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…)
This killer early British Island import pressing had two amazing sides, each rating a Triple Plus (A+++) or very close to it
This one is simply bigger, richer, more clear and more Tubey Magical than almost every other copy we heard in our shootout
As quiet as any Island original we’ve ever heard – Mint Minus to Mint Minus Minus – they don’t come quieter
AMG raves that “…Country Life finds Roxy Music at the peak of their powers, alternating between majestic, unsettling art rock and glamorous, elegant pop/rock. Roxy Music rarely sounded as invigorating as they do here.”
Many of the best songs Bryan Ferry ever wrote and Roxy Music ever played are on this album. Musically it’s right up there with the first album and Siren. All three represent the high watermark of early- to mid-’70s Arty Rock.(more…)
The sound on this UK pressing is nothing short of KILLER. It’s big and open with tons of space around the instruments and wonderfully present vocals. Super rich, full and Tubey Magical yet still clean, clear and spacious — good luck finding another copy with sound remotely as good.
Both sides are really rich and sweet with especially Tubey Magical guitars. 1984 (a favorite of ours on David Live) sounds great here. In addition to singing, the man handles sax, Mellotron, and Moog duties on the album, and, most surprisingly, plays practically all of the electric guitar parts.
The title song of course sounds quite good. Rebel Rebel unfortunately does not — we get the feeling that the master tape for that song was used for the single and the album version was made from a dub. Still, it’s better here than it would be elsewhere.(more…)
The music on this album is wonderful. Bowie puts a unique spin on tracks originally played by The Who, The Yardbirds, Pink Floyd and other British rockers. It’s a fun, intriguing album that stands up well to repeated plays. Bryan Ferry did the same thing in 1973 with some of his favorite pop songs. Oddly enough both albums entered the charts on the very same day in November of that year.
The sound is lively and full-bodied with nice transparency throughout. Bowie’s voice sounds correct and the bottom end is huge, as would be expected from anything Ken Scott recorded, and if you don’t believe me check out Baby You’re a Rich Man off MMT.(more…)
Incredible Triple Plus (A+++) sound or close to it on both sides. This is a classic album, but it’s not an easy one to find great sound for. We’ve attempted this shootout multiple times in the past, only to come up empty handed. Most copies are just too beat to play and if they’re not beat they typically sound terrible. But after years of trying, I’m glad to report that we’ve managed to unearth some amazing sound!
It’s very very tough to find good clean copies of this title (same goes for The Slider), let alone copies with White Hot sound, so any fan of the band should probably snap this up.
What amazing sides of this Glam Rock Masterpiece from 1971 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 1971
Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
Natural tonality in the midrange — with all the instruments (and effects!) 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 of course the only way to hear all of the above.(more…)