We consider Armed Forces to be one of the best sounding rock records ever made, and a copy like this 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 of this album ranks up there with the very best ever recorded. Beyond that, the musical chops of this band at this time rank with the very 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.
We recently conducted another extensive shootout for White Rabbit and it was a BLAST. It always is. Benson and his funky jazz all-stars buds (Ron Carter, Herbie Hancock and Airto to name a few) tear through some great material here, and on both sides of this copy the sound as KILLER.
If you want to hear the best George Benson record we know of, this is the one. The Grammy-winning Breezin’ from 1976 is a perfectly good album but it’s quite a bit more commercial than the earlier White Rabbit here from 1972, his first album to make the top ten on the jazz charts.(more…)
This is one of our favorite albums here at Better Records, and a true ’60s Psych Pop Masterpiece! The sound can be amazing as well, although you’d never know that listening to the average pressing. This copy gives you wall to wall width and layered studio depth like you will not believe, the kind of space you hear on engineering classics like Dark Side of the Moon and A Space in Time.
Want a glimpse into the kind of energy the band was generating in the studio? Drop the needle on Fresh Garbage, the opening track, and you will hear this band come alive in a way you probably never imagined you’d ever hear them. It’s positively startling how immediate and lively the sound is here.
This is the band at their best, fired up and ready to show the world that The Doors are not the only SoCal rock band with innovative ideas about rock music and the performing chops to pull them off, not to mention the studio wizards who managed to get it all down on tape with State-of-the-Art ’60s Rock sound quality.
The Doors Vs. Spirit
If I had to choose between The Doors’ first album and Spirit’s, say for a nice drive up the coast with the top down, no contest, Spirit would get the nod (not to take anything away from The Doors mind you). I had the album on 8 Track back in high school and played it to death. Doing this shootout, hearing the album sound so good after so many years, was nothing less than a THRILL. (I went right up to Amazon and bought a CD for the car. Might just take a drive up the coast.) (more…)
A killer recording of female vocal with guitar: Triple Plus (A+++) on the first side, seriously good Double Plus (A++) on the second
Julie is in the room with you – intimate, breathy and Tubey Magical like practically nothing you’ve ever heard
For late night listening this is surely one of the best Sultry Female Vocal recordings ever made – you won’t believe how real the sound is
“Lone guitarist Al Viola plays gentle Spanish-tinged acoustic behind the hushed vocalist, and it suits London perfectly. While the singer was often chided for her beauty and lack of range, she deftly navigates these ballads without any rhythmic underpinnings to fall back on. London’s intense focus on phrasing and lyrics recalls Chet Baker’s equally telescopic approach.”
After hearing this amazing copy in our shootout we felt that it might be a bit too noisy to list, but another scrub cleaned it up nicely and now it’s about typical for an exceptionally clean copy of the album. No marks play — the noise one hears is mostly just the vinyl of the day.
I bought this very record in 1998. It took me close to twenty years to be able to clean it and play it right!
This side had breathy resolution that was hard to believe, along with size and immediacy that no other side of any copy could touch. It’s much richer and tubier than any other we played. Phenomenal.
Not quite the equal of side one. Take some time to listen for the differences between the two sides and we’re sure you’ll hear what we heard. It is however exceptionally dynamic, always a nice quality to have.(more…)
Thick As A Brick is quite possibly the BEST SOUNDING ALBUM Jethro Tull ever made. It’s dynamic; has really solid, deep punchy bass; transparency and sweetness in the midrange; tubey-magical acoustic guitars and flutes; in other words, the record has EVERYTHING that we go crazy for here at Better Records. I can guarantee you there is no CD on the planet that could ever do this recording justice. The Hot Stamper pressings have a kind of MAGIC that just can’t be captured on one of them there silvery discs.
We play quite a few original British and domestic copies of this record when we do these shootouts and let me tell you, the sound and the music are so good I can’t get enough of it. Until about 2007 this was the undiscovered gem (by me, anyway) in the Tull catalog. The pressings I had heard up until then were nothing special, and of course the average pressing of this album is exactly that: no great shakes. But with the advent of better record cleaning fluids and much better tables, phono stages and the like, some copies of Thick As A Brick have shown themselves to be AMAZINGLY GOOD SOUNDING. Even the All Music Guide could hear how well-engineered it was.
The weaker copies have a tendency to sound smeary and congested. Listen for good transients and not too much compression. Many are also somewhat opaque as well as dull up top; try to find the ones with some degree of transparency and as much top end extension as you can (the percussion will be helped most of all by the extended top).
And of course you need to find a copy that rocks, as this is a definitely a Rock Concert, although what it most reminds me of is Ray Charles doing a choice set of modern pop classics, mixing it up by off-handedly throwing in a few hits of his own. See how they all fit together? That’s how the pros do it. (The main pro in this case is Leon Russell, the mastermind of the whole operation.)
Well, for one thing, if you get the wrong stampers on this record you will discover, as we did, that it’s clearly been mastered from a badly transferred dub tape. The “cassette-like” sound quality will not be hard to recognize. If you have stumbled onto one of those pressings, give up on it and try your luck elsewhere, making sure to note the bad stampers. That’s how we do it; there is in fact no other way. Trial and error is the name of the record hunting game.
All tracks were engineered by the legendary Eddie Kramer, then selected and mixed by the equally legendary Glyn Johns.(more…)
This is an older listing that illustrates how We Was Wrong when we thought the best domestic copies were not competitive with the A&M Half-Speed or better British pressings.
We touch on other much-loved themes in this commentary, such as the myth that the original pressing is going to be better than a reissue or later stamper. On this album that is definitely not the case.
TWO AMAZING SIDES, including an A+++ SIDE ONE! It’s not the A&M Half Speed, and it’s not a British pressing either. It’s domestic folks, your standard plain-as-day A&M pressing, and we’re as shocked as you are. Hearing this copy (as well as an amazing Brit; they can be every bit as good, in their own way of course) was a THRILL, a thrill that’s a step up in “thrillingness” over our previous favorite pressing, the Half Speed. (more…)
The last time I played the MoFi I could not believe how ridiculously COMPRESSED it was. On top of that, the midrange is badly sucked out (as is the case with most MoFi’s) making the sound as dead as dead can be. You think 180 gram records are lifeless? Play this piece of crap and see just how bad an audiophile record can sound.
And to think I used to like this version! I hope I had a better copy back in the ’80s than the one I played a few years ago. I’ll never know of course. If you have one in your collection give it a spin. See if it sounds as bad as we predict it will.
Frampton’s first solo album, Wind of Change, was recorded by the well-known engineer Chris Kimsey, who worked with the Stones and others too numerous to mention. To say that the sound of his albums varies considerably would be the understatement of the year. The first album (British only, FYI) is as rich, sweet, and Tubey Magical as practically anything you’ve ever heard (as well as overly tube compressed, its biggest fault).
I unashamedly confess to being a huge Frampton fan to this very day. Wind of Change has been a Desert Island Disc for me ever since I picked up my first copy while still in high school. I bought the first Frampton album as soon as it came out, probably based on a magazine review. Think I paid $3.08 for it; that was the discount price for an album at the little record store I frequented back in those days. It was in Leucadia, CA, not far from where I went to high school. (more…)
Musically The Last Record Album is one of our favorite Little Feat releases, and the recording has many excellent qualities. Prime among them is amazing bass; the bass goes REALLY deep in places (Long Distance Love) and it’s punchy and rich throughout the albumThe problem has always been an overly smooth top end, combined with congestion, smear, and a serious lack of presence. The good news is that if you clean enough copies with the advanced cleaning techniques we’ve developed, and you make enough improvements to your stereo, room, etc., with the right copy you can actually get this album to sound clear AND rich.
This is one of those copies, both clear and rich. It’s one of the best we have ever heard.
Whose Fault Is It?
Most copies of this album are shockingly dull and compressed. On such copies the band itself sounds bored, as if they lack conviction in their own songs.
But it’s not their fault. Whose fault it is is never easy to fathom; bad mastering, bad tapes, bad vinyl, bad something else — whatever it is, that thick, lifeless sound turns this powerfully emotional music into a major snooze-fest. It’s positively criminal but it happens all the time. It’s the reason we have to go through a pile of copies to find one that sounds like this. (more…)