A Top Copy of this Fusion Guitar classic! Both sides are incredibly lively, full-bodied, open and present — the sound, in a word, is HUGE. A great lineup including Chick Corea, Jaco Pastorious, Stanley Clarke, Lenny White, Steve Gadd and more.
If you’ve enjoyed the sonics on one of our Hot Stamper Return To Forever, Weather Report or Santana LPs, I think you’d find a lot to like about this record.(more…)
Romantic Warrior is my favorite JAZZ/ROCK FUSION album of all time. As good as the music is, the sound is even better. This is the Jazz/Rock Demo Disc that stands head and shoulders above the rest. In my experience, no record of this kind is more DYNAMIC or has better BASS. Not one. Demo Disc doesn’t begin to do this kind of sound justice.
Simply put, not only is this one of the greatest musical statements of all time, it’s one of the great recording statements. Few albums in the history of the world can lay claim to this kind of POWER and ENERGY.
But the Super Sound has a purpose, a raison d’etre. This is the kind of music that requires it; better yet, DEMANDS it. In truth, the sound is not only up to the challenge of expressing the life of the music on this album, it positively ENHANCES it.
Those monster Lenny White drum rolls that run across the soundstage from wall to wall may be a recording studio trick, but they’re there to draw your attention to his amazing powers, and it works! The drums are EVERYWHERE on this album, constantly jumping out of the soundfield and taking the music into the stratosphere where it belongs. (more…)
A STUNNING copy of Davis’ superb 1971 release, with Shootout Winning Triple Plus (A+++) sound on all four sides – exceptionally quiet vinyl too
Exceptionally spacious and three-dimensional, as well as relaxed and full-bodied sound that blew away every other copy we played
A wonderful double album of both live and studio-recorded music, featuring numerous jazz greats, including Herbie Hancock, Keith Jarrett and Jack DeJohnette
Pitchfork’s Ryan Schreiber believed it was “easily the most accessible of Miles Davis’ late-’70s electric releases,” describing its music as “at once both sexually steamy and unsettling.” He said the live recordings “run the gamut from barroom brawl action-funk to sensual bedroom jazz magic, creating two hours of charged eccentricity you’ll never forget.”
With a seriously good Double Plus (A++) side one and a side two that’s close to it, this copy has much to recommend it
The band’s debut here is a true Jazz/Rock Fusion Demo Disc with the Big Sound we love here at Better Records
This album was recorded in 1973, only a year after Bitches Brew single-handedly created the genre of Jazz Fusion itself
5 Stars “…a furious, high-energy, yet rigorously conceived meeting of virtuosos that, for all intents and purposes, defined the fusion of jazz and rock…”
This is the first album by the band, recorded only a year after Bitches Brew single-handedly created the genre of Jazz Fusion itself. Or is it better described as an album of Prog Rock without the vocals? Remember, King Crimson had a violinist and not a whole lot of singing too.
Whatever it is, mostly what this music wants to do is rock. And on this copy it rocks like you will not believe. The louder you play it the better it sounds.
The best copies had huge amounts of bottom end weight as well as rich, Tubey Magical grungy guitar tone. Once you’ve heard it sound that way, on the copies without both you’ll notice that the sound falls flat pretty quickly.
It’s hard to think of another record that rocks as hard, and it’s not even a real rock record! We find ourselves playing albums like Zep II and Back in Black for hour after hour, with dozens of copies to get through, and we do it on a regular basis. If anybody knows Big Rock Sound, it’s us. But can we really say that those albums rock any harder than this one?(more…)
On the first track of side one we will happily state for the record: no record rocks harder. When you hear Ponty’s double-tracked violins explode out of each speaker on the first track you will know what we mean when we say this record is as big and as bold a recording statement as any you have ever heard.
It’s yet another triumph from one of our favorite engineers, KEN SCOTT.
This may be jazz, but it’s jazz that ROCKS harder than 98% of the rock records we’ve ever played, and we’ve played thousands. (more…)
Fancy Free makes its Hot Stamper debut here with STUNNING Shootout Winning Triple Plus (A+++) sound from top to bottom
The overall sound here is Tubey Magical, lively and clear, with three-dimensionality that will fill your listening room from wall to wall
Credit must go to Rudy Van Gelder once again for capturing the jazz energy and performance space of this superbly sympathetic ensemble
“1969’s Fancy Free marked the beginning of Donald Byrd’s move away from hard bop, staking out fusion-flavored territory… the rare Donald Byrd album that holds appeal for rare-groove fanatics and traditionalists alike.”
*NOTE: On side one, a tiny mark makes 2 moderately dull pops at the end of track 1, Fancy Free.
If you’re ready to take a mindblowing jazz fusion trip with sonics to match, you should definitely check this one out.(more…)
Incredible sound throughout for this later Blue Note pressing with both sides earning Shootout Winning Triple Plus (A+++) grades
Both of these sides are clean, clear and natural sounding with a lovely bottom end and lots of space around all of the players
Exceptionally quiet vinyl throughout — Mint Minus to Mint Minus Minus
Donald Byrd’s transitional sessions from 1969-1971 are actually some of the trumpeter’s most intriguing work, balancing accessible, funky, Davis-style fusion with legitimate jazz improvisation. Electric Byrd, from 1970, is the best of the bunch, as Byrd absorbs the innovations of Bitches Brew and comes up with one of his most consistent fusion sets of any flavor… indisputably challenging, high-quality fusion.” – 4 1/2 Stars
A distinguished member of the Better Records Jazz Hall of Fame.
TWO AMAZING SIDES ON QUIET VINYL, including an A+++ side one! The sound was positively jumping out of the speakers and dynamic as all get out. The grit, grain and grunge of the typical pressing was nowhere to be found on EITHER side of this copy, and that alone puts it in a very special league. Drop the needle on either side and get ready for some of the most dynamic, wall-to-wall, floor-to-ceiling jam-packed sound ever committed to vinyl.
As we noted on previous Hot Stamper listings of Heavy Weather, we’ve discovered that the key to the hot sounding pressings is a fairly simple one: the copies with high frequency extension and the tremendous energy that results from it are consistently the best sounding. You may have read elsewhere on the site that what separates many of the best Columbia LPs from their competition is an open, extended top end. For some reason, Columbia, more than any other label, seems to have a bad habit of making slightly dull records. Slightly dull does not work on this album.(more…)
FOUR INCREDIBLE SIDES! We had a huge shootout for this famous double album and this copy blew our minds with a pair each of White Hot and Super Hot sides and quiet vinyl throughout. In the high-stakes game of Better Records Double Album Poker, that’s a full house, my man! Sides one and three earned the A+++ grades while sides two and four were close behind at A++. This one gives you the kind of YOU ARE THERE immediacy and transparency that put you front and center for a late ’70s jazzy Joni Mitchell show. Not too many copies will do that!
If you’re a fan of Joni’s more experimental work from the mid to late ’70s, this album is a must-own. She takes a top-notch crew of musicians including Pat Metheny, Jaco Pastorious and Michael Brecker through a set including many of her best album tracks from the era.
Sides one and three were absolutely top-notch, earning the top grade of A+++. The sound is full-bodied, lively and very DYNAMIC. On so many copies the sax sounds thin and hard, but on a Hot Stamper like this one you get fuller, smoother sound for the instrument. Joni’s voice is breathy and present with real texture, and the three-dimensional imaging gives the music a real sense of SPACE — just like you’d get at a concert. This helps convey the intimacy of the songs and the performances, and isn’t that what we audiophiles got in this crazy hobby for in the first place?(more…)
The background vocals on these sides are super-breathy and clear, a far cry from the typically smeary, dark voices we heard on most of the pressings we played, all originals in this case.
More often than not the brass lacks bite and presence, but these sides had the Chicago horns leaping out of the speakers. What is a Chicago record without great horns? Without that big bold sound you may have something, but it sure ain’t Chicago.
The sound of the brass on any Chicago album is key — it has to have just the right amount of transient bite yet still be full-bodied and never blary. In addition, on the best of the best pressings you can really hear the air moving through the horns.(more…)