Folk Rock, British

Two of Robin Black’s Engineering Masterpieces

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More of the Music of Jethro Tull

Hot Stamper Pressings with Exceptionally Tubey Magical Guitars Available Now

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.

Amazing Acoustic Guitars

Acoustic guitar reproduction is superb on the better copies of this recording. The harmonic coherency, the richness, the body and the phenomenal amounts of Tubey Magic can be heard on every strum.

A Real Gem

When we do these shootouts we play quite a few original copies of the record (the reissues are not worth the vinyl they’re stamped on) and let me tell you, the sound and the music are so good we can’t get enough of it. Until about 2007 this was the undiscovered gem (by TP anyway) in the Tull catalog. The pressings we had heard up until then were nothing special, and of course the average pressing of this album is exactly that: no great shakes.

With the advent of better record cleaning fluids and much better tables, phono stages, room treatments and the like, some copies of Thick As A Brick have shown themselves to be simply amazing sounding. Even the All Music Guide could hear how well-engineered it was.

We Love the Complexity

When you can hear it right, the music really comes to life and starts to work its magic. All the variations on the themes separate themselves out. Each of the sections, rather than sounding repetitive or monotonous, instead develop in ways both clever and engaging. The more times you listen to it the more nuances and subtleties you find hidden in the complexity of the music. (Just the number of time-signature changes on either side is enough to boggle the mind. Of course, if you listen very carefully you can hear that most of them are accompanied by edits, but it’s fun to listen for those too!)

Simply put, the more you play it the better you understand it and the more you will like it. (This is of course true for all good music.)

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Commoner’s Crown

We happened to do the shootout for Thick as a Brick the same week as Commoner’s Crown, and let us tell you, those are two records with shockingly real dynamics in the grooves of the best copies. If you like your music loud — which is just another way of saying you like it to sound LIVE — then the better copies of either album are guaranteed to blow your mind with their dynamic energy and power.

It’s the Engineer?

That can’t be a coincidence, can it? Well, it can, but in the case of these two albums it seems it isn’t. The engineering for both records was done by none other than Robin Black at Morgan Studios. Robin co-produced Commoner’s, takes the main engineering credit, and is solely credited with the mix. He is the sole engineer on TAAB (along with lots of other Tull albums, including Benefit and Aqualung).

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Cat Stevens – Mona Bone Jakon

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More Reviews and Commentaries for Mona Bone Jakon

  • Boasting two seriously good Double Plus (A++) sides, this early A&M pressing of Cat Stevens’ brilliant third album is doing just about everything right
  • So transparent, open, and spacious, nuances and subtleties that escaped you before are now front and center
  • When you play “I Wish, I Wish” and “I Think I See The Light” on this vintage pressing, we think you will agree with us that this is one of the greatest Folk Rock albums of them all
  • One of the most underrated titles on the site – you owe it to yourself to see just how good the album that came out right before Tillerman can be when it sounds this good
  • If you are looking for a shootout winning copy, let us know – with music and sound like this, we hope to be able to do this shootout again soon
  • 4 stars: “A delight, and because it never achieved the Top 40 radio ubiquity of later albums, it sounds fresh and distinct.”
  • We’ve recently compiled a list of records we think every audiophile should get to know better, along the lines of “the 1001 records you need to hear before you die,” but with less of an accent on morbidity and more on the joy these amazing audiophile-quality recordings can bring to your life. Red Clay is a good example of a record most audiophiles may not know well but should.
  • If you’re a fan of Folky Pop, this Cat Stevens album from 1970 is surely a Must Own

So many copies excel in some areas but fall flat in others. This side one has it ALL going on — all the Tubey Magic, all the energy, all the presence and so on. The sound is high-rez yet so natural, free from the phony hi-fi-ish quality that you hear on many pressings, especially the reissues on the second label.

Right off the bat, I want to say this is a work of GENIUS. Cat Stevens made three records that belong in the Pantheon of greatest popular recordings of all time. In the world of Folk Pop, Mona Bone Jakon, Teaser and the Firecat and Tea for the Tillerman have few peers. There may be other Folk Pop recordings that are as good but we know of none that are better.

Mike Bobak was the engineer for these sessions from 1970. He is the man responsible for some of the best sounding records from the early ’70s: The Faces’ Long Player, Rod Stewart’s Never a Dull Moment, The Kinks’ Lola Versus Powerman And The Moneygoround, Part One, (and lots of other Kinks albums), Carly Simon’s Anticipation and more than his share of obscure English bands (of which there seems to be a practically endless supply).

Tubey Magical acoustic guitar reproduction is superb on the better copies of this album. Simply phenomenal amounts of Tubey Magic can be heard on every strum, along with the richness, body and harmonic coherency that have all but disappeared from modern recordings (and remasterings). (more…)

We Don’t Offer Domestic Pressings of Pour Down Like Silver for a Very Simple Reason

More of the Music of Richard Thompson

In spite of the fact that the domestic pressings of this Richard and Linda Thompson classic from 1974 were mastered by the likes of Kendun and Sterling — two of the greatest mastering houses of all time, — they have never impressed us with their sound quality.

The biggest problems with this record would be obvious to even the casual listener: gritty, spitty vocals; lack of richness; bright tonality; lack of bass; no real space or transparency, etc.

The domestic Island pressings did not do nearly as well in our shootout as the best Island imports, no surprise there as the early UK records were mastered by one of our favorite engineers.

Avoid the Carthage pressings mastered by Sterling. They came in last in our shootout.

The domestic breakdown follows:

Black Island Domestic #1

  • Tubey but hot and spitty.

Black Island Domestic #2

  • Flat, dry and hot (glary or bright)

Carthage Domestic recut from 1983, Sterling on both sides

  • So sandy and lean! They really wanted to add some top end.

Defending the Indefensible

When good mastering houses like Kendun and Sterling make bad sounding records, we offer no excuses for their shoddy work. The same would be true for the better-known cutting engineers who’ve done work for them as well as other cutting operations. Individuals working for good companies sometimes do bad work.

How is this news to anyone outside of the sycophantic thread posters, youtubers, and reviewers who write for the audiophile community?

Records are to be judged on their merits, not on the reputations of the companies or individuals making them.

We discussed the apparent distaste some audiophiles have for criticizing the demonstrably bad records made by formerly talented engineers here.

If someone can explain to me why we should like it when cutting engineers do bad work, please contact me at tom@better-records.com.

Want to find your own top quality copy?

Consider taking our moderately helpful advice concerning the pressings that tend to win our shootouts.

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Traffic – John Barleycorn Must Die (Domestic)

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More British Folk Rock

  • An outstanding copy (only the second to hit the sit in two years) with solid Double Plus (A++ ) sound from start to finish
  • These sides have the vintage analog sound we love – they’re full-bodied and smooth, with plenty of Tubey Magic, gobs of studio space, and the right balance of richness and the clarity that is the key to getting top quality sound for John Barleycorn
  • Arguably the band’s best album, certainly their most groundbreaking, original and involving – Low Spark would rank a not-especially-close second
  • “…the band sounds utterly grounded. As the grooves percolate effortlessly along, it becomes clear that unity, not any technical skill, is what makes the music levitate.”
  • This is a Must Own title from 1970, a great year for rock and pop music

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Richard & Linda Thompson / Pour Down Like Silver

More of the Music of Richard Thompson

Reviews and Commentaries for the Music of Richard (and Linda) Thompson

  • An original UK Island pressing with a STUNNING Shootout Winning Triple Plus (A+++) side one mated to a solid Double Plus (A++) side two
  • There’s real Tubey Magic on this album, along with breathy vocals and in-your-listening-room midrange presence
  • Exceptionally present, real and resolving, this pressing is guaranteed to murder any remastering undertaken by anyone – past, present and future
  • 4 1/2 stars: “…those brave enough to look past its dark surface will find a startlingly beautiful album; it’s not an easy album to listen to, but it greatly rewards the effort.”

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Traffic – The Best of Traffic

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More of the Most Tubey Magical Rock Recordings of All Time

For those who wish to find their own Hot Stamper pressings of the album, we say more power to you. Our helpful advice can be found at the bottom of the listing,

  • Best of Traffic finally returns to the site on this original Pink Label Island pressing with STUNNING Shootout Winning Triple Plus (A+++) grades or close to them on both sides – exceptionally quiet vinyl too
  • To find a Pink Label UK pressing that plays this quietly came as quite a shock — the superb sound we expected, but vinyl this quiet from 50 years ago? Amazing
  • Here are the full-bodied mids, punchy lows and clear, open, extended highs that let this 1969 release come alive
  • This amazing compilation boasts superb sound, often better than the very same tracks on many of the original British releases
  • Top 100 and 4 stars: “The entire second side of the LP, comprising ‘Medicated Goo,’ ‘Forty Thousand Headmen,’ ‘Feelin’ Alright,’ ‘Shanghai Noodle Factory,’ and ‘Dear Mr. Fantasy,’ was the kind of progressive rock that would define Traffic and give it its place in the rock pantheon.”

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The Beatles – Rubber Soul

More of The Beatles

Reviews and Commentaries for Rubber Soul

  • Boasting seriously good from start to finish, this vintage UK stereo pressing has the sound of Tubey Magical Analog in its grooves
  • We guarantee you’ve never heard “Girl,” “I’m Looking Through You,” “In My Life,” “Wait,” “If I Needed Someone” and “Run for Your Life” sound better – and that’s just side two
  • A Must Own Folk Rock Masterpiece and permanent member of our Top 100
  • 5 stars: “The lyrics represented a quantum leap in terms of thoughtfulness, maturity, and complex ambiguities. Musically, too, it was a substantial leap forward, with intricate folk-rock arrangements that reflected the increasing influence of Dylan and the Byrds.”

Since this is one of the best sounding Beatles recordings, this could very well be some of the BEST SOUND you will ever hear on a Beatles album.

There’s wonderful ambience and echo to be heard. Just listen to the rimshots on Michelle — you can clearly hear the room around the drum. On the best pressings, Michelle is incredibly 3-D; it’s one of the best sounding tracks on the entire album, if not THE best.

Tubey Magical Acoustic Guitar reproduction is superb on the better copies of this recording. Simply phenomenal amounts of Tubey Magic can be heard on every strum, along with richness, body and harmonic coherency that have all but disappeared from modern recordings, and especially from modern remasterings.  (more…)

Gerry Rafferty – Check Out the the Huge Chorus of The Ark

More of the Music of Gerry Rafferty

Hot Stamper Pressings of Albums with Huge Choruses

Listen to the chorus on the first track, The Ark. On the best copies, it really gets loud without becoming harsh or shrill. So many popular albums have choruses (and guitar solos) that are no louder, and sometimes not even as loud, as the verses, which rob the songs of their drama.

This recording has the potential to give you a dramatic, powerful, loud chorus and it’s a thrill when you find a pressing that delivers on that promise.

One way we know to listen for these volume changes is that we actually play our records good and loud. When a dynamic recording such as this comes along, we have to watch our levels, otherwise, the chorus will overwhelm the system and room.

When playing this copy, be sure to set the level for the chorus of the first track. Everything should play just fine once that setting is correct, as the artist intended.

The double-tracked vocals on Whatever’s Written in Your Heart are a good test for transparency, resolution and Tubey Magic. There should clearly be two voices heard. The richness and the clarity of the best pressings make it possible to have it all.

This is a rock demo disc of the highest order, but only when it’s playing on big speakers at loud levels. That’s what it takes to get City to City to sound the way we hear it in our shootouts.

Starting in the mid-70s, our reference system had to evolve in order to play the scores of challenging recordings that came out in that decade and the two preceding it. Looking back now, it’s clear that City to City, as well as other large scale works, in any genre, informed not only my taste in music but the actual stereo I play that music on.

I’ve had large scale dynamic speakers for close to five decades, precisely in order to play demanding recordings such as City to City and others like it, music I fell in love with all those years ago, and still enjoy the hell out of to this very day.

Want to find your own top quality copy?

Consider taking our moderately helpful advice concerning the pressings that tend to win our shootouts.

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The Pentangle / Pentangling

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More British Folk Rock

  • Boasting INCREDIBLE Shootout Winning Triple Plus (A+++) sound on the second side and solid Double Plus (A++) sound on the first, this vintage UK import pressing had close to the BEST sound we have heard for Pentangle’s shockingly well-recorded music
  • The unprocessed quality found throughout the album has its audiophile credentials fully in order, especially in the area of guitar harmonics, as well as drums that sound like real drums actually sound
  • The true foundation of the music is provided by two legendary guitar heavyweights, Bert Jansch and John Renbourn, with Jacqui McShee’s almost unbearably sweet vocals soaring above them
  • The best material from Pentangle’s amazing first six albums, with sound that’s full of British Analog Tubey Magic that no modern record can begin to reproduce
  • Not many compilation albums offer top quality sound, but this one does, and these are some others
  • This is a Personal Favorite of yours truly, and a Must Own Rock and Pop album from 1973

This album presents the classic 1969 lineup at its best, with superior sonics to boot.

When I was selling audio equipment back in the ’70s this was one of our Demo Discs. The song Pentangling has beautifully recorded drums and string bass. The first track, “I’ve Got A Feeling,” is lovely as well.

Notice how there is nothing — not one instrument or voice — that has a trace of hi-if-ishness. No grain, no sizzle, no zippy top, no bloated bottom, nothing that reminds you of the phony sound you hear on audiophile records at every turn. Silky sweet and Tubey Magical, this is the sound we love here at Better Records. (more…)

Traffic – John Barleycorn Must Die (Pink Label)

More Traffic

More British Folk Rock

  • John Barleycorn Must Die is back on the site after a two year hiatus, here with solid Double Plus (A++ ) sound or BETTER on this original British Island Pink Label pressing
  • These sides have the vintage analog sound we love – they’re full-bodied and smooth, with plenty of Tubey Magic, gobs of studio space, and the richness and the clarity that are key to getting a good sounding John Barleycorn
  • Arguably the band’s best album, certainly their most groundbreaking, original and involving – Low Spark would rank a not-especially-close second
  • “…the band sounds utterly grounded. As the grooves percolate effortlessly along, it becomes clear that unity, not any technical skill, is what makes the music levitate.”
  • This is a Must Own title from 1970, a great year for rock and pop music

(more…)