- An Out-Of-This-World UK pressing of The Beatles’ last and arguably greatest album, with Shootout Winning Triple Plus (A+++) sound or very close to it on both sides
- The “medley” on side two in Triple Plus sound? On today’s modern systems, this copy can take you on a trip with The Beatles you could not have imagined was even possible when the record was released
- The stereo to play it didn’t exist back then, but it does now!
- This pressing might just give you a new appreciation for one of the Greatest Rock Albums of All Time, The Beatles’ Final Musical Statement, their Magnum Opus (along with Sgt. Pepper, of course)
- 5 stars, a permanent member of the Better Records Top 100, and a true rock and pop Demo Disc
- With seriously good Double Plus (A++) sound throughout, this copy of Deceptive Bends will be hard to beat
- These sides are bigger, with even greater immediacy in the vocals, as well as more bass and dynamics, all qualities that are much less audible when playing the average copy
- A longstanding member of our Top 100, this is one of the most dynamic, energetic, well recorded pop albums we know of, right up there with the band’s Masterpiece, The Original Soundtrack.
- 4 stars: “Eric Stewart and Graham Gouldman kept the group alive and turned in a surprisingly solid album with 1977’s Deceptive Bends. It may lack the devil-may-care wackiness that popped up on previous 10cc albums, but it makes up for it by crafting a series of lush, catchy pop songs that are witty in their own right. All in all, Deceptive Bends is the finest achievement of 10cc’s post-Godley and Creme lineup…”
- Deceptive Bends is a Demo Disc for Bass, a Demo Disc for Dynamics, and a Demo Disc for Energy all rolled into one.
This is an AMAZINGLY WELL RECORDED album, a record I would have no problem ranking in the Top Rock Recordings of All Time. We’re tough graders on this album because we know how good it can sound, which is SHOCKINGLY GOOD. (more…)
- This is an original UK pressing with superb sound — it’s a Must Own album for all right thinking audiophile record lovers, not just Elton John fans
- No modern record has ever sounded like this – these sides are HUGE, with sound that positively jumps out of the speakers
- Some of the most remarkable string arrangements (and Tubey Magical string sound) ever recorded for a pop album
- 4 1/2 stars: “Even with the strings and choirs that dominate the sound of the album, John manages to rock out on a fair share of the record. …Elton John remains one of his best records.”
Folks, if you’re looking for Classic Popular Music that still appeals to sophisticated adults fifty-plus years after it came out, this is the album for you. It’s one of the four Classic Elton John records (five if you count GYBR) that belong in every right-thinking audiophile’s collection.
(The others are, in order of quality: #1) Tumbleweed Connection, #2) Honky Chateau, #3) Goodbye Yellow Brick Road , and #4) Madman Across the Water.)
It’s full of analog Tubey Magic — the richness, sweetness, and warmth are nothing short of stunning. The transparency, clarity, texture, dynamics, energy, spaciousness, and three-dimensionality of this recording are really something to be heard.
The piano has real weight, the vocals are breathy and full, and the string tone is some of the best we have ever heard on a pop album.
Drop the needle on Border Song. When it hits the big “Holy Moses” chorus, you can pick out and follow all the different voices. What sounds like a harp on Sixty Years On is actually a Spanish Guitar. Whatever it is, it’s positively sublime on the best pressings.
- 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.”
Another in the long list of recordings that really comes alive when you Turn Up Your Volume.
What to listen for you ask? Dynamic, soaring guitar solos! On the best copies the guitar solos are the loudest parts of some songs, which, as everyone who’s ever been to a rock concert knows, is exactly what happens in live rock music.
This is one of the toughest Eagles albums to find with good sound. 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 hope 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…)
- This copy of Cat Stevens’ brilliant third album will be very hard to beat
- So transparent, open, and spacious, nuances and subtleties that escaped you before are now front and center
- When you play “I Wish, I Wish” and “I Think I See The Light” on this vintage pressing, we think you will agree with us that this is one of the greatest Folk Rock albums of them all
- One of the most underrated titles on the site – you owe it to yourself to see just how good the album that came out right before Tillerman can be when it sounds this good
- 4 stars: “A delight, and because it never achieved the Top 40 radio ubiquity of later albums, it sounds fresh and distinct.”
- We’ve recently compiled a list of records we think every audiophile should get to know better, along the lines of “the 1001 records you need to hear before you die,” but with less of an accent on morbidity and more on the joy these amazing audiophile-quality recordings can bring to your life. Red Clay is a good example of a record most audiophiles may not know well but should.
- If you’re a fan of Folky Pop, this Cat Stevens album from 1970 is surely a Must Own
- The complete list of titles from 1970 that we’ve reviewed to date can be found here
So many copies excel in some areas but fall flat in others. This side one has it ALL going on — all the Tubey Magic, all the energy, all the presence and so on. The sound is high-rez yet so natural, free from the phony hi-fi-ish quality that you hear on many pressings, especially the reissues on the second label.
Right off the bat, I want to say this is a work of GENIUS. Cat Stevens made three records that belong in the Pantheon of greatest popular recordings of all time. In the world of Folk Pop, Mona Bone Jakon, Teaser and the Firecat and Tea for the Tillerman have few peers. There may be other Folk Pop recordings that are as good but we know of none that are better.
Mike Bobak was the engineer for these sessions from 1970. He is the man responsible for some of the best sounding records from the early ’70s: The Faces’ Long Player, Rod Stewart’s Never a Dull Moment, The Kinks’ Lola Versus Powerman And The Moneygoround, Part One, (and lots of other Kinks albums), Carly Simon’s Anticipation and more than his share of obscure English bands (of which there seems to be a practically endless supply).
Tubey Magical Acoustic Guitar reproduction is superb on the better copies of this album. Simply phenomenal amounts of Tubey Magic can be heard on every strum, along with the richness, body and harmonic coherency that have all but disappeared from modern recordings (and remasterings). (more…)
- You haven’t begun to hear the weight, energy and space of Yes’s brilliant third album until you’ve played one of our Hot Stamper copies
- On the right system, at the right volume (very loud), this very record is an immersive experience like practically no other – I’ve Seen All Good People here will surely blow your mind
- A Top 100 Album and the band’s best sounding record if you ask us (although Fragile can sound absolutely amazing too, just not as smooth and rich)
- “Organist Tony Kaye, guitarist Steve Howe and bass player Chris Squire play as though of one mind, complementing each other’s work as a knowledgeable band should.”
- A permanent resident of our Top 100 Rock and Pop List — no other album by the band is as well recorded
- If you’re a Prog Rock or Art Rock fan, this is a classic from 1971 that belongs in your collection.
- The complete list of titles from 1971 that we’ve reviewed to date can be found here.
Drop the needle on this bad boy and you will find yourself on a Yes journey the likes of which you have never known. And that’s what I’m in this audiophile game for. The Heavy Vinyl crowd can have their dead-as-a-doornail, wake-me-when-it’s-over pressings that play quietly. I couldn’t sit through one with a gun to my head.
With the amazing Eddie Offord at the board, as well as the best batch of songs ever to appear on a single Yes album, they produced both their sonic and musical masterpiece — good news for audiophiles with Big Speakers who like to play their records loud.
These guys — and by that I mean this particular iteration of the band, the actual players that were involved in the making of this album — came together for the first time and created the sound of Yes on this very album, rather aptly titled when you think about it. (more…)
- Honky Chateau contains some of the most Tubey Magical High-Production-Value rock music ever recorded – thanks Ken Scott!
- Not the quietest copy we’ve ever played – Mint Minus Minus to EX++ on both sides – but obviously one of the better sounding
- 5 stars: “The most focused and accomplished set of songs Elton John and Bernie Taupin ever wrote … It’s one of the finest collections of mainstream singer/songwriter pop of the early ’70s.”
If you doubt that Elton John was an unusually gifted Pop Music Genius for much of the ’70s, just play this record. These eleven tracks should serve as all the proof you could possibly need. There’s not a dog in the bunch, and most of these songs are positively brilliant. Drop the needle on any track, you simply can’t go wrong.
Honky Chateau has to be one of the best sounding rock records of all time — certainly worthy of a prized spot on our Rock and Pop Top 100 List. It’s a shining example of just how good High-Production-Value rock music of the ’70s can be.
The amount of effort that went into the recording of Honky Chateau is comparable to that expended by the engineers and producers of bands like Supertramp, The Who, Jethro Tull, Ambrosia, Pink Floyd and far too many others to list. It seems that no effort or cost was spared in making the home listening experience as compelling as the recording technology of the day permitted.
The sides that had sound that jumped out of the speakers, with driving rhythmic energy, worked the best for us. They really brought this music to life and allowed us to make sense of it. This is yet another definition of a Hot Stamper — it’s the copy that lets the music work as music.
Big Production Tubey Magical British Rock just does not get much better than Honky Chateau. (more…)
- With big, bold, hard-rockin’ Double Plus (A++) sound on both sides, this pressing will show you just how good Boston’s debut can sound
- The multi-tracked, multi-layered guitars are as big as life on this copy and guaranteed to rock your world
- Top sound for all the hits: More Than a Feeling, Long Time/Foreplay, Rock & Roll Band, Peace Of Mind…
- 4 1/2 stars: “Nearly every song on Boston’s debut album can still be heard on classic rock radio today due to the strong vocals of Brad Delp and unique guitar sound of Tom Scholz. Boston is essential for any fan of classic rock, and the album marks the re-emergence of the genre in the 1970s.”
Boston’s first (and only good) album is a long-time member of our Top 100, and on a great pressing like this it’s easy to see why. It’s an incredible recording when you can hear it right, and this is about as right as it gets!
It’s obvious why the first Boston album became a Multi-Platinum Record. Practically every one of its songs still gets heavy radio play on every rock station in town. Consummately well-crafted music like this is almost impossible to find nowadays. I guess that’s why they call it Classic Rock. (more…)
- A STUNNING Pink Label Island Label UK pressing of TFTT – an album we consider the Pinnacle of British Folk Rock – with Shootout Winning Triple Plus (A+++) sound from start to finish
- The emotional power of the songs is communicated completely – we can assure you the experience will be like playing the album for the first time
- Here’s your chance to relive the experience of hearing this groundbreaking album for the first time, but with much better sound than you ever thought possible
- 5 stars on Allmusic, a stunning Demo Disc, and a permanent member of the Better Records Top 100
This is smooth, rich ANALOG at its best, easy on the ears as we like to say.
This is clearly the poppier side of Ambrosia, containing as it does two of their highest-charting mainstream hits, Biggest Part of Me (#3) and You’re the Only Woman (#13). I myself of course prefer the proggy first two albums, falling as they do into the broad category of Art Rock where my favorite albums by Bowie, Peter Gabriel, Roxy Music, Supertramp, 10cc, later-period Beatles, Jethro Tull, Pink Floyd, Traffic and so many others from the last forty-plus years can be found.
These artists’ recordings tend to be big, powerful and exceedingly hard to reproduce, which, probably more than anything else, accounts for my becoming a serious stereo enthusiast while still in my teens. (My mother had to co-sign the loan I needed to purchase the currently-state-of-the-art ARC SP3A-1 preamp I coveted. I remember it being $600+ at a time when I was earning roughly $2 an hour. That had to hurt, but I did it. Bought a D-75 amp after I paid it off too.)
One Eighty (recorded on 1/80, get it?) kicks off with a real rocker: Ready, which is a great name for an opening track and really gets the album off to a high-energy start. Side two opens with my favorite track on the album, Livin’ On My Own. I actually used to demonstrate my system with it: the bass is huge, way up in the mix and really punchy. Additionally there are powerful multi-tracked vocal harmonies in the chorus that are wall-to-wall, surprisingly dynamic, yet sweet (all things considered; this is a modern recording after all).
One Eighty has an excellent mix of rock and softer pop ballads. The last track, Biggest Part Of Me, no matter how many times you’ve heard it, on the radio or elsewhere, is an exceptionally well-produced (designed?) piece of songcraft that will tug at anyone’s heartstrings, anyone who has a heart that is (if I may quote the title of the best song Burt Bacharach ever wrote). On a big audiophile system it should be both powerful and emotional. (more…)