Demo Discs for Bass

The Doors’ Strange Days – A True Demo Disc


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  • A stunning Demo Disc quality early pressing of one of the most difficult-to-find records in the world of Classic ’60s Rock
  • You get two incredible sides each rating a Triple Plus (A+++) or very close to it
  • The sound is HUGE, full-bodied and lively throughout – check out that killer bottom end and the amazing transparency
  • Amazing sound for so many classics: When The Music’s Over, Moonlight Drive, Love Me Two Times and more
  • Nearly impossible to find copies that play anywhere near this quietly, let alone ones that sound like this!

See all of our Doors albums in stock

PHENOMENAL sound for the Doors sophomore classic. You won’t believe how good this copy is — incredibly rich and full yet still clean, clear and dynamic with a big bottom end, driving rock and roll energy and huge amounts of space. Thanks Bruce Botnick, you are da man!

Honestly, we must return or reject 80% of the copies that come through the door, which should go a long way towards explaining why they hit the site with such irregularity. We know what the best stampers are and have for quite a while. What we have a devil of a time doing is finding anyone selling the album who knows how to grade it properly, especially when it comes to the kind of groove damage that’s common to records played on turntables that lack anti-skate adjustment. What good is a record with distortion on vocal peaks, not to mention inner grooves that are borderline unlistenable? (more…)

Herb Alpert – Whipped Cream & Other Delights

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  • Two excellent sounding early stereo sides, each rating Double Plus (A++) or better
  • Tubey Magical, big-bottomed, punchy, spacious sound – what we’ve come to expect from Larry Levine’s engineering
  • An excellent recording with a studio crew full of pros – this is a dynamite combo on a strong copy like this!
  • Alpert’s most famous album, 5 stars on Allmusic: “Three Grammy Awards alone for the update of the Bobby Scott and Ric Marlow-penned theme “A Taste of Honey.”

We finally pulled together enough clean copies of this classic album with which to do a serious shootout. We soon found out that the better pressings can give you the kind of Tubey Magical, big-bottomed, punchy, spacious sound that we’ve come to expect from Larry Levine’s engineering for A&M. If you have any Hot Stamper pressings of Sergio Mendes & Brasil ’66’s albums then you know exactly the kind of sound we’re talking about. (more…)

Amazing Demo Discs for Bass – Peter Cetera and Chicago

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First in a series of Demo Discs for Bass.

Talk about beefy bass; this album is the poster boy for rock solid bottom end. When you have a copy of Chicago’s first album with a hot side three you have a Bass Demo Disc LP that’s going to rock your world, not to mention the foundation of your house. (How they managed to get the bass so right and screw up so many other things I will never know.)

Not many musicians qualify to be placed on the list of Most Underrated, but if there were any justice in this world Peter Cetera’s name would be found right up at the top. Meaning that he can’t even get credit for being the most underrated!  (more…)

Elvis Costello Arrayed His Armed Forces and Produced His Single Best Sounding Album

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We consider Armed Forces to be one of the best sounding rock records ever made, and a copy like this White Hot Shootout Winner is proof enough to back up our claim. The best copies are extremely transparent and silky sounding, but with unbelievably punchy, rock-solid bass and drums.

The sound of the rhythm section ranks with the best we’ve ever heard. Beyond that, the musical chops of this band at this time rank with the best in the history of rock. Steve, Bruce and Pete rarely get the credit they deserve for being one of the tightest, liveliest backing bands ever to walk into a studio or on to a stage.

The song Oliver’s Army on the first side is a perfect example of what we’re talking about. Rock music doesn’t get much livelier than that. Skip on down to Green Shirt for another track that’s as punchy as they come.

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Led Zeppelin – Presence – Our White Hot Shootout Winner for 2018

 


Our White Hot Shootout Winner for 2018


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  • A stunning sounding copy with a Triple Plus (A+++) side one and a Double Plus (A++) side two; you’ll hear massive amounts of Zeppelin Rock and Roll energy on this copy
  • This is all the power, dynamics, whomp, and presence (pun only slightly intended) you could hope for
  • Featuring a stripped down, harder rock sound, Presence really benefits from the killer bottom end found on this pressing
  • “Presence has more majestic epics than its predecessor, opening with the surging, ten-minute Achilles Last Stand and closing with the meandering, nearly ten-minute Tea for One.”

See all of our Led Zeppelin albums in stock

We just finished a massive shootout for this album and were reminded just how hard this album rocks. Achilles Last Stand, For Your Life and Nobody’s Fault But Mine are all KILLER on a Hot Stamper pressing like this one. After cleaning and playing a pile of copies we are pleased to report that the best of them are full of The Real Zep Magic. The average LP may not be much of a thrill but our Hot Stampers sure are, with all the energy, dynamics, whomp, and presence (pun only slightly intended) you could hope for.

That is EXACTLY the kind of sound we love here at Better Records. (more…)

Buckingham Nicks and the British Rock Sound


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  • A wonderful sounding copy with two superb sides: Triple Plus (A+++) on the second and Double Plus (A++) on the first
  • The sound is excellent throughout – super rich and full-bodied yet still clean, clear and open with a massive bottom end
  • This is an album we almost never find and very rarely have on the site — don’t miss this one!
  • Features the early version of Crystal that they later brought with them to Fleetwood Mac

British Sound from Yanks

Those of you who read our commentary for Commoner’s Crown will recognize this bit, lifted practically whole from the listing. The British Sound? This record has it in spades: (more…)

Listening in Depth to Fleetwood Mac’s Self-Titled Album from 1975

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Listening in Depth

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Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your copy of the album.

So few copies we ran across in our shootout had that “jump out of the speakers” sound we knew was possible from our previous shootouts of the album. When finally one did, boy did it ever. What a knockout. Hot Stampers? The best copies are on fire!

If you have a big speaker system and have taken advantage of the audio revolutions we discuss throughout the site, this is the kind of record that shows just how much progress you’ve made.

When a record like this blows everything you’ve ever heard out of the water, you are definitely on the right track!

In-Depth Track Commentary

Side One

Monday Morning

This copy is so transparent that it revealed a quality of the recording that we were never aware of before. The songs that Lindsey sings, which tend to be the rockers, have a certain gritty quality to the vocals which is not on any of the other songs, those sung by Stevie Nicks or Christine McVie. It’s not a pressing problem. It HAS to be the way they wanted his vocals to sound. There’s a certain rawness and bite that he seems to be going for, so don’t expect the smoothness and sweetness of the other tracks when playing his.

Warm Ways

Folks, it doesn’t get any better than this. This song is PURE POP PERFECTION. This is our favorite test track for side one. Christine’s voice needs to be present and immediate, while at the same time completely free from grain or artificial EQ. On the best copies she is breathy and sweet. In case you haven’t noticed, these are not qualities you hear often in the songs Christine sings lead on. Most of her vocals are veiled and farther back in the mix. Stevie Nicks tends to get better sound for some reason, don’t ask me why. Just listen to the sound of the vocals on Landslide; McVie never gets that kind of presence and immediacy. (more…)

XTC – English Settlement – Our White Hot Shootout Winner


Our White Hot Shootout Winner for 2017

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  • Insanely good sound from start to finish, with all four sides rating a Triple Plus (A+++)
  • You won’t believe how good this record sounds – on a Big System this is a sonic tour de force, a MONSTER Demo Disc
  • This copy has huge amounts of open studio space and that Tubey Magical, rich, fat, dense British Rock Sound we love
  • Includes the hit Senses Working Overtime – “The textural sound of the album is quite remarkable” — Allmusic, 4 stars

See all of our XTC albums in stock

This is an AMAZINGLY well-recorded album, with huge amounts of open studio space and that Tubey Magical, rich, fat, dense British Rock Sound. That sound isn’t easy to reproduce, but this copy absolutely nails it. Nothing else in our shootout came close to it!

If you have big speakers and the room to play them, this is quite the sonic tour de force. Credit Hugh Padgham, producer and engineer, who’s worked with the likes of Peter Gabriel, Genesis, The Police, Yes and Emerson, Lake and Palmer. Those bands make the kind of music that make good use of Padgham trademark sound: wall-to-wall, deep, layered, smooth, rich and stuffed to the gills. XTC with Padgham’s help have here produced a real steamroller of an album in English Settlement.

The big hit on this album is one that most audiophiles will probably know: Senses Working Overtime. Even over the radio you can hear how dense the production is. Imagine what it sounds like on an original British pressing with Hot Stampers, played on a modern audiophile rig. Simply put, IT ROCKS. (more…)

Listening in Depth to Chicago Transit Authority

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Listening in Depth

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The average copy of this album is an unmitigated DISASTER. The smeary brass alone is enough to drive anyone from the room. To a list of its faults you can confidently add some or all of the following: 1) blobby, blurry, out of control bass; 2) opaque veiled mids; 3) rolled off highs, or no highs, whichever the case may be, common to virtually every pressing you find 4) plain old distortion; and, last but not least, 5) the kind of compressed, lifeless sound that manages to make this groundbreaking album boring — and that’s not easy to do.

The music ROCKS! It’s the crappy records Columbia pressed that suck.

360 or Red Label

In our most recent shootout we found that both can be good. We tended to prefer sides three and four on Red Labels in general — none of the 360s we played had the same kind of low end weight for I’m A Man.

In-Depth Track Commentary

Side One

Introduction
Does Anybody Really Know What Time It Is?

A tough one right off the bat. If you have an aggressive sounding copy you’ll know it pretty quick. Grit and grain in the vocal on this track will have you running for the nearest exit. Conversely, you still need presence without smear or the brass won’t have the bite of the real thing, and a Chicago album without good brass is pretty pointless.

They really put their best foot forward with this cut — a true sing-along anthem. (more…)

Advice on Elvis Costello’s Recordings

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All About Elvis

TRUST is my favorite Elvis Costello album,  although the first album is every bit as good.

I remember loving the sound of my old Brit copy from twenty years back, even to the point of agreeing with Michael Fremer when he put it on his top 40 rock album list. Now I know better: that most of them leave something to be desired, especially down below. Did I have good one? Does he? Who can say? Everything is different, and revisiting old sonic favorites can sometimes be a bit of a shock. (Of course this is especially true for all the old MOFIs I used to like. Now most of them make me gag.)

Elvis: Still The King

By the way, we played a domestic copy of this album, just for fun you might say, and sure enough, it was a real mess. Boosted highs, poor bass definition and copious amounts of grit and grain — ’70s Columbia at their best, what else is new? The first album and Spike are the only Elvis records I know of that sound good on domestic vinyl. Forget the rest. If you love Elvis Costello as much as we do around here, we suggest you do yourself a favor and trash your domestic LPs — you need a British copy to even get in the ballpark, and that’s far from a guarantee of good sound. Elvis is “Still the King,” but you would never know it without the right pressing.