- This superb copy of Thick As A Brick offers outstanding Double Plus (A++) sound from first note to last
- One of the few copies we’ve found lately with this kind of sound and audiophile quality playing surfaces
- A Top 100 title and the BEST SOUNDING ALBUM Jethro Tull ever recorded – allow us to make the case
- A stunning Demo Disc to Rule Them All — sure to be the best you’ve ever heard Tull sound if you have the system for it
- 4 1/2 stars: “A masterpiece in the annals of progressive rock – a dazzling tour de force, at once playful, profound, and challenging, without overwhelming the listener.”
- With two Shootout Winning Triple Plus (A+++) sides, we guarantee you’ve never heard Suite Espanola sound remotely as good as it does on this amazing London pressing
- The orchestral power on display is positively breathtaking – few recordings we know of are this DYNAMIC and EXCITING
- Wilkie’s Decca Tree recording is overflowing with the kind of clear, spacious, realistic sound that can only be found on the best vintage vinyl LPs
- Performances and sound like no other – De Burgos’s Suite Espanola is practically in a league of its own
Wow, is this record ever DYNAMIC! I would put it right up there with the most dynamic recordings we have played over the course of the last twenty five years. It also has tons of DEPTH. The brass is at the far back of the stage, just exactly where they would be placed in the concert hall, which greatly adds to the realism of the recording.
Note that careful VTA adjustment for a record with this kind of dynamic energy is a must. Having your front end carefully calibrated to this record is the only way to guarantee there is no distortion or shrillness in even the loudest passages.
What to Listen For (WTLF)
Big bass drum thwacks.
Crescendos that build to intense climaxes.
We Was Wrong (Already?)
The last time we did this shootout we noted:
This time around we heard plenty of Tubey Magic on our Shootout Winning pressing. Did we find a hotter one than last time? Are we doing a better job of bringing out that quality during playback? Would this pressing hold its own against another recording made in Kingsway Hall a decade earlier?
Yes. No. Maybe? Who really knows?
We will leave it to the lucky customer who ends up with this killer copy to tell us. (more…)
The darker brass instruments like tubas, trombones and french horns are superb here. Other Golden Age recordings of the work, as enjoyable as they may be in other respects, do not fully reproduce the weighty quality of the brass, probably because of compression, limiting, tube smear, or some combination of the three.
The brass on this record has a power like practically no other. It’s also tonally correct. It’s not aggressive. It’s not irritating. It’s just immediate and powerful the way the real thing is when you hear it live. That’s what really caught my ear when I first played the recording.
There is a blast of brass at the end of Catacombs that is so big and real, it makes you forget you’re listening to a recording. You hear every brass instrument, full size, full weight. I still remember the night I was playing that album, good and loud of course, when that part of the work played through. It was truly startling in its power. (Back then I had the Legacy Whisper speaker system, the one with eight 15″ woofers. They moved air like nobody’s business. If you want to reproduce the power of the trombone, the loudest instrument in the orchestra, they’re your man.)
- Off the charts “Triple Triple” (A+++) sound for this classic Supertramp album – both sides earned our top grade of A+++
- A truly superb recording with huge, powerful, dynamic sound – the Tubey Magical richness of these sides will have your jaw on the floor
- A Top 100 title and True Demo Disc – turn it up and this recording gets LOUD like few rock records we’ve ever played
- 4 1/2 stars: “The majority of the album consisted of tightly written, catchy, well-constructed pop songs, like the hits ‘The Logical Song,’ ‘Take the Long Way Home,’ and ‘Goodbye Stranger.'”
We’ve just concluded another big shootout for Breakfast, the band’s biggest charting success, and once again we were blown away by just how good the best copies can sound – huge, spacious, punchy sound we can never get enough of around here. If you have big speakers a great copy will blow your mind, and it will probably blow your mind even if you don’t.
We are not the least bit ashamed to say that we LOVE this album here at Better Records, and a copy like this will certainly help to show you why. Drop the needle on Gone Hollywood, The Logical Song or Take The Long Way Home to hear how powerful this music can sound when you have a great pressing.
Most copies of this record are grainy, thin, shrill and aggressive. When you get a Hot Stamper like this one the highs are sweet and silky. This recording has plenty of top end, so if the highs aren’t correct it pretty much ruins the sound of the record. (more…)
The sound on this record is so punchy and dynamic, the rest of your rock records should seem positively anemic in comparison. Most of it sounds live in the studio, and live in the studio is how you get a bunch of guys to play with this kind of enthusiasm and energy.
Engineered in 1981 by Greg Ladanyi, the very next year he would take home the Best Engineering Grammy for Toto IV (one helluva good sounding album and a former member of our Top 100).
Fortunately for us audiophiles, this album catches him before the overly-processed, digital drums and digital echo “sound of the ’80s” had gotten into his blood. (Just play any of the awful Don Henley records he made to hear what we mean.) This record still sounds ANALOG, and even though it may be 1981 and mostly transistorized, the better copies display strong evidence of TUBES in the recording chain. (more…)
Abraxas is yet another in the long list of recordings that really comes alive when you Turn Up Your Volume.
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 than Abraxas.
This is a true Demo Disc in the world of rock records. It’s also one of those recordings that demands to be played LOUD. If you’ve got the the big room, big speakers, and plenty of power to drive them, you can have a LIVE ROCK AND ROLL CONCERT in your very own home.
When Santana lets loose with some of those legendary monster power chords — which incidentally do get good and loud in the mix, unlike most rock records which suffer from compression and “safe” mixes — I like to say that there is no stereo system on the planet that can play loud enough for me. (Horns maybe, but I don’t like the sound of horns, so the point is moot.)
You may have heard me say this before, but it’s important to make something clear about this music. It doesn’t even make sense at moderate listening levels. Normal listening levels suck the life right out of it. You can tell by the way it was recorded — this music is designed to be played back at LOUD levels, and anything less does a disservice to the musicians, not to mention the listener, you.
- With outstanding Double Plus (A++) sound or BETTER from start to finish, this mind-blowing recording is guaranteed to rock your world
- The transparency, the clarity, the energy, the power – it’s all here on these very special import pressings
- Just listen to how clear the clocks are on Time, how breathy the vocals are on Breathe, how textured the synthesizers are and how silky the top end is from the beginning of the album all the way to the powerful finish
- A Top 100 album (Top Ten actually) and Demo Disc to rival the most amazing sounding records of all time
- 5 stars: “…what gives the album true power is the subtly textured music… no other record defines [Pink Floyd] quite as well as this one.”
This vintage import pressing has the presence, the richness, the size and the energy you always wanted to hear on Dark Side — AND NOW YOU CAN! (more…)
- An incredible copy of the band’s 1975 release, with Shootout Winning Triple Plus (A+++) sound or close to it throughout
- One of our favorite albums here at Better Records and clearly the band’s Masterpiece – the bass and dynamics on the better pressings make this a Demo Disc on the right system
- 4 stars [but we give it 5]: “Cut from the same cloth as the band’s 1973 Deliver the Word LP, War’s 1975 Why Can’t We Be Friends? is a masterpiece in its scope and breadth. [It] remains one of War’s truly outstanding efforts, and has become an integral part of the funk genre’s landscape. It also remains the nightcap of their finest hour.”
Engineered by the brilliant Chris Huston, this recording displays all his trademark gifts. His mixes feature lots of bass; huge, room-filling choruses that get loud without straining or becoming congested; and rhythmic energy that few pop recordings could lay claim to in 1975.
Low Rider sounds AWESOME on this one. This is the kind of record you can take to any stereo store or audiophile friend’s house and bring their stereos to their knees. Audiophile systems are rarely designed to play this kind of music at the levels it demands, but that doesn’t mean they shouldn’t be. Records like this are the challenge we audiophiles need to make our stereos even better. When the music is this good it’s worth the effort
What superb sides such as these have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1975
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Years ago we found a very special copy of this album in a shootout and gave it a grade of A++++. We don’t give out that grade anymore, but we gave it out to this side one back in the day. We describe what let this copy earn that grade below.
A BEYOND White Hot Quadruple Plus side one – hear Tchaikovsky’s 1812 in Demo Disc sound. This is the most exciting and beautifully played 1812 we know of, with the best sound ever to boot on this copy. This is an exceptional Decca remastering of a superb Golden Age recording on very good vinyl.
The WHOMP FACTOR on this side one has to be heard to be believed. If you’ve got the woofers for it this record is going to rock your world!
Side One (1812 Overture)
Off the charts, the best we have ever heard this work sound. Big, rich, clean and clear barely begins to do this side justice. The strings are wonderfully textured and not screechy in the slightest.
The brass is big and clear and weighty, just the way it should be, as that is precisely the sound you hear in the concert hall, especially that part about being clear: live music is more than anything else completely clear. We should all strive for that sound in our reproduction of orchestral music.
Not many recordings capture the brass this well. (Ansermet on London comes to mind of course but many of his performances leave much to be desired. Here Alwyn is on top of his game with performances that are definitive.)
Here’s what you get on this side one:
The most dynamic sound we have ever heard for any side of this album.
The most weight and power we have ever heard for the 1812, and as you can imagine, for this work to have the kind of power this pressing has was nothing less than a THRILL to hear. Who knew? Until we played this copy, not us!
The most depth and space we have ever heard on this album.
To earn our coveted Three Plus (OR BETTER) rating here at Better Records all you have to do is be the best copy we’ve ever played. Just be right in every way (or almost every way; no record can be perfect, but some, such as this one, seem to us to get pretty darn close). (more…)
- Shootout Winning Triple Plus (A+++) grades on both sides make this the consistently best sounding batch of Orchestral Showpieces we have ever played
- After a two year hiatus, our favorite performance of Night on Bald Mountain is back, and it’s guaranteed to blow your mind (and maybe a woofer or two)
- Side one also boasts an excellent Danse Macabre, with a powerful finish that may remind you of the thrill of live orchestral music
- Side two contains a wonderfully exciting Sorcerer’s Apprentice
- Both sides are clear and transparent, with huge hall space extending wall to wall and floor to ceiling
- Watch your levels – this pressing is dramatically more DYNAMIC than most Golden Age recordings
If you like Orchestral Spectaculars, have we got the record for you!
This pressing clearly has DEMONSTRATION QUALITY SOUND — not in every way, but in some important ways. The ENERGY of both the sound and the performances of these barnburning showpieces is truly awesome. Fiedler brings this music to LIFE like no other conductor we have heard.
This pressing boasts relatively rich, sweet strings, especially for a Deutsche Grammophon LP. Both sides really get quiet in places, a sure sign that all the dynamics of the master tape were protected in the mastering of this copy (and the reason it is so hard to find a copy that plays better than Mint Minus Minus. We do have a quieter copy with lower grades if you are interested though.) (more…)