Vocal LPs to Improve Your Playback

Dream With Dean, But Watch Out for Hard and Honky Vocals

Hot Stamper Pressings of Pop and Jazz Vocal Albums

Dream with Dean is great for finding any traces of “honk” in your midrange. Getting Deano’s baritone to sound tubey and rich, to get the sound that Bing Crosby could get just by opening his mouth, is not all that easy on some systems, mine included.

Correctly set VTA is critical in this regard, but pretty much everything must be working at its best for Dean to sound as intimate and natural as we know he can on the best pressings.

Balancing the lower mids with the upper mids is the goal, and it’s not as easy as it sounds. This album is great for testing, and guaranteed to bring practically any high-dollar system at a stereo showroom, a convention, or your very own home to its knees.

This is my favorite Dean Martin record of all time; just Dean and a jazz guitar quartet behind him (featuring Contemporary favorites Barney Kessel and Red Mitchell!) doing standards. On the best copies, the immediacy is absolutely mind-blowing. It’s a shame that there aren’t more Frank Sinatra records that sound like this.

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Testing For Sibilance on Heavenly

More Pop and Jazz Vocals

More Reviews and Commentaries for Male Vocal Albums

All copies have sibilance, some more than others. The best copies have the least amount and make the spit they do have much less gritty and objectionable.

We’ve known for decades how good a test sibilance is for tables, cartridges and arms. Sibilance is a bitch. The best pressings, with the most extension up top and the least amount of aggressive grit and grain mixed into the music, played using the highest quality, most carefully dialed-in front ends, will keep sibilance to an acceptable minimum.

VTA, tracking weight, azimuth and anti-skate adjustments are critical to reducing the amount and the quality of the spit in your records.

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Casino Royale Can Be Amazing on the Right Copy, If You’ve Got the System For It…

Hot Stamper Pressings of the Music of Burt Bacharach Available Now

This is a record that has its share of problems, but if you’ve got the system for it (huge, heavily tweaked, fast, free from obvious colorations and capable of tremendous resolution), the best pressings are sure to impress.

Having heard the best sounding pressings I now understand why this has been such a highly regarded long-term resident of the TAS Superdisc List. The best copies are SUPERDISCS… while the average copy of this album is anything but. Who could take such harsh, grainy, thin, veiled, compressed sound seriously? What was Harry Pearson smokin’?

I can honestly and truthfully say that until we discovered the Hot Stampers for this album, I never thought this record deserved the praise Harry heaped upon it. Now I do. I once was blind but now I see, or something like that.

And by the way, does his copy sound as good as this one? Let’s face it: the late Harry Pearson was simply not the kind of guy who would sit down with five or ten copies and shoot them out.

When you listen to the average pressing of Casino Royale, you get the feeling that you’re hearing a standard-issue, boxy, lightweight, blary ’60s soundtrack. Perhaps you hear some promise in the recording, but it’s a promise that’s unfulfilled by the record on your turntable. This copy will completely redefine what you know about the sound of this music.

The space is big and the sound relatively rich (although the sound does vary quite a bit from track to track). The vocals have notably less hardness than most and the orchestra is not as brash as it can be on so many of the copies we audition. Huge amounts of Tubey Magic as well, which is key to the best sounding copies, and critical to The Look of Love.

The sound needs weight, warmth and tubes or you might as well be playing a CD.

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Resolution and Warmth Are Key to the Best Pressings of Stardust

Hot Stamper Pressings of the Music of Willie Nelson Available Now

This copy is hi-res without sacrificing the analog warmth that makes the recording exceptional, especially for one from 1978.

Georgia On My Mind is a DEMO QUALITY track on this album. You aren’t going to believe all the ambience. The top end is gorgeous — sweet, delicate, and silky with loads of extension. The sound is extremely hi-res without sacrificing any of the warmth that makes this music so special.

Just listen to the rimshots and the bell in Georgia On My Mind — we guarantee you have NEVER heard those instruments sound so present, clear, and immediate. 

Willie’s voice is natural and tonally correct, with all the breathy texture you could ever hope to hear. The acoustic guitars and Booker T.’s organ are perfection.

Awareness

Many copies of this album suffer from an phony hi-fi-ish quality (which is probably the reason why Stardust made the TAS List in the first place). You’ve got to play a big stack of copies to come up with a pressing that offers this kind of relaxed, natural sound. That’s our job here at Better Records — playing bad records so you don’t have to.

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You Know What’s Shocking About This Dionne Warwick Record?

Another Record We’ve Discovered with (Potentially) Excellent Sound…

and One We Will Probably Never Do Again

Some records are just too consistently noisy to offer to our audiophile customers no matter how good they sound.

We have a section for records that tend to be noisy, and it can be found here.

What’s shocking about a record like this is the fact that the instruments you hear behind and to the side of Dionne Warwick are REAL instruments, and for the most part they are not really being processed much, they are simply being recorded. How many times do you hear a pop album with sound like that? Rarely in our case, and we play them by the hundreds.

Just played a Linda Ronstadt album that she did with Nelson Riddle — you know the one —  and I can tell you one thing, the sound of that album and this one are on opposite sides of the recording spectrum in terms of naturalness. On a scale of one to a hundred, Linda scores about a two, and Dionne scores 90, maybe more. It’s a JOY to hear a record with this kind of sound.

Play this one for your audiophile friends who own and respect the recordings of Dianna Krall, Patricia Barber and the like. Be sure to squeeze in the phrase “Boy, they don’t make ’em like they used to…” whenever there is a pause in the music or conversation.

You might also want to ask them if they think the invention of digital reverb was such a good idea after all.

If they’re good analog buddies, ones that you want to keep being your buddies, you might not want to say anything at all. Just keep quiet and let their own ears shame them. This is the kind of record that can do it. (more…)

We Found the Missing Bass Player on Clap Hands Here Comes Charlie in 2009

Hot Stamper Pressings of Ella Fitzgerald’s Albums Available Now

This commentary is fairly old and some of it is a bit out of date. Check our newest listings for our current understanding of the album. We still love the mono but we prefer the stereo pressings now.

Folks, this record came as a SHOCK — the first and ONLY mono pressing we have ever played that not only was competitive with the best stereo copies, but actually bettered them in some ways. Some IMPORTANT ways I might add. We’ve only played a handful of mono pressings of Clap Hands over the years, and for good reason — they’re exceedingly mediocre. On almost every one Ella was distant, dull and lifeless. Feh! Who wants to play a record the sounds like that?

(Side two is pretty much what you would expect from a good mono, A to A+, better than average but hardly competitive with the best, or with this side one for that matter.)

What’s So Special About This Mono Side One Anyway?

Well I’m more than happy to tell you. It’s simply this: the mono lets you know that there was a bass player at the session in a way that the stereo copies — none of them — do not. The bass player is front and center (in mono where else would he be?) in the mix and he DRIVES the rhythmic elements of the songs so strongly that the songs actually seem to pick up pace compared to the way they sound on the stereo LPs. For the first time you really get the feeling that this is a tightly-knit, swinging jazz combo that Ella is fronting. Everybody is playing together, right there in the center, with the drums and the bass as a unit laying down a super-solid rhythm line behind Ella.

What was surprising, even shocking in a way, was how much better Ella got as a singer. She swings more. She’s more energetic. She’s picked up the tempo, how I don’t know, but that’s the feeling you get when you hear her in mono on this copy.

And every bit as surprising was the fact that the slow songs got better too! Round Midnight and Signing Off aren’t faster, but she seems to somehow be feeling the lyric more, finding more emotion in it. Again, I have no idea how. I just know I heard it and felt it. It’s real.

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