Demo Discs for Tubey Magic

The Real Stars of Windy – Bones Howe and The Wrecking Crew

More of The Association

The Master of Tubey Magical Pop Recording, Mr. BONES HOWE

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The sound of the sixties will fill your room like never before — wall to wall, floor to ceiling, with layers upon layers of depth. You would be very hard pressed to find a pop rock recording from 1967 that sounds as good as a Hot Stamper Insight Out. (Sgt. Pepper comes to mind, but what else?) Can you imagine the Mamas and the Papas or The Jefferson Airplane with this kind of rich, sweet, open, textured, natural, tonally correct sound quality?

The midrange is pure Tubey Magic! If you have the kind of system that brings out that quality in a recording, you will go wild over this one. In fact it’s so good, it made me appreciate some of the other songs on the album which I had previously dismissed as filler. When you hear them sound this good, you can actually enjoy them.

Hal, Joe and Bones

The real stars of Windy (and the album itself) are Hal Blaine and Joe Osborne, the famous session drummer/ bass player team, who create the driving force behind these songs. Osborne’s web site puts Windy front and center as the first track demonstrating what a top rhythm section can do for a pop song. This whole album can be enjoyed simply for the great drum and bass work, not to mention the sound that both of those instruments are given by the pop recording master Bones Howe.

He produced and engineered the show here; Bones is a man who knew his way around a studio as well as practically anybody in the ’60s. He’s the one responsible for all the tubey magic of the recording. That’s his sound. Those of you who appreciate that sound will find much to like here.

Bouncing Tracks

Never My Love is clearly the best sounding track on the album. Those of you with better front ends will be astonished at the quality of the sound. Windy also sounds excellent, but I hear some sub-generation harmonic distortion, probably caused by bouncing down some of the tracks to make room for others.

This is the era of the four track machine, and when four of the tracks are used up they are bounced down to one track, making available three new tracks. Some of the albums from this era — the Mamas and the Papas come to mind — have multiple bounces, three and four deep, which accounts for the distortion that you hear all through their recordings. The two-track finished master might have upwards of five tape generations or more on some instruments or vocal parts.

We Do The Work So You Don’t Have To

Let’s face it: if you find this record in a record store it’s going to be $10 or less, which is what we paid for most of the copies here. But they’re usually noisy and dull sounding. You really have to work at it to find a copy that sounds like this one. Or, better yet, pay us to do that work for you by just buying this one.

Santana – Santana (III)

More Santana

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  • Santana III finally returns to the site with Shootout Winning Triple Plus (A+++) sound or very close to it from start to finish
  • This copy has tons of energy, nice weight to the bottom, and plenty of extension up top
  • 4 1/2 stars: “. . . an album that has aged extremely well due to its spare production (by Carlos and the band) and its live sound. This is essential Santana, a record that deserves to be reconsidered in light of its lasting abundance and vision.”

A distinguished member of the Better Records Rock Hall of Fame and another in the long list of recordings that really comes alive when you Turn Up Your Volume.

If you want to bring the funky sound of Latin percussion to life in your living room, this is the ticket. This is one of the most TUBEY MAGICAL Santana recording we have ever heard, and at its best it is competitive with Abraxas for the title of Greatest Santana Recording.

Both sides here absolutely DESTROY the typical pressing, with the kind of huge, wide soundfield and stunning clarity and detail that really bring this music to life!

This pressing is open and spacious, which gives all of the drums and guitars their own space. Santana records live and die by the sonic quality of the drums and percussion, and on this copy they are KILLER.

Check out the commentary below under “The Best Sounding Santana Album?” to read more about just how great this record sounds. (more…)

Tchaikovsky / 1812 – A Must Own Performance by Alwyn on Decca

More of the music of Peter Ilyich Tchaikovsky (1840-1893)

Reviews and Commentaries for the 1812 Overture

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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…)

Elton John’s and Bernie Taupin’s Co-Masterpiece – Tumbleweed Connection

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  • A KILLER copy of Elton John’s classic with Shootout Winning Triple Plus (A+++) sound or very close to it on both sides of this original DJM pressing
  • The sound here is richer, with much less transistory grain, and more of the All Important Tubey Magic than every other copy we played
  • An incredible recording and longtime member of our Top 100 — our pick for Elton’s very best music and sound
  • 5 stars: “….their most ambitious record to date… A loose concept album about the American West… draws from country and blues in equal measures…”

The Tubey Magic Top Ten

You don’t need tube equipment to hear the prodigious amounts of Tubey Magic that exist on this recording. For those of you who’ve experienced top quality analog pressings of Meddle or Dark Side of the Moon, or practically any jazz album on Contemporary, whether played through tubes or transistors, that’s the luscious sound of Tubey Magic, and it is all over Tumbleweed Connection

Ranked strictly in terms of Tubey Magic I would have to put this album on our list of Most Tubey Magical Rock Recordings of All Time, right up there with, in no particular order:

  • Sgt. Pepper (1967),
  • Meddle (1971),
  • Dark Side of the Moon (1973),
  • Dire Straits (1977, and clearly the outlier in this group),
  • The Eagles (1972),
  • Tommy (1969),
  • The Doors (1967),
  • Ziggy Stardust (1972),
  • A Space in Time (1970)

This has to be one of the best sounding rock records of all time — certainly worthy of a Top Ten spot on our Top 100 list. Engineered by Robin Geoffrey Cable at Trident, there is no other Elton John recording that is as big and powerful as Tumbleweed.

A copy like this really tells you why we love this album so. The highs are silky sweet, the vocals are full-bodied and breathy, and the tonal balance is perfection from top to bottom. And big drums, monstrously big, can’t forget those. (more…)

Jethro Tull / Thick As A Brick – A Top Test for System Accuracy

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From 2009 to 2010 this was our single go-to record for testing and tweaking the system.

Although we now use an amazing copy of Bob and Ray (the big band version of The Song of the Volga Boatmen located therein has to be the toughest test we know of bar none), we could easily go back to using TAAB. It’s absolutely ruthless when it comes to the slightest hint of artificiality in the sound of the system.

Since the biggest problem every audiophile is always fighting is artificiality (and, more often than not, losing, if I may be that cynical about most audiophile systems, our customers’ systems excluded of course), TAAB is one of the best recordings one could ever find to test and tune with. 

  • The better copies are shockingly dynamic. At about the three minute mark the band joins in the fun and really starts rocking. Set your volume for as loud as your system can play that section. The rest of the music, including the very quietest parts, will then play correctly for all of side one. For side two the same volume setting should be fine.
  • The recording can have exceptionally solid, deep punchy bass (just check out Barrie “Barriemore” Barlow’s drumming, especially his kick and floor toms. The guy is on fire).
  • The midrange is usually transparent and the top end sweet and extended on the better pressings.
  • The recording was made in 1972, so there’s still plenty of Tubey Magic to be heard on the acoustic guitars and flutes.
  • The best copies can be as huge, wide and tall as any rock record you’ve ever heard, with sound that comes jumping out of your speakers right into your listening room.
  • Unlike practically any album recorded during the ’80s or later, the overall tonal balance, as well as the timbre of virtually every instrument in the soundfield, is correct on the best copies.

That kind of accuracy practically disappeared from records about thirty years ago, which explains why so many of the LPs we offer as Hot Stampers were produced in the ’70s. That’s when many of the highest fidelity recordings were made. In truth this very record is a superlative example of the sound the best producers, engineers, and studios were able to capture on analog tape during that time.

Which is a long way of saying that the better copies of Thick As A Brick have pretty much EVERYTHING that we love about vinyl here at Better Records.

Furthermore, I can guarantee you there is no CD on the planet that will ever be able to do this recording justice. Our Hot Stamper pressings – even the lowest-graded ones – have a kind of ANALOG MAGIC that just can’t be captured on one of them there silvery discs. (more…)

Neil Young – After The Gold Rush

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Hot Stamper Pressings of After the Gold Rush Available Now

  • This KILLER original Reprise pressing boasts Shootout Winning Triple Plus (A+++) sound or very close to it from start to finish
  • This is the vinyl embodiment of the Classic Analog Rock sound we love – smooth, rich, full-bodied, warm, punchy, dynamic and clear
  • 5 Stars in Allmusic, Top 100, and a Demo Disc that is guaranteed to knock your socks off
  • “It’s a magnificent, style-setting album which saw the Canadian’s elevation to rock hero. For those who like their emotion raw.”

Folks, a Hot Stamper collection of the Greatest Rock Records of All Time would not be complete without a knockout copy this album. That’s why it’s been a Better Records All-Time Top Ten Title right from the start. (more…)

Grieg – Peer Gynt / Gruner-hegge / Oslo Philharmonic

More of the music of Edvard Grieg (1843-1907)

More Orchestral Spectaculars

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  • You’ll find two outstanding Double Plus (A++) sides on this vintage pressing, offering Orchestral sound that is gloriously Big and Bold like no other recording of this music you have ever heard (or your money back)
  • Rich and tubey, yet open and clear, with lovely string textures, especially in the lower strings, as would be expected of any Living Stereo record from 1959
  • The Living Stereo Tubey Magical sound from 1959 is hard to fault here – they don’t make ’em like this anymore!
  • Our favorite performance – Gruner-Hegge and the Oslo Philharmonic understand this music at the most profound levels, making it an absolute Must Own for those of who appreciate the sublime experience of playing classical music in the home

As much as I like Fjeldstad’s Peer Gynt on Decca/London with the LSO, I have to say that Odd Gruner-Hegge (love that first name!) and the Oslo Philharmonic Orchestra turn in the better of the two performances. To these ears, theirs is more lyrical; it flows more naturally both within and between the individual movements.

This vintage Living Stereo pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound. (more…)

Eagles / Desperado – The Absolute Sound Was Half Right

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More Country and Country Rock

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  • This STUNNING copy of the band’s sophomore release boasts Shootout Winning Triple Plus (A+++) sound from start to finish
  • This vintage pressing has huge amounts of Tubey Magic, a strong bass foundation, and plenty of space around the guitars and voices – man, that is our sound!
  • This is the second-best sounding Eagles record of all time, no doubt thanks to their brilliant engineer and producer, Glyn Johns
  • “A solid country-rock classic… the music stands the test of time, especially when Desperado is heard in its entirety, from start to finish.”

Acoustic guitar reproduction is key to this recording, and on the best copies the harmonic coherency, the richness, the body and the phenomenal amounts of Tubey Magic can be heard in every strum.

This vintage Asylum pressing has the kind of Tubey Magical Midrange that modern records rarely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.

What the Best Sides of Desperado 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 1973
  • 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 space of the studio

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.

What to Listen For on Desperado

Too many instruments and voices jammed into too little space in the upper midrange during the loudest passages. When the tonality is shifted-up, even slightly, or there is too much compression, there will be too many elements — voices, guitars, drums — vying for space in the upper area of the midrange, causing congestion and a loss of clarity.

With the smoother, more solid sounding copies, the lower mids are full and rich; above them, the next “level up” so to speak, there’s plenty of space in which to fit all the instruments and vocals (lead and backing) comfortably, without having to pile them up one on top of another as is so often the case with densely mixed pop recordings. On the better copies, the upper midrange does not get overwhelmed and congested with too many elements fighting for too little space.

What We’re Listening For on Desperado

  • Energy for starters. What could be more important than the life of the music?
  • Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt —Glyn Johns in this case — would put them.
  • The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
  • Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
  • Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
  • Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
  • Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

A True Super Disc (Second Only to the First Album in that Respect)

Of course, the best sound on an Eagles record is found on the first album. For whatever reason, that record was left off the TAS Super Disc list, even though we feel that both musically and sonically it beats this one by a bit.

On the TAS Super Disc List, Harry Pearson recommends the British SYL pressings for this album. SYL pressings can sound very good; we’ve previously found one that rated a Double Plus on both sides. But our champions for both sides were both domestic, both this time and last time. (more…)

Expanding Space Itself on The Dark Side of the Moon

More Breakthrough Pressing Discoveries

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A few years back we played a copy with all the presence, all the richness, all the size and all the energy we ever hoped to hear from a top quality pressing of Dark Side of the Moon. It did it ALL and then some. The raging guitar solos (there are three of them) on Money seemed to somehow expand the system itself, making it bigger and more powerful than I have ever heard. Even our best copies of Blood Sweat and Tears have never managed to create such a huge space with that kind of raw power. This copy broke through all the barriers, taking the system to an entirely new level of sound.

Take the clocks on Time. There are whirring mechanisms that can be heard deep in the soundstage on this copy that I’ve never heard as clearly before. On most copies you can’t even tell they are there. Talk about transparency — I bet you’ve NEVER heard so many chimes so clearly and cleanly, with such little distortion on this track. (more…)

The Sons of The Pioneers – Down Memory Trail with The Sons of The Pioneers

More of The Sons of The Pioneers

More Country and Country Rock

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  • Down Memory Trail finally arrives on the site with Shootout Winning Triple Plus (A+++) sound from start to finish
  • These sides have a richness and sweetness that’s disappeared entirely from modern recordings yet they’re still incredibly clean, clear and spacious
  • If you want to know why people love Living Stereo records, playing either side of this record should be more than sufficient
  • “Another nostalgic journey through the west”

This vintage RCA Victor pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound. (more…)