- A Live Alive like you’ve never heard, with superb Double Plus (A++) sound or BETTER on all FOUR sides – remarkably quiet vinyl too
- Those of you who are familiar with this record will not be surprised to learn that these shootouts are TOUGH – very few copies are any better than mediocre
- We guarantee there is dramatically more richness, fullness, vocal presence, and performance energy on this copy than others you’ve heard, and that’s especially true if you made the mistake of buying whatever Heavy Vinyl pressing is currently on the market
- “Live Alive is a magnificent double-length showcase for Stevie Ray Vaughan’s guitar playing, featuring a number of extended jams on a selection of most of the best material from Vaughan’s first three albums.. The renditions here sound less polished than the studio versions, with Vaughan’s guitar tone bitingly down and dirty and his playing spontaneous and passionate”
- A vintage Palm Tree pressing with superb Double Plus (A++) sound or close to it on all SIX sides
- Sides two through six are rich, dynamic and natural sounding with low end weight, midrange smoothness and powerful, punchy bass, and side one is not far behind in all those areas
- Features an A-list of brilliant artists, including Van Morrison, Ringo Star, Joni Mitchell, and Muddy Waters, just to name a few
- 4 stars: “It’s the Band’s ‘special guests’ who really make this set stand out — Muddy Waters’ ferocious version of ‘Mannish Boy’ would have been a wonder from a man half his age, Van Morrison sounds positively joyous on ‘Caravan,’ Neil Young and Joni Mitchell do well for their Canadian brethren, and Bob Dylan’s closing set finds him in admirably loose and rollicking form.”
- If you’re a fan of The Band, and what audiophile wouldn’t be?, this triple album from 1978 belongs in your collection
- The complete list of titles from 1978 that we’ve reviewed to date can be found here.
- If you are more interested in the live album The Band recorded in 1972, we may have one in stock
- The band’s 1986 release makes its Hot Stamper debut here with Shootout Winning Triple Plus (A+++) sound or close to it throughout – exceptionally quiet vinyl too
- Rich, full and balanced with Blues-Rock energy to spare, this is a killer copy of a fun album
- “Their breakthrough success. The title track and soul covers point the band in a new, more mainstream direction.”
- An excellent copy with Double Plus (A++) sound on both sides – remarkably quiet vinyl too
- The bass is big, the overall presentation is huge, and the energy is jumpin’ on this early pressing – this is the right sound for SRV’s hard-chargin’ Electric Blues
- 4 stars: “Stevie Ray Vaughan’s second album, Couldn’t Stand the Weather, pretty much did everything a second album should do: it confirmed that the acclaimed debut was no fluke, while matching, if not bettering, the sales of its predecessor, thereby cementing Vaughan’s status as a giant of modern blues.”
Stunning sound for this Stevie Ray classic. Just picture yourself in a blues club. Now imagine the volume being about ten times as loud. This is the kind of music you would hear and it would tend to sound pretty much like this: a bit messy but also real. If you’re one of those audiophiles who likes pinpoint imaging, forget it. They were going for the “live in the studio” sound with this one, which means it’s a bit of a jumble image-wise. But that’s the way you would hear it in a blues club, so where’s the harm?
This copy has excellent presence to the vocals and guitars, keeping in mind that the vocals are usually well back in the mix compared to the guitars, which for a guitarist of SRV’s skills is probably a good thing.
- 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…”
This copy gets Stevie’s room-filling guitar to sound about as rich and powerful as a recording of it can. When playing this record, first make sure the volume is good and loud. Now close your eyes and picture yourself in a blues club, with the volume ten times louder than your stereo will play. Electric Blues played at loud levels in a small club would sound pretty much like this album does, a bit messy but also real.
If you’re one of those audiophiles who insists on precise soundstaging with layered depth and pinpoint imaging, forget it. That’s not in the cards. The producers and engineers were going for the “live in the studio” sound with this one (and most of his other albums it seems), which means it’s a bit of a jumble image-wise.
But that’s the way you would hear it performed live in a club, so where’s the harm? (more…)
- An excellent Liberty LP of Canned Heat’s debut with Double Plus (A++) sound from start to finish
- You won’t believe how rich, Tubey Magical, big, undistorted and present this copy is (until you play it anyway)
- Composed entirely of blues covers such as Muddy Waters’ “Rollin’ and Tumblin’” and Robert Johnson’s “Dust My Broom”
- Problems in the vinyl are sometimes the nature of the beast with these early pressings – there simply is no way around them if the superior sound of vintage analog is important to you
- 4 stars: “The dearth of original material on Canned Heat was less of a result of any songwriting deficiencies, but rather exemplifies their authentic renderings of traditionals such as the open-throttled boogie of ‘Rollin’ and Tumblin”…”
- Big, rich and relatively smooth, here are the wonderfully breathy vocals and Electric Blues energy that are missing from the reissues (including, no doubt, any and all Heavy Vinyl ones)
- Mint Minus Minus throughout – about as quiet as we can find these vintage Stax pressings
- 4 stars: “…the combination of King, members of the legendary Bar-Kays, the Isaac Hayes Movement, and the sparkling Memphis Horns was hardly a risky endeavor… The result was a trim, funk-infused blues sound that provided ample space for King’s oft-imitated guitar playing.”
- This outstanding 360 Stereo pressing boasts solid Double Plus (A++) sound from start to finish
- This copy has the ideal combination of openness and transparency, coupled with the richness and solidity of vintage analog
- When Janis starts singing, watch out – her voice positively JUMPS out of the speakers, something we didn’t hear her do on many of the other copies in our shootout
- Features Try, one of Janis’s All Time Classics — and with these grades you can be sure it sounds positively amazing here
This Columbia 360 Stereo pressing is THE CURE for Dem Ol’ Kozmic Blues!
Drop the needle on the great song Try and just listen to how crisp, punchy, and BIG the drums sound.
The bottom end has real weight and the top end is silky and extended. The overall sound is rich, full, and smooth.
ENERGY is the key element missing from the average copy, but not on this bad boy (or girl if you prefer). The electric guitars are Tubey Magical and the bass is solid and punchy.
On many copies — too many copies — the vocals are pinched and edgy. Here they’re breathy and full — a much better way for Janis to sound. There’s a slight amount of grit to the vocals at times and the brass as well, but the life force on these sides is so strong that we much preferred it to the smoother, duller, deader copies we heard that didn’t have that issue.
On copy after copy we heard pinched squawky horns and harsh vocals, not a good sound for this album. Janis’ voice needs lots of space up top to get good and loud, and both of these sides have it in spades.
Few other copies had this combination of openness and transparency on the one hand, and full, rich tonality on the other. (more…)
- The Original Fleetwood Mac makes it back to the site with incredible Shootout Winning Triple Plus (A+++) sound or very close to it on both sides
- Both of these sides are KILLER – clean, clear, full-bodied and musical with tons of bottom end weight
- This album sounds like Fleetwood Mac is playing live in the studio most of the time, and that is a glorious sound
- 4 stars: “An undeniably strong collection culled primarily from the band’s first incarnation, featuring John McVie, Mick Fleetwood, Peter Green, and Jeremy Spencer.”
The music on this album was recorded when they were still a blues band — tracks left off their early albums for one reason or another.
As is so often the case with unreleased material, these songs do not have that overproduced, too-many-generations-of-tape sound. This sounds like Fleetwood Mac live in the studio most of the time. In other words, awesome. If the drum sound on the first track isn’t enough to convince you this is an amazing sounding record, I don’t know what would.
These British imports are the only way to go. The domestic copies are definitely made from dub tapes. They can sound good, but they never sound this good! (more…)