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 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.
A word of caution: Even our Hottest Stamper copies can sound problematical unless your system is firing on all cylinders. Your electricity has got to be cooking, you’ve got to be using the right room treatments, and ideally you should be using a demagnetizer such as the Talisman on the record itself, your cables (power, interconnect and speaker) as well as the individual drivers of your speakers.
This is a record that’s going to demand a lot from the listener, and we want to make sure that you’re up to the challenge. If you don’t mind putting in a little hard work, here’s a record that will reward you many times over, and probably teach you a thing or two about tweaking your gear in the process.
We’d started and abandoned this shootout multiple times in the previous decade; the typical sounding copy was just too painful to listen to, and the better pressings weren’t doing what we had hoped they would. Where was the Tubey Magical analog sound with the HUGE whomp factor that we’d been hearing on the best copies of Fragile and The Yes Album? We just could not find that sound on Close to the Edge.
As futile as our previous attempts were, we decided in 2008 that we would take another stab at it. After all, there had been quite a few changes around here that had the stereo working really well — the addition of the Odyssey Record Cleaning Machine and Walker Enzyme solution to our cleaning process, the Talisman Magnetic Optimizer, the third pair of Hallographs we added years back, tons of smaller tweaks, and a few other tricks that we’re going to have to leave hidden up our sleeves for now.
The Planets Align
Think about it: This is a highly COMPLEX recording, with HUGE organs, light-speed changes, lots of multi-tracking, and what amounts to an OVERLOAD of musical information. Can you imagine how irritating that would sound on a third-rate copy? We didn’t have to imagine it — we lived through it!(more…)