- This vintage Liberty pressing of Canned Heat’s sophomore album boasts seriously good Double Plus (A++) sound from start to finish – exceptionally quiet vinyl too
- An outstanding copy with hard-rockin’ blues energy, rich, solid bass, open top end, and freedom from congestion
- It’s big, lively, clear and present, with the kind of Tubey Magical richness we flip out for here at Better Records
- 4 1/2 stars: “Canned Heat’s second long-player, Boogie with Canned Heat (1968), pretty well sums up the bona fide blend of amplified late-’60s electric rhythm and blues, with an expressed emphasis on loose and limber boogie-woogie.”
- 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 own whatever Heavy Vinyl pressing is currently on the market
- Not the best recording quality the band ever got — for better sound you have to go with the first four albums, and we would be happy to find them for you, eventually…
- 4 stars on Allmusic and the band’s commercial peak
- “The Allman Brothers Band’s first new studio album in two years shows off a leaner brand of musicianship, which, coupled with a pair of serious crowd-pleasers, ‘Ramblin’ Man’ and ‘Jessica,’ helped drive it to the top of the charts for a month and a half and to platinum record sales.”
The Butterfly and Small Red E labels are so contemptibly thin and harsh they are not worth the vinyl they were pressed on.
You would be much better off with the DCC Gold CD than any of the reissue vinyl we’ve played.
This a Must Own Record, a 1967 recording with unbelievable RAW POWER. Most audiophiles very likely have no idea how well recorded this album is, simply because most pressings don’t do a very good job of translating the energy and life of the master tape onto the vinyl of the day.
The second Doors album is without a doubt one of the punchiest, liveliest, most POWERFUL recordings in the entire Doors catalog, right up there with their debut.
I’m guessing this statement does not comport with your own experience, and there’s a good reason for that: not many copies of the album provide evidence of any of the above qualities. Most pressings are opaque, flat, thin, veiled, compressed and lifeless. They sound exactly the way so many old rock records sound: like any old rock record.
Botnick Knocks It Out of the Park
But this album is engineered by Bruce Botnick. The right pressings give you the kind of low-end punch and midrange presence you hear on Love’s first album (when you play the right gold label originals). Botnick engineered them both, and what’s even more amazing is that The Doors second is in many ways an even better recording than Love’s!
All tube from start to finish, the energy captured on these Hot Stampers has to be heard to be believed. Not to mention the fact that the live-in-the-studio musicians are swimming in natural ambience, with instruments leaking from one mic to another, and most of them bouncing back and forth off the studio walls to boot.
But the thing that caught us most by surprise is how much LIFE there is in the performances on the better Hot Stamper copies. Morrison pulled out all the stops on songs like Love Me Two Times and the last track on the album, When the Music’s Over. Unless you have a very special pressing there is almost no chance you will ever hear him with this kind of raw power.
Top 100? If we could find more than a sporadic few clean, good sounding copies each year it would surely make the list, joining the other three of the band’s first four albums on there now.
- The overall sound here is rich, full-bodied and musical with lots of Tubey Magic and a solid bottom end; the perfect sound for this laid-back blues-rock
- If you like Dire Straits, try this one – J.J. Cale and Mark Knopfler have a lot in common, probably more than you think
- “While Cale remains the ultimate laid-back Blues artist, he still manages to conjure up the spirit of Country, Soul and subdued Funk in each of the tracks on 5, making this album one of the best loved in his catalog.”
- One of the best copies of Eat A Peach to ever hit the site, with KILLER Shootout Winning Triple Plus (A+++) sound or close to it on sides one, three and four
- These superb sides have the immediacy that will put these wild and crazy southern rockers right in your living room
- The heartfelt radio-friendly songs such as “Melissa” and “Little Martha” keep up the energy and add to the enjoyment factor
- 5 stars: “The record showcases the Allmans at their peak, and it’s hard not to feel sad as the acoustic guitars of “Little Martha” conclude the record, since this tribute isn’t just heartfelt, it offers proof of Duane Allman’s immense talents and contribution to the band.”
- If you’re a fan of the band, this title from 1972 is clearly one of their best
- The complete list of titles from 1972 that we’ve reviewed to date can be found here.
What do such high grades give you for this album? Tubey Magical guitars, huge whomp factor on the bottom end, incredible dynamics and life, shocking transparency and clarity, and the kind of immediacy that puts these crazy southern rockers right in your very own living room.
This and Live At Fillmore East are the two most monumental albums these guys ever put out, and they have a lot in common. You know what you’re gonna get with the Allmans: dueling electric guitars, sweet acoustic guitars, energetic drumming, and full-bodied vocals throughout.
There’s obviously a lot of exploration — two complete sides are dedicated to the song “Mountain Jam” — but the heartfelt radio-friendly songs such as “Melissa” and “Little Martha” keep up the energy and provide maximum enjoyment factor.
- This excellent copy of Strange Days boasts Double Plus (A++) sound or BETTER on both sides
- An outstanding-sounding pressing of one of the most difficult-to-find records in the world of Hot Stampers
- Demo Quality sound for so many classics: “When The Music’s Over,” “Moonlight Drive,” “Love Me Two Times,” and more
- “… if The Beatles had Sgt. Pepper’s Lonely Hearts Club and The Beach Boys had Pet Sounds, then The Doors’ answer was Strange Days. This experimentation can be heard in the very first notes of the title track, as Ray Manzarek’s spacey keyboards set the tone for Morrison’s eerie, distorted warning, ‘Strange days have found us.’ It’s the perfect introduction to a perfectly strange album.”
- If you’re a fan of The Doors, this early pressing from 1967 surely belong in your collection
- The complete list of titles from 1967 that we’ve reviewed to date can be found here.
If you’re looking to demonstrate just how good 1967 All Tube Analog sound can be, this copy will can do just that.
It’s spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how anyone seriously contemplated trying to improve it. (more…)
- 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…)
- El Loco makes its Hot Stamper debut here with Shootout Winning Triple Plus (A+++) sound or very close to it throughout
- We guarantee there is dramatically more space, richness, 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
- “El Loco follows through on the streamlined, jet-engine boogie rock of Degüello, but kicking all the ingredients up a notch.”
- If you’re a ZZ Top fan, a killer copy of their album from 1981 belongs in your collection
- These sides are rich and full-bodied with a nice extended top end and tight, note-like bass – Have A Heart is a Demo Quality track
- Some of the sweetest, richest, most ANALOG sound we’ve heard from any record Don Was produced
- 4 1/2 stars: “Producer Don Was used Raitt’s classic early-’70s records as a blueprint, choosing to update the sound with a smooth, professional production and a batch of excellent contemporary songs. In this context, Raitt flourishes; she never rocks too hard, but there is grit to her singing and playing, even when the surfaces are clean and inviting. A great comeback album that made for a great story.”
- With four STUNNING sides, all boasting Shootout Winning Triple Plus (A+++) sound or very close to it, this Pink Label original is guaranteed to blow the doors off any other copy you’ve heard
- This is one of the all-time great live albums, and with a copy like this one YOU ARE THERE at the Fillmore
- The WHOMP factor here kicks up the excitement – here is the low end foundation that lets the extended guitar jams work their magic
- This early label Capricorn pressing plays as quietly as they ever do – even better, it has no audible marks, which makes it a very special copy indeed
- 5 stars: “At Fillmore East is like a great live jazz session, where the pleasure comes from the musicians’ interaction and playing… The pinnacle of the Allmans and Southern rock at its most elastic, bluesy, and jazzy.”
When the music sounds this good, with this kind of rich, musical tonality and big, open soundstage, it just WORKS.
We’ve been looking for great copies of this one forever, but most of them are trashed and don’t sound all that good. A transparent, lively copy like this one really lets everything that’s great about this music come through. You can easily pick out each of the musicians and follow their contributions over the course of the songs.
The huge WHOMP factor throughout kicks up the excitement and sets the necessary foundation for the crazy guitar jams to sound correct. The top end has the kind of extension that brings out the ambience and spaciousness of the recording.
You can really hear the extension on the top end when you listen to the drumming. The cymbals are clear and silky sweet. In fact, the drums on this album are some of the most well-recorded drums I have EVER heard on a live rock record. (more…)