- With two seriously good Double Plus (A++) sides, this copy was one of the best we played in our recent shootout
- Tie Your Mother Down and Somebody to Love are both wonderful sounding on this EARLY British pressing
- It’s incredibly difficult to find big, bold, lively sound like this for Queen – it takes us years to do the shootout
- “Its sleek, streamlined finish is the biggest indication that Queen has entered a new phase, where they’re globe-conquering titans instead of underdogs on the make.”
The best sounding side ones were rarely as good as the best sounding side twos.
Even the good side ones tended to have a trace of harmonic distortion and compression that is simply nowhere to be found on the good side twos. How and why this is we have no idea. Since every copy had the same sonic issues we discounted it in our grading. Only the better copies bring the hits on side one to life and give them the size and power we know they can have. (more…)
- A huge and powerful UK pressing of Supertramp’s Masterpiece, offering outstanding Double Plus (A++) quality sound or BETTER on both sides
- Ken Scott engineered this one to have Cinerama-sized height, width and depth to rival the best albums you’ve ever heard
- Clearly their Magnum Opus, a great leap forward and a permanent member of our Rock & Pop Top 100 Album List – fairly QUIET vinyl too
- “The tuneful, tightly played songs, pristine clarity of sound, and myriad imaginative sound effects, helped create an album that Sounds magazine likened to ‘Genesis, The Beach Boys… a smattering of [Pink] Floyd.'”
This is engineer Ken Scott’s (and the band’s) MASTERPIECE, but the average copy sure can’t get your blood pumping the way this one will. We’ve long recognized that Crime of the Century is a true Demo Disc in the world of rock recordings, a member of our Rock & Pop Top 100 list right from the get go. We admit to being overly impressed with the MoFi back in the ’80s and the Speakers Corner pressing in the ’00s. Our Hot Stamper pressings are guaranteed to handily beat either one and any domestic or import pressing you care to put to the test as well.
When you hear the guitars come jumping out of your speakers on School or Bloody Well Right you can be sure that you’re playing a very special pressing of a very special recording indeed. (Yes, you need both. That’s why we’re here.) (more…)
The best vintage rock recordings usually have something going for them that few recordings made after the ’70s do: their choruses get big and loud, yet stay smooth, natural and uncongested.
We’ve mentioned it in countless listings. So many records have — to one degree or another — harsh, hard, gritty, shrill, congested choruses. When the choruses get loud they become unpleasant, and here at Better Records you lose a lot of points when that happens.
This recording, more specifically this pressing of this recording, has exceptionally big, smooth and natural choruses for many of the songs. Rangers at Midnight comes to mind immediately. Credit our man Shelly Yakus below for really getting the choruses right on this album.
Fun tip: Listen for the Elton John-like piano chords on the first track. Can you name that song? (Hint: it’s on Tumbleweed Connection.)
Shelly Yakus and Andy Abrams are credited with engineering the album at the legendary Record Plant in New York. Yakus is the man behind Tom Petty’s best sounding album, Damn the Torpedoes, an album I expect with join our Top 100 with the next updating. We played a copy of the album in 2014 that really blew my mind; the sound was shocking in its size, power and punch; it was dramatically better than any other Petty record I’d ever played up to that time. (Hard Promises, another Yakus effort, can almost get there but not quite, at least not yet, not on the twenty or so copies I’ve played. Who knows, that one-of-a-kind pressing may just be around the corner, waiting to be discovered in our next shootout. We’ll keep you posted.)
The orchestra (yes, of course there’s an orchestra!) was recorded at the fabled 30th Street Studios; no wonder it sounds so good.
Crack the Sky
I freely admit this band is not for everybody. AMG is correct that the album is not exactly sweetness and light. Of course Dark Side of the Moon isn’t exactly a treatise on positive thinking either. It seems to have held up rather well.
If after listening to the album you feel Crack the Sky is not to your liking feel free to send it back for a full refund. We want you to be happy with every Hot Stamper purchase you make. Every one is guaranteed to satisfy or we gladly take it back, no questions asked.
A Big Speaker Record
Let’s face it, this is a BIG SPEAKER recording. It requires a pair of speakers that can move air with authority below 250 cycles and play at loud levels. If you don’t own speakers that can do that, this record will never really sound the way it should.
It demands to be played LOUD. It simply cannot come to life the way the producers, engineers and artists involved intended for it to if you play it at moderate levels.
We Want Mine
Maybe I Can Fool Everybody (Tonight)
Invaders from Mars
Rangers at Midnight
i. Night Patrol
ii. Let’s Lift Our Hearts Up
Coming as it did after Crack the Sky’s critically acclaimed first album, the darker, more cynical Animal Notes was something of a shock. The grim lyrics are still expressed with a dash of humor, but on the first four songs, the laughs are through clenched teeth.
“We Want Mine,” the opening cut, is a demand from a third-world native for a share of the world’s wealth, a demand he knows will be ignored. “Animal Skins,” which may be the best track on the album, skewers organized religion with bitter wit, and “Maybe I Can Fool Everybody Tonight” is told from the viewpoint of someone who is sure that his success is undeserved.
CBS 30th Street Studio, also known as Columbia 30th Street Studio, and nicknamed “The Church”, was an American recording studio operated by Columbia Records from 1949 to 1981 located at 207 East 30th Street, between Second and Third Avenues in Manhattan, New York City.
It was considered by some in the music industry to be the best sounding room in its time and others consider it to have been the greatest recording studio in history. A large number of recordings were made there in all genres, including Miles Davis’ Kind of Blue (1959), Leonard Bernstein’s West Side Story (Original Broadway Cast recording, 1957), Percy Faith’s Theme from A Summer Place (1960), and Pink Floyd’s The Wall (1979).
Having been a church for many years, it had been abandoned and empty for sometime, and in 1949 it was transformed into a recording studio by Columbia Records.
“There was one big room, and no other place in which to record”, wrote John Marks in an article in Stereophile magazine in 2002.
The recording studio had 100 foot high ceilings, a 100 foot floorspace for the recording area, and the control room was on the second floor being only 8 by 14 feet. Later, the control room was moved down to the ground floor.
“It was huge and the room sound was incredible,” recalls Jim Reeves, a sound technician who had worked in it. “I was inspired,” he continues “by the fact that, aside from the artistry, how clean the audio system was.”
Many celebrated musical artists from all genres of music used the 30th Street Studio for some of their most famous recordings.
Bach: The Goldberg Variations, the 1955 debut album of the Canadian classical pianist Glenn Gould, was recorded in the 30th Street Studio. It was an interpretation of Johann Sebastian Bach’s Goldberg Variations (BWV 988), the work launched Gould’s career as a renowned international pianist, and became one of the most well-known piano recordings. On May 29, 1981, a second version of the Goldberg Variations by Glenn Gould was recorded in this studio, and would be the last production by the famous studio.
Jazz trumpeter Miles Davis recorded almost exclusively at the 30th Street Studio during his years under contract to Columbia, including his album Kind of Blue (1959). Other noteworthy jazz musicians having recorded in this place: Duke Ellington, Dizzy Gillespie, Thelonious Monk, Dave Brubeck.
In 1964, Bob Dylan and record producer Tom Wilson were experimenting with their own fusion of rock and folk music. The first unsuccessful test involved overdubbing a “Fats Domino early rock & roll thing” over Dylan’s earlier, recording of “House of the Rising Sun”, using non-electric instruments, according to Wilson. This took place in the Columbia 30th Street Studio in December 1964. It was quickly discarded, though Wilson would more famously use the same technique of overdubbing an electric backing track to an existing acoustic recording with Simon & Garfunkel’s “The Sound of Silence”.
Check out more of our Hot Stamper pressings made from recordings engineered at the legendary CBS 30th Street Studio
- This outstanding copy of Low boasts superb Double Plus (A++) sound from beginning to end
- Huge amounts of studio space can be heard on this copy, along with the Tubey Magical richness only the best Brit copies can offer
- These British pressings (not originals by the way) play about as quietly as records from the era ever do
- 5 stars on Allmusic for this groundbreaking album recorded with Eno — “Low is a dense, challenging album that confirmed his place at rock’s cutting edge…”
I’ve said it on the site numerous times: I spent a good portion of the ’70s playing Art Rock records like Taking Tiger Mountain, Siren, Crime Of The Century, Deceptive Bends and scores of others. I remember being blown away when Low came out, and with this shootout we had a blast hearing just how good a killer Hot Stamper pressing can sound on the much more highly-evolved stereo system (equipment, room, set-up, tweaks, electricity, etc.) we have today. (more…)
- This Bowie Art Rock Classic from 1976 boasts excellent Double Plus (A++) sound and reasonably quiet vinyl on both sides
- This is a dense, difficult recording to get to sound right, which means you really need Hot Stampers on Station to Station to enjoy it
- Superb presence and energy – the title cut and Golden Years sound wonderful here, as does the classic, radio-friendly TVC 15
- 4 1/2 stars: “… its epic structure and clinical sound were an impressive, individualistic achievement, as well as a style that would prove enormously influential on post-punk.”
Full, punchy and present with a wide open soundstage and powerful dynamics, this is the right sound for this album, and the kind of sound that is not easy to find. (more…)
- This copy of Sheet Music boasts outstanding Double Plus (A++) sound and relatively quiet vinyl too
- Rich, full and balanced with plenty of deep bass and Arty Rock energy, this is a Truly Amazing Demo Disc
- Bassist Graham Gouldman calls it “the definitive 10cc album” and he’s probably right about that (although we love The Original Soundtrack that came out a year later)
- “Three hit singles spun off the record, and most of the other tracks could have followed suit; it says much for Sheet Music’s staying power that, no matter how many times the album is reissued, it has never lost its power to delight, excite, and set alight a lousy day.”
Sheet Music is in our opinion the most consistently well written and produced 10cc album, with every track performed with heart and recorded with exquisite attention to detail. Each song flows into the next and there is simply not a dull moment to be found. Sheet Music is arguably the best record they ever made, although I’m such a fan, I think they’re all great. (The first five albums anyway.) (more…)
Another Classic Records LP debunked.
By the time the guitars at the end of the title track fade out you will be ready to take your heavy vinyl Classic and ceremoniously drop it in a trashcan. (Actually, the best use for it is to demonstrate to your skeptical audiophile friends that no heavy vinyl pressing can begin to compete with a Hot Stamper from Better Records. Not in a million years.)
Over the course of the last 25 years we was wrong three ways from Sunday about our down-and-out friend Aqualung here. We originally liked the MoFi. When the DCC 180g came along we liked that one better, and a few years back I was somewhat enamored with some original British imports. Wrong on all counts. After playing more than two dozen pressings, it’s pretty clear that the right domestic pressings KILL any and all contenders.
Universal 180 Gram LP Debunked
Sonic Grade: F
A Hall of Shame pressing.
This new Universal Super DeLuxe import LP appears to be the regular vinyl version that, for all we know, might actually still be in print in Europe. It appears to have been specially pressed on heavy import vinyl for our domestic market as part of the new Universal Heavy Vinyl series. Either that or it’s being made from the old metalwork for the LP that would have been available most recently in Europe (out of print by now I should think).
Which is a very long-winded way of saying that it is not in any real sense remastered, if such a claim is being made for it or the series. Rather it has simply been repressed on Heavy Vinyl in Europe and imported to the states. None of which is either here nor there because the record is an absolute DISASTER.
- With two seriously good Double to Triple Plus (A++ to A+++) sides, this UK LP is sure to be one of the best sounding Roxy Music records you’ll ever play
- These sides are unbelievably rich and Tubey Magical – Roxy just does not get much better than this!
- We’ve been working on this shootout for over ten years – here is one of the better copies we have to show for our effort
- AMG 5 Stars: “…another extraordinary record from Roxy Music, one that demonstrates even more clearly than the debut how avant-garde ideas can flourish in a pop setting.”
This album is a MASTERPIECE of Art Rock, Glam Rock and Bent Rock all rolled into one. Spacious, dynamic, present, with HUGE MEATY BASS and tons of energy, the sound is every bit as good as the music. (At least on this copy it is. That’s precisely what Hot Stampers are all about.) (more…)