Genres

Junior Wells – It’s My Life

More Electric Blues

More Soul, Blues, and Rhythm and Blues

  • A superb copy of Junior Wells’ recording from Chicago in ’66 (this is the read deal, folks!) with Nearly Triple Plus (A++ to A+++) sound – just shy of our Shootout Winner – exceptionally quiet vinyl too
  • Bigger and bolder, with more bass, more energy, and more of that “you-are-there-immediacy” of a live performance that set the best vintage pressings apart from reissues, CDs, and whatever else might be out there
  • “Cut from the same cloth as Wells’ classic Hoodoo Man Blues LP from the same period, It’s My Life, Baby! captured the Junior Wells-Buddy Guy team in great form, both in the studio and live at Pepper’s Lounge on 43rd Street. This album tends a bit more towards slow blues, including a rare example of Wells’ chromatic harmonica playing on ‘Slow, Slow,’ but there are fine uptempo pieces…”

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Julie London / Your Number Please – Skip the Mono

The mono we played (not pictured) in our shootout did not fare well head to head against the stereo pressings we had on hand.

Yes, it is rich and tubey, and Julie’s voice is solid and full-bodied, but the overall presentation is dark, opaque and small.

How do the mono record lovers of the world find this kind of sound to their liking?  We honestly don’t know.

On today’s modern stereos the mono pressing leaves a lot to be desired, and for that reason, we say Skip the Mono.

For records that we think sound best in mono, click here.

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Barney Kessel – Vol. 3: To Swing Or Not To Swing

More Barney Kessel

More Contemporary Label Jazz Recordings

  • Vol. 3, To Swing Or Not To Swing finally returns to the site with outstanding Double Plus (A++) grades throughout this early Contemporary MONO pressing – reasonably quiet vinyl too
  • Tubey Magic, richness, sweetness, dead-on timbres from top to bottom – this is a textbook example of Contemporary sound at its best
  • For some reason, the guitar sound from this era of All Tube Chain Recording seems to have died out with the times – it can only be found on the best of these vintage pressings, like this one
  • 5 stars: “The unusual repertoire on this set … would by itself make this bop/cool set noteworthy. Add to that a very interesting lineup of players (trumpeter Harry “Sweets” Edison, Georgie Auld or Bill Perkins on tenor, pianist Jimmy Rowles, the rhythm guitar of Al Hendrickson, bassist Red Mitchell, and Shelly Manne or Irv Cottler on drums) … and the overall result is a recording highly recommended to fans of straight-ahead jazz.”

Man, this music is a blast when it sounds this good. I don’t think there’s a whole lot you could do to make this music sound any better! It’s one of the best early mono Contemporary LPs we’ve ever played. It’s so Tubey Magical. Kessel’s guitar sound is out of this world.

The music here matches the sound for excellence. The whole band just swings. There’s a real old rag-timey feel to the songs. Look at this list of all-star players: Harry Edison, Jimmy Rowles, Red Mitchell and Shelly Manne — this is some serious jazz talent.

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Peter Gabriel – Some People Have No Business Reviewing His Records

More of the Music of Peter Gabriel

Reviews and Commentaries for the Music of Peter Gabriel

This commentary was written many years ago after a review I spotted online prompted me to crack open one of the Classic Records 200 gram Peter Gabriel titles and play it. Let’s just say the results were less than pleasing to the ear.

Bernie Grundman had worked his “magic” again and as usual I was at a loss to understand how anyone could find his mastering in any way an improvement over the plain old pressings, even the domestic ones.

I then had a discussion with a reviewer for an audiophile web magazine concerning his rave review for the Peter Gabriel records that Classic pressed.

I just now played one, and it’s not as bad as I thought it would be. But of course it’s not right either.

Not surprisingly, reviewers have a tendency not to notice these things. I’m not exactly sure how these people are qualified to review records when the most obvious tonal balance problems seem to go unnoticed. The Classic is brighter and less rich. This is not the right sound for this music and does the album no favors.

That’s Bernie for you. After all these years. no amount of mischief he does for Classic should surprise me.

A Bad Record Tells You… What?

Which brings up something else that never fails to astonish me. How can an equipment review be trusted when the reviewer uses bad sounding records to evaluate the equipment he is testing? Aren’t we justified in assuming that if said reviewer can’t tell he is listening to a bad record, he probably can’t tell whether the equipment under review is any good either?

Here is a good example of a reviewer raving about a mediocre-at-best pressing in an equipment review.

A bad record tells you nothing about the equipment it is playing on. Worse, it might complement the faults of the gear and end up sounding tonally correct. If you use So Long So Wrong as a test disc, what are you testing for, the hyped-up vocals or the harmonically-challenged guitars?

Tower of Power – Back To Oakland

More Tower of Power

More Soul, Blues, and R&B

  • With solid Double Plus (A++) sound or BETTER from start to finish, this copy was doing just about everything right
  • Our Hot Stamper pressings are rich, warm and dynamic, with plenty of Analog Tubey Magic
  • We guarantee there is dramatically more richness, presence and energy on this copy than anything else around, and that’s especially true for whatever godawful Heavy Vinyl pressing is currently being foisted on an unsuspecting record buying public
  • 4 1/2 stars: “Back to Oakland had tougher, funkier and better-produced cuts, stronger vocals from Lenny Williams, and included an excellent ballad in ‘Time Will Tell,’ and a rousing tempo in ‘Don’t Change Horses (In the Middle of a Stream).'”

We love this funky music and have long been delighted with how wonderful the best pressings can sound. This may be Tower of Power’s best; certainly it’s one of their most consistent and well-recorded.

When you hear it on a Hot Stamper like this, there is little in the recording to criticize. The brass is textured with just the right amount of bite (but not to the point of sounding gritty). In addition, the soundstage is wide and three-dimensional, with the kind of transparency that allows you to hear into the music all the way to the back wall of the studio (assuming your system resolves that kind of information).

The most obvious effect is that all the horns are separated out from one another, not all smeared together, with plenty of space around the drums, guitars and vocals as well. The sound is freely flowing from the speakers, not stuck inside them.

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Bob Dylan – Pat Garrett & Billy The Kid (Original Soundtrack Recording)

More Bob Dylan

More Soundtrack Albums

  • An incredible copy of Dylan’s 1973 soundtrack album with Nearly Triple Plus (A++ to A+++) sound on both sides – just shy of our Shootout Winner
  • This one is doing practically everything right – it’s bigger, bolder, richer and more clean, clear and open than almost anything else we played
  • Includes the hit “Knockin’ on Heaven’s Door,” which charted on the Top 20 and would be famously covered in later years by the likes of Eric Clapton and Guns N’ Roses
  • “This record also proved that Dylan could shoehorn his music within the requirements of a movie score without compromising its content or quality, something that only the Beatles, unique among rock artists, had really managed to do up to that time…”

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Neil Young / Old Ways – Another Anadisq Disaster

More of the Music of Neil Young

More Country and Country Rock

Some time in the 2000s we reviewed this pressing from 1996.

The MoFi is a muckfest, as was to be expected from a record mastered by this awful label during the Anadisq era, the darkest chapter in the disgraceful history of Mobile Fidelity.

We guarantee any Hot Stamper LP will make your MoFI pressing sound like the bad joke it was even as far back as 1996, the stone age in audio, or your money back including shipping.

As of 2015, this label may have entered a new and even more disgraceful era, but considering how bad their records have been from the very start, (something that should be obvious to any audiophile with a high quality playback system, the kind of system that should have no difficulty exposing the manifold shortcomings of their remastered pressings), how much lower can they possibly fall?

Only time will tell!


FURTHER READING on Half-Speeds

Here’s a good question:

How come you guys don’t like Half-Speed Mastered records?

To learn more about records that sound dramatically better than any Half-Speed ever made (with one rare exception, John Klemmer’s Touch), please consult our FAQs:

More Frequently Asked Questions (FAQ)

Below you will find our breakdown of the best and worst Half-Speed mastered records we have auditioned over the years.

Half-Speed Mastered Disasters

Half-Speed Mastered Mediocrities

Half-Speed Mastered Winners

Half-Speed Masters – The Complete List

New to the site? Start here.

The Moody Blues – To Our Children’s Children’s Children

More of The Moody Blues

More Psych Rock

  • An early UK Threshold pressing with lush but clear Tubey Magical Double Plus (A++) sound throughout – exceptionally quiet vinyl too
  • You get richness, fullness and warmth on both of these sides, which is exactly what you want for the Moodies’ music
  • We shot out a number of other imports and this one had the presence, bass, and dynamics that were missing from most other copies we played
  • “It is the fourth of what are popularly considered the group’s “core seven” (or Classic Seven) albums from 1967 to 1972, and as such represents the peak of their career to some.”
  • “There are no extended suites on this album, but Justin Hayward’s ‘Watching and Waiting’ and ‘Gypsy’ have proved to be among the most popular songs in the group’s history.”

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Joni Mitchell / Court And Spark – The DCC LP Is Not Bad!

Reviews and Commentaries for Court and Spark

More of the Music of Joni Mitchell

Sonic Grade: B

The DCC — Not Bad! 

Steve’s version is very musical; it’s rich and natural sounding, which of course makes it very enjoyable. You can do a lot better but you sure can do a lot worse.

Opaque, veiled, lifeless, dull sound is the norm for Court and Spark — most copies are dead as a doornail. If they’re not dead, they’re likely to be thin and gritty.

The DCC is a big improvement over the average domestic pressing. (The original Brit imports are fairly competitive with the DCC; the later Brits with the K catalog numbers suck as a rule.)

The Nautilus Half-Speed is pretty but lifeless, like so many of their pressings. I would grade it about a C. Don’t waste your money.

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Pink Floyd / Meddle – Way Back in 2007 We Discovered the Hottest Stampers of Them All

Reviews and Commentaries for Meddle

Reviews and Commentaries for Pink Floyd

More Breakthrough Pressing Discoveries

This review from 2007 describes our experience of having stumbled upon the right stampers for Meddle. To this day, only precisely these stampers have won the many shootouts we’ve done for the album over the ensuing years, probably a dozen shootouts or more. These stampers are also very hard to find, which is why you have not seen a copy of Meddle hit the site in a while.

To see more albums with one set of stampers that consistently win shootouts, click here.

This Harvest Green Label British Import pressing has a side one that goes FAR beyond anything we’ve ever heard for this album. We had no choice but to award this side one the very rare A with FOUR pluses A++++. We’ve never given any side of any other Pink Floyd record such a high grade, so you can be sure that you’ve never heard them sound this amazing!

We’ve been buying up every clean copy we can find with good stampers since we found our last White Hot Meddle back in March. Unfortunately, most of them left us a bit cold. Most copies just don’t have the kind of magic that we know is on the tape. Beyond that, many of them are too noisy to sell — even the minty looking ones. 

The Best Side One Ever

Side one here is OFF THE CHARTS, OUT OF THIS WORLD, DEMO DISC QUALITY. Everything you’ve ever wanted in a Pink Floyd album is here in generous quantities — transparency, breathy vocals, HUGE bass, warmth, richness, ambience, and depth to the soundfield. A copy like this allows you to hear INTO the music in a way that would never be possible with a lesser pressing. The presence and immediacy are staggering, and the bass is going to blow your mind. There’s TONS of life and energy, and the highs are silky beyond belief. This is tubey magical analog at its best, folks — it’s an A++++ side without doubt. (more…)