- With Shootout Winning Triple Plus (A+++) sound or close to it on both sides, this very specific UK pressing is STUNNING from start to finish
- Bigger, more dynamic, more lively, more present and just plain more EXCITING than anything we heard – that’s why it won our shootout
- Hard to believe, but it’s true: there is only one stamper that consistently wins shootouts, and the unfortunate fact of the matter is that it took us twenty years to discover it, ouch
- This British pressing with the right stamper – can show you the sweeter, tubier Midrange Magic that we is the hallmark of all the best Cat Stevens’ recordings
- “Though some of the lyrics retain Cat’s fanciful imagery… he shows a new emotional directness, especially on side two, the albums “down” side. This is reflected in Cat’s singing, which becomes more assured and more emotive with each album.”
One of our good customers had this to say about some Hot Stampers he purchased recently:
I want to thank you so much for the Diamond Dogs I received from you. It is in a whole different league to the best I have ever managed to find and it is so satisfying to hear something how I always thought it should sound and at a very reasonable price. This is my favourite Bowie album.
Interestingly I bought a Hunky Dory recently that is out of this world. I know one is not supposed to give away stamper numbers and such (blame my compulsive honesty on my Aspergers!) and you probably know this already but the pressing is German RCA International with E 0014A -2 II and E 0014 B 1 II. It is seriously one of the best records I have and by far the best Bowie.
Thanks again Tom and everyone at Better records!
Peter, glad to hear you liked our Diamond Dogs! Those are indeed very special pressings.
[We happen to know the German pressing he references above. It can be good but not great. They are not competitive with the copies we sell.] (more…)
Before we go any further, I have a question: Why are we guessing?
I received an email recently from a customer who had gone to great pains to do his own shootout for a record; in the end he came up short, with not a lot to show for his time and effort. It had this bit tucked in toward the end:
Some of [Better Records’] Hot Stampers are very dear in price and most often due to the fact that there are so few copies in near mint condition. I hate to think of all the great Hot Stampers that have ended up in piles on the floor night after night with beer, Coke, and seeds being ground into them.
Can you imagine all the 1A 1B or even 2A 2B masters that ended up this way or were just played to death with a stylus that would be better used as a nail than to play a record!
As it so happens, shortly thereafter I found myself on Michael Fremer’s old website of all places, where I saw something eerily similar in his review for the (no doubt awful) Sundazed vinyl. I quote below the relevant paragraphs.
So how does this Sundazed reissue hold up next to an original 1A Columbia pressing that I bought new when it originally was released (it still has the Sam Goody “C” Valley Stream sticker on it, with the $2.49 markdown written in pen)? Well, for one thing, when people say records wear out, I don’t know what they are talking about! Since it was first released more than forty years ago, I’ve played this record a hundred times at least, in Ithaca in my fraternity house, in Boston, in Los Angeles, in Hackensack and now and it still sounds fantastic. It’s quiet, it’s detailed, it’s three-dimensional and it still has extended, clean high frequencies.
No reissue could possibly touch an original 1A pressing of just about any Columbia title and that goes for this reissue, which is very good, but not as open, spacious, wideband, transparent and “tubey” as the original.
He later goes on to give this piece of advice:
If you can find a clean, reasonably priced used original 1A pressing, it’s definitely going to sound better, but if you can’t, this reissue sounds very good and you’ll not know what you’re missing.
The entire review can be found on his site for those who care to read it. If, as MF seems to believe, you won’t know what you’re missing on the Sundazed LP, you need to find yourself another hobby. If it’s anything like most of their cardboardy crap, it’s missing more than it’s finding. (more…)
The Rhino pressing we auditioned from the Doors Box Set was surprisingly good. It’s rich and smooth with an extended top end — tonally correct in other words — and there’s lots of bass. This is all to the good. For the thirty bucks you might pay for it you’re getting a very good record, assuming yours sounds like ours, something we should really not be assuming, but we do it anyway as there is no other way to write about records other than to describe the sound of the ones we actually have on hand to play.
What it clearly lacks compared to the best originals is, first and foremost, vocal immediacy. There’s a veil that Jim Morrison is singing through, an effect which becomes more bothersome with time, as these sorts of frustrating shortcomings have a habit of doing.
A bit blurry, a bit smeary, somewhat lacking in air and space, on the plus side it has good energy and better bass than most of the copies we played. All in all we would probably give it a “B.” You could do a helluva lot worse.
Record Collecting Advice
All the ’70s and ’80s reissues of this album we’ve ever played were just awful, especially those with the date inscribed in the dead wax.
Remastering Out Too Much of the Good Stuff
What is lost in the newly remastered recordings so popular with the record collecting public these days ? Lots of things, but the most obvious and irritating is the loss of transparency.
Modern records tend to be small, veiled and recessed, and they rarely image well. But the most important quality they lack is transparency. Almost without exception they are opaque. They resist our efforts to hear into the music.
We don’t like that sound, and like it less with each passing day, although we certainly used to put up with it back when we were selling what we considered to be the better Heavy Vinyl pressings from the likes of DCC, Speakers Corner, Cisco and even Classic Records.
Now when we play those records they either bore us to tears or frustrate us with their veiled, vague, lifeless, ambience-challenged presentation.
We stopped selling those third-rate remasters and dedicated ourselves to finding, cleaning, playing and critically evaluating vintage pressings, regardless of era or genre of music.
The result is a website full of great sounding records that should find special appeal with audiophiles who set high standards, who own good equipment and who have well-developed critical listening skills.
One of our good customers had this to say about some Hot Stampers he purchased recently:
I am an avid vinyl cat and have been all of my life. I am super curious about your vinyl. I have a pretty good ear myself for top-shelf LP’s but I am just curious as to why you never point out a Bob Ludwig “RL” pressing? Or maybe you have and I just have not noticed?
Thanks so much for a response and much respect for what you are doing and selling…
Dana, we explained it here, in a little commentary we like to call The Book of Hot Stampers.
We give out no stamper numbers, no information about cutting engineers as a rule, although we do break that rule from time to time. Here is an excerpt of a listing for Rock of Ages from way back when:
What We Thought We Knew
In 2006 we put up a copy with with what we implied were Hot Stampers (before we were using the term regularly) on at least one side:
Side One sounds tonally right on the money! This is as good as it gets… Robert Ludwig mastered all of the originals of these albums, but some of them have bad vinyl and don’t sound correct.
I only played side one of the album, so I can’t speak for the other sides, but what I heard was sound about as good as I think this album can have.
There are some truths along with some half-truths in the above comments, and let’s just say we would be quite a bit more careful in our language were we writing about that copy today.
One side is no indication whatsoever as to the quality of the other three, and without the kind of cleaning technologies we have available to us today, I wouldn’t want to make a “definitive” sonic assessment for any of them.
When you play uncleaned or poorly cleaned records you’re hearing a lot of garbage that has nothing to do with the sound of the actual vinyl. (Note that we are joking above: there is no such thing as a definitive sonic assessment of a record, from us or anybody else.)
Ludwig cut many bad sounding records. Roxy Music Avalon original domestic pressings are RL and are made from dubs — and sound like it. Same with Dire Straits’ Alchemy. Some RL Houses of the Holy sound amazing and some only decent. It’s the nature of the beast. (more…)
There’s a unique story behind this title, which goes something like this. I recount it because it’s a classic and hopefully instructive case of Live and Learn.
In 2005 we acquired more than a dozen sealed copies. Knowing that no two of them would sound the same we decided to crack them open, clean them up and play them.
All three of the major stamper prefixes for Warners were represented in the various matrix numbers: WW, JW and LW. As we started to play them it quickly became clear that most copies of this record just do not sound good. The typical copy is hard, midrangy, opaque, dull and sour.
Only one of those prefixes — WW, JW, LW — actually has any hope of sounding good, and surprisingly it’s not the one I would normally expect it to be. Live and learn.
Live and learn indeed. This time those stampers did not sound nearly as good as others, another good reason why there will never be a Book of Hot Stampers, not one written by us anyway.
Like we’ve said in the past, if you think the world is in need of such a book, please do us all a favor and write one. We’ll sit back and take potshots at it. There is no chance in the world it won’t be full of misinformation. Hell, if we wrote it would be full of mistakes too, and we think we know as much about stampers as anybody in the world, and probably more. I ask you, under what circumstances would anyone be in a position to know more than we do? (more…)
As is sometimes the case, there is one and only one set of stamper numbers that consistently wins our Catch Bull At Four shootouts. We stumbled upon an out-of-this-world copy of the right pressing about two years ago, a copy took the recording to a level we had no idea could even be possible. (We were going to give it Four Pluses, and probably should have, but cooler heads prevailed.)
Since then we have had many copies come in, but none that could compete with the Magic Stamper pressings. And the best part of this story is that, no, the best stampers are not 1U, or 2U, or even 3U. In other words they are far from the stampers found on the earliest pressings. That’s one reason it took us so long to discover them, because they are much less commonly found than pressings with the earlier stampers. By the time these later pressings were mastered, pressed and released, the album’s biggest selling days were over. For all we know this cutting may have been done just to keep the record in print, possibly undertaken many years after its initial release.
Who knows? Who cares? What difference does it make?
Well, it does serve to make a point near and dear to our hearts: that the idea (and operational premise of most record collectors) that the Original Is Always Better is just a load of bunk. It might be and it might not be. If you want better sounding records you had better open your mind to the idea that some reissues have the potential to sound better than even the best original pressing of the album.
Of course this is nothing but bad news for the average audiophile collector, who simply does not have the time or money to go through the hassle of buying, cleaning and playing every damn pressing he can get his hands on.
But good news for us, because we do. (more…)
If you have a system with the speed, power and size to play this record properly (yes, you will need all three and a whole lot more), it’s hard to imagine it would not qualify as the best sounding classical recording you’ve ever heard. Demo Disc barely begins to do it justice. What sound. What music. What a record! Side two is where the real action is on this album, and it is presented here with SPECTACULAR AUDIO FIDELITY the likes of which you may have never experienced.
Hot Stampers Revealed
Looking to pick up a Hot Stamper locally on your own? Easy — all the best Decca and London copies (British only of course) are 1L on both sides. I suppose it’s only fair to point out that all the worst copies have 1L on both sides, the reason being that all the copies are 1L on both sides, regardless of how they sound.
And here you thought I was actually being helpful. But we are being helpful. We’re telling you the truth. Stamper numbers only tell a part of the story, and they can be very misleading, in the sense that a little knowledge can be a dangerous thing. This is of course a subject near and dear to our hearts, and we discuss it at length in the commentary we call The Book of Hot Stampers. (more…)
You would have to go through at least a dozen or more copies of Rumours to even hope to find one in a league with our best pressings. That’s a lot of record hunting, record cleaning and record playing!
If you know anything about this record, you know that the average domestic pressing of this album is quite average sounding; the good ones are few and far between.
And the stampers, as we’ve come to learn, aren’t the whole story. For one thing, there are at least 75 different side ones and 75 different side twos, all cut by Ken Perry at Capitol on the same three cutters from — we’re assuming, we weren’t there — the same tapes.
But of course they all sound different. Ken also cut the original English and Japanese pressings; his KP is in the dead wax for all to see. The two import KP copies that I heard were quite good, by the way. Not the best, but very good. He only cut the originals though, so practically every import copy you can find will be a reissue made from a dub, ugh.
A Ten to Twenty Dollar Used Record? Yeah, We Know Already
So if you’re the kind of person who likes to complain about us charging hundreds of dollars for a record that can be found in every used bin in town for under twenty, save yourself some typing: that’s the price we pay too.
And if the copy you paid fifteen bucks for sounds good enough, more power to you. Go with god as they say.
But if your copy doesn’t thrill you — and it’s unlikely that it does — then you have a lot of work ahead of you if you expect to find one that sounds like ours. We wish you well. We wish everybody who likes to do his own shootouts well.
We know the kind of time and energy it takes to find great records, probably better than anyone on the planet. If you have that kind of time and energy available to you, go for it. It takes us a staff of six and access to all the records in the record capitol of the world to pull it off, with thirty years experience doing it no less.
But it can be done, and you can do it. You just have to be willing to put in the time and effort. The records are cheap, right? Fifiteen bucks each, we know already. Thanks in advance for your letter.
An amazing discovery from Better Records. Many copies of this album are REVERSED POLARITY on side two (the side with Buck Dance, one of the better tracks on that side and great for testing). Yes, once again you heard it here first, folks. We had two 4S copies of the album and both of them had side two out of polarity.
NEWSFLASH: 7s on side two is out of polarity too. Just played one today. There’s practically no real top end extension until you reverse the polarity.
Reversing the absolute phase on this record today was a REVELATION. There before me was all the ambience, openness, sweetness, silkiness and warmth I had come to expect from the best pressings of this longtime member of HP’s TAS List of Super Discs, a record that really is a Super Disc when you hear a good one, and this is a very very good one indeed, on side two anyway. (more…)