- 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.”
- Simply phenomenal amounts of Tubey Magic can be heard on every strum of the guitars, along with the kind of richness, body and harmonic coherency that have all but disappeared from modern remasterings.
- Becker and Fagen spared no effort in the recording of this album – the mix is PERFECTION
- A Top 100 Album and our pick for The Best Sounding Steely Dan Recording of Them All
- 5 stars: “Steely Dan made more accomplished albums than Pretzel Logic, but they never made a better one.”
[This commentary was written in 2008.]
Intensity is right — this is some SERIOUSLY GOOD SOUNDING alto saxophone led quartet jazz. AMG was right to give this one 4 1/2 stars — the musicianship is top notch and Pepper’s playing is INSPIRED throughout.
The real surprise was how well recorded this album from 1963 is. I can’t recall a more DYNAMIC Contemporary. Pepper’s sax gets seriously LOUD in some passages. This is very much a good thing. Not only is he totally committed to the music, but the engineers are getting that energy onto the record so that we at home can feel the moment to moment raw power of his playing.
(Pepper was famous for saying that his playing is best when he just plays whatever he feels in the moment, and this record is the best kind of evidence for the truth of that claim.)
Of course, since this is a Roy Dunann recording, all the tubey magical richness and sweetness are here as well, but what is surprising is how transparent, spacious and clear the sound is. Some of Roy’s recordings can sound a bit dead (recording in your stockroom is not always the best for spaciousness) and sometimes are a bit thick as well. Not so here. But it should be pointed out that we liked what we heard from a previous shootout too.
Last time around we wrote:
This record has superb sound: you can actually hear the keys clacking on the man’s alto. And that sort of detail does not come at the expense of phony brightness as it would with your typical audiophile recording. The tonality of the sax, drums, and bass are right on the money, exactly the way we expect Roy DuNann’s recording to be.
This time around we got more extension out of the cymbals. Either these copies are better, were cleaned better, or were helped quite a bit by our new Townshend SuperTweeters. (Probably the last two more than the first one.) (more…)
WHITE HOT stampers on side one of this CRAZY FUN 20th Century Percussion Music album, featuring classical works which rely almost exclusively on percussion (piano and voice also make appearances). My favorite piece here may be Ionisation, which uses real sirens (the Old School ones cranked by hand) as part of Varese’s uniquely specialized instrumental array.
But the main reason audiophiles will love this album is not the music, but the SOUND. Ionisation has amazing depth, soundstaging, dynamics, three-dimensionality and absolutely dead-on tonality — it’s hard to imagine a recording that allows your speakers to disappear more completely than this one. And the bottom end is BIG and powerful, probably the main reason the album has been on the TAS Super Disc for decades. If you’ve got full range speakers with big woofers and like to play your music loud, this record will give your system quite a workout.
With the invention of new instruments and increased cross-cultural exchange in the 20th century, composers’ interest in writing for percussion exploded, creating a uniquely modern genre that embraced both the future and the ancient past. The New Jersey Percussion Ensemble was founded in 1968 to perform this new literature, here performing works by Varèse, Cowell, and others.
It also makes a superb test disc. Subtle changes in your equipment can have a big effect on recordings like this. The instrumental palette is large and colorful, giving the critical listener plenty to work with.
And this copy is perfect for testing because is is nearly FLAWLESS in its sound on side one. No other copy could touch it. Many copies are not especially transparent, spacious or three-dimensional, and lack extension on both ends of the frequency spectrum.
The SPEED of the percussion is also critical to its accurate reproduction. No two pieces of electronics will get this record to sound the same, and some will fail miserably. If vintage tube gear is your idea of good sound, this record may help you to better understand where its shortcomings lie. (more…)
- With two amazing Shootout Winning Triple Plus (A+++) sides, this original pressing has the analog magic in its grooves
- We love the All Analog Tubey Magical sound of the recording, especially on a copy as rich and full-bodied as this one
- Arguably the best of the solo CSN albums – a founding member of our Top 100 Rock and Pop List and, with grades like these, a True Demo Disc
- 4 1/2 stars: “From the soaring “I Used to Be a King” through the gossamer “Simple Man” to the wah-wah-laden “Military Madness,” the record is filled with gorgeous melodies, flawless singing, and lyrical complexities that hold up decades later.”
When you hear Chicago here you will not believe how cinematic the sound is! It’s everything we love about analog and then some.
Most of the credit must go to the team of recording engineers, led here by the esteemed Bill Halverson, the man behind all of the Crosby Stills Nash and Young albums. Nash was clearly influenced by his work with his gifted bandmates, proving with this album that he can hold his own with the best of the best. Some songs (We Can Change The World, Be Yourself) are grandly scaled productions with the kind of studio polish that would make Supertramp envious. For me, a big speaker guy with a penchant for giving the old volume knob an extra click or two, it just doesn’t get any better.
Others (Sleep Song, Wounded Bird) are quiet and intimate. Their subtlety is highlighted by the big productions surrounding them. This is the rare album in which every aspect of the production, from the arrangements to the final mix, serves to bring out the best qualities in the songs, regardless of scale. (more…)
- Outstanding sound throughout for this Contemporary pressing with solid Double Plus (A++) sound or BETTER on both sides
- Intensity is right — this is some seriously good sounding alto saxophone led quartet jazz, thanks to Roy DuNann and Lester Koenig
- The musicianship here is top notch and Pepper’s playing is inspired throughout.
- 4 1/2 stars: “Pepper was just starting to show the influence of John Coltrane and Ornette Coleman in his style, freeing up his playing and displaying a greater intensity during his improvisations.”
An outstanding copy that reminded us just how great this album can be when you have a copy like this one!
I can’t recall a more DYNAMIC Contemporary. Pepper’s sax gets seriously LOUD in some passages. This is very much a good thing. Not only is he totally committed to the music, but the engineers are getting that energy onto the record so that we at home can feel the moment to moment raw power of his expression. (Pepper was famous for saying that his playing is best when he just plays whatever he feels in the moment, and this record is the best kind of evidence for the truth of that statement.) (more…)
The best copies must have one key ingredient that we’ve discovered is absolutely essential if this groundbreaking New Wave album is to come to life — a huge, spacious soundstage.
Some copies are huge; others, not so much. The effect of these size differentials is ENORMOUS. The power of the music ramps up like crazy — how could this recording possibly be this BIG and POWERFUL? How did it achieve this kind of scale? You may need twenty copies to find one like this, which begs the question: why don’t the other 19 sound the way this one does? The sound we heard has to be on the master tape in some sense, doesn’t it? Mastering clearly contributes to the sound, but can it really be a factor of this magnitude?
- This outstanding pressing of the Eagles’ first Number One Album boasts solid Double Plus (A++) sound or BETTER from start to finish – fairly quiet vinyl too
- On an exceptionally good sounding copy such as this one, the soaring guitar solo of the title track really comes alive – assuming you have it turned up GOOD and LOUD
- Lyin’ Eyes and Take It To The Limit sound the way they should – we guarantee you have never heard them sound remotely as good as they do here
- 4 stars: “…a lyrical stance — knowing and disillusioned, but desperately hopeful — had evolved, and the musical arrangements were tighter and more purposeful. The result was the Eagles’ best-realized and most popular album so far.”
This is one of the toughest Eagles albums to find with good sound, which is why only a small handful has ever made it to the site. This album may never sound quite as good as Hotel California or the self-titled debut, but there are some wonderful songs here and a Hot Stamper like this brings them to life in a way most pressings cannot begin to do.
The best copies are richer and sweeter. When you turn them up, they really come to life. When you play the better sides at Rock Music Volumes they really ROCK. When a copy is cut really clean, as the best ones are, the louder you play them the better they sound. They’re tonally correct at loud levels and a bit dull at what we would call “audiophile” levels. That’s the way it should be. (more…)
- With two Nearly Triple Plus (A++ to A+++) sides, this copy of Flamenco Fever is close to the BEST we have ever heard, right up there with our Shootout Winner
- The sound is breathtakingly real – you are there in the club with the flamenco guitarist, his drummer, and a trio of stomping, clapping dancers
- This is a Direct to Disc Demo Disc like nothing you’ve heard – when you turn up the volume on this bad boy the natural acoustic space in the room becomes huge and palpable
- If you have the power to drive big speakers, the dynamics and bass transients of this copy might just rock your world, literally
You may recall reading this bit about RHETT DAVIES engineering on Dire Straits’ debut:
“…until something better comes along, THIS IS HIS MASTERPIECE. It has to be one of the best sounding rock records ever made, with Tubey Magic mids, prodigious bass, transparency and freedom from hi-fi-ishness and distortion like few rock recordings you have ever heard.”
Well, something better has now come along, and it’s called Diamond Head.
It has some of the BIGGEST, BOLDEST SOUND we have ever heard. Diamond Head isn’t known as an audiophile album but it should be — the sound is GLORIOUS — wall to wall, floor to ceiling, and as rich and dynamic as it gets.
It’s clearly a BIG SPEAKER album. Play it one as loud as you can. The louder you play it the better it sounds.
The best copies have ROOM SHAKING DEEP BASS with the kind of WHOMP FACTOR that can drive this music to practically unexplored heights.
It’s also super TRANSPARENT, with a large, deep soundfield that really allows you to hear INTO the music and the studio space in which it was created. The clarity is SUPERB with all the detail and texture one could hope for, but the real kicker is the amount of ENERGY and musical DRIVE that this side has going for it. This is what the Master Tape is really capable of — Mind Bogglingly Good Sound.
Looking for TUBEY MAGIC? Rhett Davies is your man. Just think about the sound of the first Dire Straits album or Avalon. The best pressings of those albums — those with truly Hot Stampers — are swimming in it. (more…)