An outstanding British SYL copy with solid Double Plus (A++) sound for this criminally underrated California Country Rock Classic – exceptionally quiet vinyl for this album, because early UK pressings are almost impossible to find in audiophile playing condition
If you’ve never heard one of these early pressings, you have simply never heard this album sound the way it should
You Never Cry Like A Lover and The Best Of My Love (their first No. 1) offer Glyn Johns magically delicious DEMO DISC quality sound
We’re HUGE fans of the album here at Better Records; it’s some of the most sophisticated, well-crafted, heartfelt music these guys ever made, and that’s saying a lot coming from us – we’ve been big fans for decades
NOTE: *On side one, a mark makes 2 moderately loud pops followed by 1 loud pop and 2 moderatly light ticks at the beginning of Track 2, You Never Cry Like a Lover.
Many of you have probably forgotten how good this album is (assuming you were ever familiar with it in the first place) probably because the typical domestic copy you would have played back in the day is fairly hard on the ears. Most pressings, even the British ones, barely hint at the kind of sound you’ll hear on this vintage UK pressing (the only kind we sell of course).
The LIFE and ENERGY of this pressing are going to knock you right out of your seat. Most copies leave you with a headache, but this one will have you begging to turn up the volume.(more…)
With Triple Plus (A+++) sound on the first side and Double Plus (A++) on the second, this copy has the real Nashville Skyline magic – fairly quiet vinyl too
We guarantee that Bob’s duet with Johnny Cash on this Shootout Winning Triple Plus side one (Girl from the North Country) will blow your mind, or your money back
“Lay Lady Lay,” “To Be Alone With You,” “I Threw It All Away,” “Tonight I’ll Be Staying Here With You” are true country-rock standards
5 stars: “It’s a warm, friendly album, particularly since Bob Dylan is singing in a previously unheard gentle croon — the sound of his voice is so different it may be disarming upon first listen, but it suits the songs.”
With Shootout Winning Triple Plus (A+++) grades or close to them, this copy was giving us KILLER sound for Linda Ronstadt’s Best Album
Both sides here are rich, full-bodied and warm, with harmonically rich guitars and real immediacy to Linda’s heartfelt vocals
A Must Own Classic, the best album Ms Ronstadt ever made, and a True Country Rock Masterpiece virtually without peer
5 stars: “What really makes HLAW a breakthrough is the inventive arrangements that producer Peter Asher, Ronstadt, and the studio musicians have developed. …[they] help turn Heart Like a Wheel into a veritable catalog of Californian soft rock, and it stands as a landmark of ’70s mainstream pop/rock.”
I’ve been playing HLAW since the year it came out, roughly 46 years by my calculation, and I can tell you it is no easy task to find this kind of smooth, sweet, analog sound on the album. Folks, we heard it for ourselves: the Heart Like A Wheel magic is here on practically every song.
Pay special attention to Andrew Gold’s Abbey Road-ish guitars heard throughout the album. He is all over this record, playing piano, guitar, percussion and singing in the background. If anybody deserves credit besides Linda for the success of HLAW, it’s Andrew Gold.
A key test on either side was to listen to all the multi-tracked guitars and see how easy it was to separate each of them out in the mix. Most of the time they are just one big jangly blur. The best copies let you hear how many guitars there are and what each of them is doing.(more…)
We audiophiles have a soft spot for female vocals. It’s a sound that a high end stereo — practically any high end stereo — reproduces very well.
But why do some audiophiles listen to poorly recorded junk like Patricia Barber and Diana Krall? Their recordings are DRENCHED in digital reverb. Who is his right mind wants to hear the sound of digital reverb?
Rickie Lee Jones may not be my favorite female vocal of all time, but at least you can make the case for it as a Well Recorded Vocal Album. It’s worlds better than anything either of the above-mentioned artists have ever done.
The MoFi pressing of Alison Krauss (5276) is a disaster in the vocal department too.
Audiophiles for some reason never seem to notice how bad she sounds on that record. Can’t make sense of it. Any of the good Sergio Mendes records will show you female vocals that practically have no equal. Our best Hot Stampers bring the exquisite vocal harmonies of Lani Hall (aka Mrs. Herb Alpert) and Janis Hansen right into your living room. Why bother with trash like this Mobile Fidelity?
This is the record you bothered to take a photo of and post next to your front end? Something is wrong somewhere.
A distinguished member of the Better Records Rock and Pop Hall of Fame.
The presence and immediacy here are outstanding. Turn it up and Willie is right between your speakers, putting on the performance of a lifetime. He’s clearly one of our favorite male vocalists, and this superb copy will show you why.
The sound is big, open, rich and full. The highs are extended and silky sweet. The bass is tight and punchy. And this copy gives you more life and energy than others big time.
The first Hot Stamper copy of this great album to ever hit the site and it’s one for the ages. It’s taken us a long time to pull together enough clean copies to make this shootout happen. Boy, was it worth all the trouble.
This original Columbia LP also has the MIDRANGE MAGIC that’s missing from The Typical Modern 180 Gram Reissue. This record is dramatically more real sounding than anything that’s been remastered for the audiophile market in years.(more…)
With two seriously good Shootout Winning Triple Plus (A+++) sides, this was far better than every other copy we played it against
Both of these sides are incredibly rich and full-bodied, with lots of deep punchy bass and excellent separation – thanks Donn Landee
Contains contributions from such guest musicians as Maria Muldaur, Ry Cooder, and Curtis Mayfield
4 1/2 stars on Allmusic: “The Doobie Brothers’ rootsiest album to date, Stampede was virtuoso soulful countrified rock of a gritty nature, crossing over into blues as well as reaching back to a raw, traditional rock & roll sound that wouldn’t have sounded too out of place 20 years earlier.”
The average copy of this album is compressed and congested, recessed and veiled, grainy and thin; in other words, it sounds like an old Doobie Brothers album. It takes a copy like this to show you just how good the Master Tape must really be. And if we hadn’t had plenty of copies to play with, we would never have found this one!(more…)
KILLER sound from start to finish with both sides earning Nearly Triple Plus (A+++) grades, right up there with our Shootout Winner
Big, rich, tubey and open, this is some of the best sound Columbia achieved for its country records in the ’60s
The vocal presence and freedom from coloration will put a very real sounding Johnny Cash front and center in your listening room
“What is interesting about this album, though, is that it doesn’t just remind us of the sound of Johnny’s past, instead it points the way forward to the future, even serving as a template for his ultimate Man in Black persona.”
An outstanding copy of the band’ fifth studio album with solid Double Plus (A++) sound from first note to last
Forget whatever dead-on-arrival Heavy Vinyl record they’re making these days – if you want to hear the Tubey Magic, size and Southern Rock Energy of this surprisingly well recorded album from 1977, this is only the way to go
4 1/2 stars: “… it’s a hell of an album. The band springs back to life with the addition of guitarist Steve Gaines, and Van Zant used the time off the road to write a strong set of songs… If the original band was fated to leave after this record, at least they left with a record that serves as a testament to Skynyrd’s unique greatness.”