- This vintage copy boasts KILLER Shootout Winning Triple Plus (A+++) sound on side four and seriously good Double Plus (A++) sound on the other THREE sides, and plays about as quietly as any early pressing ever will
- The sound is rich and tubey, with driving energy and the top end and clarity that was simply missing from far too many of the copies we had to work through in order to find this one
- 4 1/2 stars: “Unlike a lot of other ‘coffee table’-type rock releases of the era, such as Woodstock and The Concert for Bangladesh, people actually listened to Mad Dogs & Englishmen – most of its content was exciting, and its sound, a veritable definition of big-band rock with three dozen players working behind the singer, was unique.”
- This excellent UK import copy of A New Flame boasts Double Plus (A++) sound or BETTER from start to finish
- The key qualities for a record from this era are richness, smoothness, naturalness and Tubey Magic — with those, and clarity and presence, you have pretty much everything you need for a top quality pressing
- Simply Red’s third (and in our opinion their BEST) album – this is where it all came together for the band, with “It’s Only Love” and “A New Flame” being the two best tracks the group ever recorded
- Their cover of “If You Don’t Know Me By Now” on side two sounds FANTASTIC
This outstanding UK import pressing has some of the best sound we have ever heard for the album, Simply Red’s third and in my opinion their BEST.
This is where it all came together for the band, especially in the writing department. These songs about love (few popular songs are about anything else when you stop to think about it) harken back to the days when there was such a thing as “Blue-Eyed Soul Music,” a cross between real soul music and the standard radio-friendly pop song. Hall and Oates, Smokey Robinson (not exactly blue-eyed but definitely the right sound); the music of these artists combines pop craftsmanship with real soul.
I love this album. Every track is good; the slow ones are the best but unlike their previous records the uptempo tracks are taken at a more modest and listenable pace. The two tracks that open side one are two of the best the band ever recorded.
- With Double Plus (A++) sound from first note to last, this is an outstanding Palm Tree pressing of Van’s shockingly underrated album from 1970 – fairly quiet vinyl too
- The band is swinging, the material top-notch – “Domino,” “Crazy Face,” “Blue Money” and other classics are right here
- The Best Sounding Van Morrison Album, a classic of 1970 Tubey Magical analog, and his only title to make our Top 100
- “As ‘Domino’ opens the album with a show of strength, ‘Street Choir’ closes it with a burst of both musical and poetic energy which is not only better than anything else on the album but may well be one of Van’s two or three finest songs.” – Rolling Stone
- For Rock and Pop 1970 Might Just Be the Best Year of Them All
This is the album that came out between Moondance (in the same year in fact, 1970) and Tupelo Honey, but for some reason, it don’t get no respect. We think that’s insane — the material on this album is stellar and the sound on the best pressings is out of this world!
Here’s a copy that really makes our case for us. Both sides of this vintage Warner Bros. pressing sound AMAZING! We went through a massive stack of copies and let me tell you — most of them sure don’t sound like this! Take this one home for some of the best Van Morrison sound you will ever hear.
For years I thought that Moondance was the best sounding album in the Van Morrison catalog. His Band And Street Choir is even better. One reason for that would have to be that Robert Ludwig mastered it, and he can usually be counted on to do an excellent job.
ENERGY is the key element missing from the average copy of I Got Dem Ol’ Kozmic Blues Again Mama!, but not on this bad boy (or girl if you prefer). In addition, the electric guitars are Tubey Magical and the bass is solid and punchy.
Drop the needle on the great song Try and just listen to how crisp, punchy, and BIG the drums sound.
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 all the space she needs.
- An early UK Chrysalis pressing of the band’s third studio album with surprisingly rich and natural – dare we say Analog? – Double Plus (A++) sound or BETTER throughout
- Forget the dubby domestic pressings and whatever dead-as-a-doornail Heavy Vinyl record they’re making these days – if you want to hear the Tubey Magic, size and energy of this wonderful Brit Pop album, an import pressing like this one is the only way to go
- “… a set of tunes aimed squarely at the charts. The one that succeeded most spectacularly, of course, was the title cut, a glossily-updated Motown-style ballad that became one of the decade’s biggest hits – aided by a video that cast singer Tony Hadley as a young Frank Sinatra, crooning about the sound of his soul.”
- This is clearly the band’s best sounding album. Roughly 100 other listings for the Best Sounding Album by an Artist or Group (sounds like a Grammy Awards category, doesn’t it?) can be found here.
- In our opinion, True is the only Spandau Ballet record you’ll ever need. Click on this link to see more titles we like to call One and Done
Forget the dubby domestic pressings. Like so many British bands on the Chrysalis label, when it came time to master the album for our domestic market, not theirs, the people in charge (whoever they may have been) took the easy way out and simply ordered up a dub of the tape to send across the pond.
Too many wonderful albums by highly accomplished bands had their records ruined by sub-generation masters. (Ruined for audiophiles. The general public couldn’t care less.)
But this is the real British-pressed vinyl from the real master tape, and that makes all the difference in the world. It has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
- A stunning copy of this Hall and Oates classic from 1982 with a Shootout Winning Triple Plus (A+++) side two, mated with solid Double Plus (A++) sound on side one – mostly quiet vinyl too
- It’s lively, open, and natural – the voices of the two leads sound especially full-bodied, real and tonally correct from top to bottom, which is pretty much all you need to earn top grades in a shootout
- Much more consistent than most of their releases, this one boasts three killer hits including Maneater, Family Man and my All Time Favorite by the band, One on One
- 4 stars: “Private Eyes solidified Hall & Oates’ status as one of the most popular acts in America in the early ’80s, and…… with 1982’s H2O, they capitalized on its success, delivering an album that turned out to bigger than its predecessor, as it climbed higher on the charts and launched three Top Ten singles…”
Of the handful of Elvis albums to ever make it to the site, this is clearly the critics’ favorite, and one listen will tell you why. This is the album that single-handedly revived Elvis’ fortunes, setting the stage for his record-breaking series of shows in Las Vegas doing pretty much the type of music he had recorded for it.
The next year he would go on tour for the first time since 1957 (!).
This is an Older Review.
Most of the older reviews you see are for records that did not go through the shootout process, the revolutionary approach to finding better sounding pressings we developed starting in the early 2000s.
We found the records you see in these listings by cleaning and playing a pressing or two of the album, which we then described and priced according to how good the sound and surfaces were.
We were often wrong back in those days, something we have no reason to hide. Audio equipment and record cleaning technologies have come a long way since those darker days.
Currently, 99% (or more!) of the records we sell are cleaned, then auditioned under rigorously controlled conditions against a number of other pressings, awarded sonic grades, and then condition checked for surface noise.
As you may imagine, this approach requires a great deal of time, effort and skill, which is why we currently have a highly trained staff of about ten. No individual or business without the aid of such a committed group could possibly dig as deep into the sound of records as we have, and it is unlikely that anyone besides us would ever be able to do the kind of work we do.
Every record we offer is unique, and 100% guaranteed to satisfy or your money back.
- This copy of Cocker’s sophomore release boasts excellent Double Plus (A++) sound throughout – exceptionally quiet vinyl too
- It’s the impossibly rare copy with sides that play this quiet, and the first ever to hit the site with our condition grade of Mint Minus to Mint Minus Minus
- Consistently stronger material than his debut – did Cocker ever release an album with more good songs than this one?
- Take a gander at this track listing: “Dear Landlord,” “Bird on the Wire,” “She Came in Through the Bathroom Window,” “Something,” “Delta Lady,” “Darling Be Home Soon” – and there’s plenty more where those came from
- Records like these are getting awfully hard to find these days in audiophile playing condition, which explains why you so rarely see them on the site
- 4 stars: “Cocker mixed elements of late-’60s English blues revival recordings (John Mayall, et al.) with the more contemporary sounds of soul and pop; a sound fused in no small part by producer and arranger Leon Russell, whose gumbo mix figures prominently on this eponymous release and the infamous Mad Dogs & Englishmen live set.”
This is a surprisingly good recording. Cocker and his band — with more than a little help from Leon Russell — run through a collection of songs from the likes of Bob Dylan, Leonard Cohen and the Beatles, and when you hear it on a White Hot Stamper copy it’s hard to deny the appeal of this timeless music.
This album is a ton of fun, with Cocker and his band putting their spin on some of the best songs of the era. You need energy, space and full, rich, Tubey Magical sound if this music is going to sound right, and on those counts these copies deliver. (more…)
- Big, spacious and clear, but also remarkably analog-sounding, with the kind of fullness and richness that’s so rare on records from this era
- “Holding Back the Years” was the big hit (#1), but what really sold me on the album was the band’s cover of The Talking Heads’ “Heaven” – not an obvious choice, and a truly inspired one
- 4 1/2 stars: “The band finds a steady R&B groove reminiscent of ’60s Stax house band the MG’s, and, as with the MG’s, it’s all in the service of a big-voiced soul singer, in this case a British redhead.”
- If you’re a fan of the band’s, this classic from 1985 belongs in your collection.
- The complete list of titles from 1985 that we’ve reviewed to date can be found here.
Finally, Analog Sound for this wonderful music. The average copy of this album may sound like you’re playing a CD, but not this one. Here is the warmth and richness and depth you didn’t know you could find on Simply Red’s Masterpiece (assuming you were even looking).
That flat, opaque, dry CD sound that we all love to hate is nowhere to be found on this pressing.
The domestic pressings can be good, but they sure don’t sound like this killer import.
A recording from 1985 is unlikely to have the Tubey Magic and warmth of an old Columbia. Let’s be serious, the 1980s – unlike the three decades that preceded them — were not known for the naturalness of their recordings. A few would make our Top 100 list (Let’s Dance springs to mind) but the pool of available candidates is shallow, not wide and deep like that of the decades before, in which so many records sound so good we could not begin to squeeze them nto a list limited to merely one hundred. Two hundred would easily make the cut, maybe more.
For the ’80s, it would be hard to come up with even a dozen I should think. Which is neither here nor there. The record must stand or fall on its own merits, not those of other records from the same decade, and fortunately this one stands very tall, with A Triple Plus As Good As It Gets sound on side one and a side two that nearly reaches such rarefied sonic heights. (more…)
- This early Atlantic pressing was clearly bigger, smoother and more open than practically any other copy we played – exceptionally quiet vinyl too
- By far the best sounding record these guys ever made, and for our money nothing in their recorded canon can touch it
- A Better Records favorite, a longtime member of our Top 100, and an absolute thrill when it sounds like this
- The early 4 Digit pressings are the only way to go on this one — all the reissues (including the worst reissue of them all, the MoFi) are terrible sounding
- 5 stars: “Abandoned Luncheonette, Hall & Oates’ second album, was the first indication of the duo’s talent for sleek, soul-inflected pop/rock. It featured the single ‘She’s Gone,’ which would become a big hit in 1975 when it was re-released following the success of ‘Sara Smile.'”
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 accent on morbidity and more on the joy these amazing audiophile-quality recordings can bring to your life.
The list is purposely wide-ranging. It includes some famous titles (Tumbleweed Connection, The Yes Album), but for the most part I have gone out of way to choose titles from talented artists that are less well known (Atlantic Crossing, Kiln House, Dad Loves His Work), which simply means that you won’t find Every Picture Tells a Story or Rumours or Sweet Baby James on this list because masterpieces of that caliber should already be in your collection and don’t need me to recommend them.
Which is not to say there aren’t some well known masterpieces on the list, because not every well known record is necessarily well known to audiophiles, and some records are just too good not to put on a list of records we think every audiophile ought to get to know better.
Out of the thousands of records we have auditioned and reviewed, there are a couple of hundred that have stood the test of time for us and we feel are deserving of a listen. Many of these will not be to your taste, but they were to mine.
Don’t write these guys off as some Top 40 blue-eyed soul popsters from the ’70s that time has forgotten. They are all of the above, but they don’t deserve to be forgotten, if only on the strength of this album. Without question this is their masterpiece. We also consider it a Desert Island Disc and a true Demo Disc.
If you’re looking for a big production pop record that jumps out of your speakers, look no further. This record is ALIVE! Until I picked up one of these nice originals, I had no idea how good this record could sound. For an early ’70s multi-track popular recording, this is about as good as it gets. It’s rich, sweet, open, natural, smooth — most of the time (although the multi-tracked vocals might be a little much on some songs, depending on your front end) — in short, it’s got all the stuff we audiophiles LOVE.