 stars: “From Paul Kossoff’s exquisite and tasteful guitar work, to Paul Rodgers’ soulful vocals, this was a group that was easily worthy of the mantle worn by Cream, Blind Faith, or Derek & the Dominos.”
  • This is our pick for Free’s best sounding album. Roughly 150 other listings for the best recording by an artist or group can be found here on the blog.

To find a copy that plays this quietly and sounds this good is no mean feat, but here one is.

This is one of our favorite recordings and a member of our Top 100, but it only works when you get the right pressing. This one has the big, spacious soundstage and punchy bottom end to bring this album to life.

This is the sound of a real rock ‘n’ roll band — no gimmicks, no tricks — just guitar, bass, drums, and vocals. This album has stunning live-in-the-studio rock sound that must be heard to be believed.

It’s got exactly what you want from this brand of straight-ahead rock and roll: presence in the vocals; solid, note-like bass; big punchy drums, and the kind of live-in-the-studio energetic, clean and clear sound that Free practically invented. (AC/DC is another band with that kind of live studio sound. With big speakers and the power to drive them you are there.)

Side one leads off with “Fire and Water,” and boy does it ever sound good. This track will show you exactly what we mean by live in the studio sound. You can just tell they are all playing this one live; it’s so relaxed and natural and real sounding.

One thing that really took us by surprise on the first track is how big and fat the toms are on the better copies and how thin and small they are on the average copy. Play a few copies for yourself and just listen for the size and power of the toms. Most copies will leave you wanting more.

If you’re a fan of big drums and jump out of the speakers sound, this is the album for you.

(more…)

AC/DC – For Those About To Rock

More AC/DC

Reviews and Commentaries for the Music of AC/DC

  • Both sides of this copy were giving us the big and bold sound we were looking for, earning stunning Nearly Triple Plus (A++ to A+++) grades, just shy of our Shootout Winner – exceptionally quiet vinyl too
  • Once again the phenomenally talented Robert Ludwig gets the rock and roll power from the tape onto the vinyl like no one else can
  • For Those About To Rock has wall to wall sound and in-the-room presence like you will not believe
  • This link will take you to the Hot Stamper pressings of our currently available hardest rockin’ albums
  • Here are the titles that have earned a place on our none rocks harder list
  • “AC/DC are the real thing, perhaps the purest major practitioners of hot and snotty rock since Led Zeppelin lumbered off the boards. Other groups, from Van Halen to REO Speedwagon, may base their music on similar elements, but they inevitably emerge from the studio sounding cleaned up and rather too eager for AOR airplay. AC/DC, from the start, have always left the rough edges in. The rough edges are the point, much as they were part of the point of, say, Little Richard in the Fifties or the Rolling Stones in the mid-Sixties.” – Rolling Stone

From the moment the title track began, we knew we were in for a real treat. The transparency and clarity are shocking — we heard texture on the guitars and room around the drums that simply weren’t to be found elsewhere, plus tons of echo and ambience. The vocals are amazing — they’re breathy and full-bodied with loads of texture.

The bottom end is right on the money — big, beefy, and rock-solid.

You probably never thought you’d ever use an AC/DC LP as a demo disc, but this copy will have you reconsidering that notion — it’s alive with rock and roll power chords like nothing you have ever heard.

(more…)

Respighi / Pines of Rome – Our Favorite for Performance and Sound

More Music Conducted by Fritz Reiner

  • This Shaded Dog pressing of Reiners’s excellent 1960 recording had the glorious Living Stereo sound we were looking for
  • It’s also fairly quiet at Mint Minus Minus, a grade that even our most well-cared-for vintage classical titles have trouble playing at
  • There were only three performances with audiophile quality sound in our shootout, and the Shaded Dog pressings not only had the best performances, but the sound that the team of Mohr/Layton managed to achieve was second to none
  • In other words, Harry was right to put this on his TAS Super Disc list – it really is a super disc
  • If you know anything about these works, you know that have tons of top and bottom end, and it is the rare pressing that can capture both
  • The texture and harmonic overtones of the Living Stereo strings are near perfection – as we listened we became completely immersed in the music on the record, transfixed by the remarkable virtuosity Reiner and the CSO brought to these difficult and demanding works so many years ago
  • There are roughly 150 orchestral recordings that we think offer the discriminating audiophile the best combination of superior performances with top quality sound. This record has moer than earned a place on that list.

This shootout has been at least five years in the making, and the case could be made that something like fifteen is closer to the truth. Around 2016 we surveyed the recordings of the work we had on hand — close to a dozen different performances, I think — and found them all wanting, save three: this one (which is still on the TAS list), a Reader’s Digest pressing with Kempe (our second favorite), and a London with Kertesz.

If a particular performance had any distortion or limitation problems in the higher frequencies, it was quickly rejected out of hand. Same with low end whomp and weight. On these works both are crucial.

No other pieces of music of which we are aware have so much going on up high and down low. This narrowed the field of potential Hot Stampers considerably. Great performances by top conductors could not get over these hurdles — high and low — time and time again.

For these reasons, it took us years to find the right recordings. We knew the Reiner would be hard to beat, but we kept trying record after record hoping that we could find one to wrest the crown away from what is widely considered the greatest recording of the works ever made.

We never did find something better. Our best Shaded Dog ended up winning the shootout. The best RCA pressings were doing everything right. There was plenty of top end, with virtually no harmonic distortion, and when I say plenty, I mean the right amount. Not many engineers managed to get all the highs correctly onto the tape, but Lewis Layton nailed it — in 1960!

So many recordings had screechy strings and horns. When the music would get loud — and both the Pines and the Fountains get very loud indeed, assuming the recording will let it — the sound would become unbearably harsh and unpleasant. This is the opposite of what should happen, and it was obvious that those recordings would not make it past the first round.

All three of the finalists could claim enthusiastic performances with powerful energy and top quality orchestral playing. Still, with the best copies going head to head with each other, Reiner had more of all the qualities we were looking for.

How did the famous 1S/1S pressing fare? No idea. I haven’t seen one in twenty years. It may be better than the White Hot copy we are offering here. I certainly would not make the mistake of saying what it sounds like without having played it. If someone has one and wants to send it to me to audition, I would love to give it a spin.

Some recordings we played lacked transparency, as well as the relaxed sense of involvement that eases one’s ability to be tricked into thinking “you (really) are there.”

The famous 1977 Maazel recording for Decca, which was on the TAS List for a long time, suffered from a bad case of multi-miking and the transparency issue mentioned above. What do you expect from 1977?

This is, of course, the knock on the Modern Heavy Vinyl Pressing — where is the transparency? The space? The three-dimensional depth? If your stereo can reproduce these qualities — a big if, since even as recently as twenty years ago mine could not — you should have given up on these opaque and airless frauds years ago.

(more…)