- You’ll find superb Nearly Triple Plus (A++ to A+++) sound on both sides of this copy of the Thompsons’ final album – just shy of our Shootout Winner
- Without a doubt this is the best record Richard and Linda Thompson ever made – for sound and music
- DYNAMIC, huge, lively, powerful and musical – a real Demo Disk – both sides here are guaranteed to rock your world
- A Top 100 album, and clearly Thompson’s Masterpiece of Grungy Guitar Rock
- 5 stars: “Shoot Out The Lights found them rallying their strengths to the bitter end; it’s often been cited as Richard Thompson’s greatest work, and it’s difficult for anyone who has heard his body of work to argue the point.”
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.
We play quite a few original British and domestic copies of this record when we do these shootouts and let me tell you, the sound and the music are so good I can’t get enough of it. Until about 2007 this was the undiscovered gem (by me, anyway) in the Tull catalog. The pressings I had heard up until then were nothing special, and of course the average pressing of this album is exactly that: no great shakes. But with the advent of better record cleaning fluids and much better tables, phono stages and the like, some copies of Thick As A Brick have shown themselves to be AMAZINGLY GOOD SOUNDING. Even the All Music Guide could hear how well-engineered it was.
- An outstanding UK import LP with solid Double Plus (A++) sound from start to finish — exceptionally quiet vinyl too
- This is a True Tull Classic – my favorite by the band – and a VERY tough record to come by with this kind of sound and surfaces this quiet, as quiet as any copy we have ever played
- Both of these sides give you richness, Tubey Magic, clarity and resolution few copies can touch – these are the Hot Stampers, folks
- “Stand Up! has great textural interest, due, in part, to a more sophisticated recording technique, in part to the organ, mandolin, balalaika, etc., which Anderson plays to enrich each song. The band is able to work with different musical styles, but without a trace of the facile, glib manipulation which strains for attention.”
Need a refresher course in Tubey Magic after playing too many modern recordings or remasterings? These Island pressings are overflowing with it. Rich, smooth, sweet, full of ambience, dead-on correct tonality — everything that we listen for in a great record is here. We must give thanks to the brilliant engineer Andy Johns. (more…)
- This outstanding pressing boasts solid Double Plus (A++) sound or close to it from first note to last – a sonic powerhouse and Demo Disc par excellence, with vinyl that’s about as quiet as we can find
- If you’re a fan of BIG DRUMS in a BIG ROOM, with jump-out-of-the-speakers sound, this is the album for you
- A Top 100 album, and Rod’s best music and best recording by far – nothing can touch it
- 5 stars: “It’s a beautiful album, one that has the timeless qualities of the best folk, yet one that rocks harder than most pop music — few rock albums are quite this powerful or this rich.”
This is a superb recording, and on a pressing like this, it is a Demo Disc with little competition (if you have the kind of system designed to play these sorts of records).
Not too many of our Hot Stamper titles are going to ROCK the way this one can. We put it in a class with Led Zep II, Sticky Fingers, Nevermind, and Back In Black — elite company to say the least.
The opening track on side one has drums that put to shame 99% of the rock drum kits ever recorded. The same is true of I Know I’m Losing You on side two. It just doesn’t get any better for rock drumming, musically or sonically. Micky Waller is brilliant throughout. Kenney Jones, who only plays on the show-stopping “(I Know) I’m Losing You”, is clearly out of his mind.
Some of the best rock bass ever recorded can be found here too — punchy, note-like and solid as a rock. If you have the system for it you are going to have a great time playing this one for your friends, audiophiles or otherwise. (more…)
- Outstanding Double Plus (A++) sound or BETTER from start to finish – these vintage Vertigo UK pressings are ridiculously hard to find in this kind of shape with top quality sound
- These early sides are rich, smooth and Tubey Magical yet still relatively clean, clear and spacious
- 5 stars: “Of course, being a rocker at heart, Stewart doesn’t let these songs become limp acoustic numbers — these rock harder than any fuzz-guitar workout. The drums crash and bang, the acoustic guitars are pounded with a vengeance — it’s a wild, careening sound that is positively joyous with its abandon.”
*NOTE: On side one, a mark makes 8 light ticks at the end of Track 4, My Way Of Giving. On side two, a mark makes 6 light ticks at the beginning of Track 4, Jo’s Lament.
Hard to find them quieter than this!
This early Vertigo pressing has the kind of Tubey Magical Midrange that modern records cannot even 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. (more…)
- This is an amazing sounding copy of Faithfull’s debut album in the states
- If you know just how good a top copy of Aftermath can sound, you know what to expect on this side one
- Huge space, Tubey Magic, breathy vocals and “baroque arrangements” – a real audiophile treat
- Top talents such as Andrew Loog Oldham, Gus Dudgeon and Jon Mark lend a hand
This is a Big Production Demo Disc, complete with harpsichords, string players and gorgeous guitars. If you know the sound of 1965 Tubey Magical Pop Reverb, you know what’s in store for you on some of these tracks.
Perhaps Parsley, Sage, Rosemary, and Thyme is the better comparison — that record sounds amazing and so does this one. (more…)
- An outstanding UK copy with solid Double Plus (A++) sound or close to it, and the first copy to hit the site in years – exceptionally quiet vinyl too
- Bigger and bolder, with more bass, more energy, and more of that “you-are-there-immediacy” of ANALOG that set the best vintage pressings apart from reissues, CDs, and whatever else you care to name
- 4 1/2 stars: “… more than simply being a collection of good songs, it allowed Fairport to achieve its greatest internal balance, and indeed one of the finest balances of any major folk-rock group.”
The “haunting, ethereal” vocals of the lovely Sandy Denny (or Alexandra Elene McLean Denny as she’s listed on the sleeve) are sublime here. Some of you may recognize her voice from a ditty called ‘Battle of Evermore’, found on a grayish ’70s rock album that no one even bothered to give a name. Wonder what ever became of that group? No doubt by now their story is lost to the sands of time. I have to say I thought the music was pretty good though.
This vintage Island pressing 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. (more…)
- With Triple Plus (A+++) sound on the first side and solid Double Plus (A++) sound on the second, this copy of Cat Stevens’ brilliant third album will be very hard to beat
- So transparent, open, and spacious, nuances and subtleties that escaped you are now revealed as never before
- 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
- “A delight, and because it never achieved the Top 40 radio ubiquity of later albums, it sounds fresh and distinct.”
So many copies excel in some areas but fall flat in others. This one has it ALL going on — all the tubey magic, all the energy, all the presence and so on. The sound is high resolution yet so natural, free from the phony hi-fi-ish quality that you hear on many pressings. (more…)
Forget the dubby domestic pressings. Like so many British bands on the A&M label, when it came time to master the album for the domestic market, the people in charge (whoever they may have been) took the easy way out and simply ordered up a dub of the master tape to cut the album from.
Spooky Tooth, Procol Harum, Fairport Convention, (my beloved) Squeeze and too many others to think about all had their records ruined by sub-generation masters.
But this is the real British-pressed vinyl from the real master tape, and that makes all the difference in the world. (more…)
- With a seriously good Double Plus (A++) sound from start to finish, this vintage UK stereo pressing has plenty of analog magic in its grooves – exceptionally quiet vinyl too, about as quiet as they can be found
- We guarantee you’ve never heard Girl, I’m Looking Through You, In My Life, Wait, and If I Needed Someone sound better – and that’s just side two
- A Must Own Folk Rock Masterpiece
- 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…)