- Forget the Polydor and EG reissues (and anything that’s come along lately) – these early British pressings are the only way to hear this album sound the way it should
- Contains the rare pre-Crimson Robert Fripp demo of I Talk To The Wind, recorded with a female lead vocalist [which can be found at the end of side one]
- 4 1/2 stars: “…rounded up an excellent, if somewhat idiosyncratic, survey of the group’s seven years together, its contents ranging from the unimpeachable classics to unimaginable rarities… the definitive study of the original King Crimson.”
Sonic Grade: F
You can find this one in our Hall of Shame, along with more than 350 others that — in our opinion — qualify as some of the worst sounding records ever made. (On some records in the Hall of Shame the sound is passable but the music is bad. These are also records you can safely avoid.)
The worst version ever? Could be!
That notorious hack Ron McMaster strikes again.
Rhino Records has really made a mockery of the analog medium. Rhino bills their releases as pressed on “180 gram High Performance Vinyl”. However, if they are using performance to refer to sound quality, we have found the performance of their vinyl to be quite low, lower than the average copy one might stumble upon in the used record bins.
The CD versions of most of the LP titles they released early on are far better sounding than the lifeless, flat, pinched, so-called audiophile pressings they did starting around 2000.
The mastering engineer for this garbage actually has the nerve to feature his name in the ads for the records. He should be run out of town, not promoted as a keeper of the faith and defender of the virtues of “vinyl.” If this is what vinyl sounds like I’d would have switched to CD years ago.
And the amazing thing is, as bad as these records are, there are people who like them. I’ve read postings on the internet from people who say the sound on these records is just fine. It’s sad.
Their Grateful Dead titles sound as bad as the cheapest Super Saver reissue copies I have ever heard. And those are terrible!
- Wind and Wuthering finally returns to the site with outstanding Double Plus (A++) sound from first note to last – exceptionally quiet vinyl too
- This copy has real depth to the soundfield, full-bodied, present vocals, and lovely analog warmth
- Their Masterpiece is still A Trick of the Tail, the album that came out before this one, but Wind and Wuthering certainly has much to offer in the same vein
- 4 stars: “Wind & Wuthering followed quickly on the heels of A Trick of the Tail and they’re very much cut from the same cloth, working the same English eccentric ground that was the group’s stock in trade since Trespass.”
We have struggled like crazy to find copies of the album that are able to present the music as well as this one does. Most of the pressings we’ve gotten our hands on were a disaster, and that includes everything that does not say Made in England on the label.
These UK sides are livelier, more dynamic, more transparent and more present than practically any other copy we played. (more…)
- This KILLER pressing boasts Shootout Winning Triple Plus (A+++) sound on ALL FOUR SIDES
- An album that’s nearly impossible to find with good sound – this UK copy is guaranteed to kill any pressing you’ve ever heard or ever will hear
- Considered by many the high point of Peter Gabriel’s tenure with the band
- 5 stars: “In every way, it’s a considerable, lasting achievement and it’s little wonder that Peter Gabriel had to leave the band after this record: they had gone as far as they could go together, and could never top this extraordinary album.”
Stunning sound on all four sides! This album — and Genesis in general — can be difficult to find good sound for. Most copies struggle — or make you struggle — to get the sense of the material and what the band is trying to accomplish, but when you find a killer pressing such as this one, the complexity and theatricality of the music really WORKS.
Bigger and more present, richer and fuller, with more space and transparency, this copy is doing everything we want the album to do.
Certain tracks — particular the more rocking, guitar-heavy material — are often going to get a little hard in the midrange, but on a good copy the issue is much less apparent and doesn’t get in the way of the music. And the more open, spacious keyboard-based and acoustically driven songs which comprise the bulk of the album can sound really wonderful.
We came across an original British pressing, Porky/Pecko and everything, that was a major letdown sonically. Yes, folks, some pressing that are supposed to be good just aren’t. You got to play them to which is which, and that’s where we come in.
We never assume anything about a record. We play it and find out for a fact how good it sounds. Any other approach will be too error prone to be of any real use, assuming you set high standards for the sound of your records. (more…)
Sonic Grade: Side One: B to B+ / Side Two: C
Many, many years ago (2005?) we wrote the commentary you see below. We can’t say if we would still agree with the sentiments expressed, so take what you read with a grain of salt, and remember that no two records sound the same. If your copy is better or worse on either side it will not come as a surprise to us here at Better Records!
This is a great MOFI! (On side one anyway.) I have to admit I was partly wrong about this pressing. I used to think it was mud. Either the copy I have here is much better than the copy I played years ago, or my stereo has changed. I’m going to guess that it’s the stereo that has changed. I used to like the original American copies of this album and now I hear that they are upper midrangy and aggressive. So my stereo must have been too forgiving in that area, which in turn would have made this MOFI sound too dull.
Side one is as good as I’ve ever heard it outside of the best British originals. [We don’t even buy those anymore. Maybe that’s the problem with this comparison.] Since almost none of those have survived in clean enough condition to be played on modern audiophile turntables, there isn’t much of an alternative to this pressing.
And it should be noted that there is distortion on the tape. It’s on every LP copy and it’s on the CD too. There are cacophonous passages that have what sounds like board overload, mike preamp overload, tape saturation or something of the kind.
Eddie Offord, the recording engineer, is famous for complaining that the boys in the band were totally out of control when it came to adding layer upon layer and track upon track to their recordings, running the risk of such a dense mix that nothing would be heard above the din. He was always fighting a losing battle trying to rein them in. Although he did his best, it appears his efforts failed in some of the musical passages on this album.
So here’s a MOFI I like, but I only really like side one. Side two, although it’s decent enough, errs a little on the smooth, dull side. I have copies in which the guitars have wonderfully extended harmonics and sweeter tone. Some of them are even domestic pressings! On the MOFI there is a “blunting” of the acoustic guitar transients. (more…)
- The band’s 3rd studio album finally makes its Hot Stamper debut here with Shootout Winning Triple Plus (A+++) sound or close to it from start to finish – exceptionally quiet vinyl too
- 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
- Features some of the band’s best rock epics, including “Icarus-Borne on Wings of Steel” and “Mysteries and Mayhem”
- “Musically, Masque foreshadows the tight melodies and instrumental interplay on the next two albums, Leftoverture and Point of Know Return, which together serve as the peak of Kansas’ vision.”
- Stunning sound throughout for this vintage Island Sunray pressing with both sides earning Shootout Winning Triple Plus (A+++) grades or very close to them
- Every bit the sonic equal of the first album – if colorful Big Production Jazzy Prog Rock (with mellotron!) is your thing, you can’t go wrong here
- 4 stars: “Lizard is very consciously jazz-oriented — the influence of Miles Davis (particularly Sketches of Spain) being especially prominent — and very progressive, even compared with the two preceding albums.”
This is probably the last White Hot Stamper pressing you will see on the site for many years to come. Our sources for records such as this — really, anything by the band — have dried up. It is unlikely we will find many new ones. For the time being this is it. Fans of rare records such as this one may want to get while the gettin’ is good. (more…)
- With outstanding Double Plus (A++) sound or BETTER from start to finish, this mind-blowing recording is guaranteed to rock your world
- The transparency, the clarity, the energy, the power – it’s all here on these very special import pressings
- Just listen to how clear the clocks are on Time, how breathy the vocals are on Breathe, how textured the synthesizers are and how silky the top end is from the beginning of the album all the way to the powerful finish
- A Top 100 album (Top Ten actually) and Demo Disc to rival the most amazing sounding records of all time
- 5 stars: “…what gives the album true power is the subtly textured music… no other record defines [Pink Floyd] quite as well as this one.”
This vintage import pressing has the presence, the richness, the size and the energy you always wanted to hear on Dark Side — AND NOW YOU CAN! (more…)
At its best, this album is a Big Speaker Prog-Rock opus with tremendous power and dynamic range, but it takes a special pressing like this one to really bring it to life.
These guys — and by that I mean this particular iteration of the band, the actual players that were involved in the making of this album — came together for the first time and created the sound of Yes on this very album, rather aptly titled when you think about it.
With the amazing Eddie Offord at the board, as well as the best batch of songs ever to appear on a single Yes album, they produced both their sonic and musical masterpiece — good news for audiophiles with Big Speakers!
Drop the needle on this bad boy and you will find yourself on a Yes journey the likes of which you have never known. And that’s what I’m in this audiophile game for. The Heavy Vinyl crowd can have their dead-as-a-doornail, wake-me-when-it’s-over pressings that play quietly. I couldn’t sit through one with a gun to my head. (more…)
- An outstanding vintage UK copy with Double Plus (A++) sound or close to it from first note to last – exceptionally quiet vinyl too (for the most part)
- The best sounding pressing are British reissues, a discovery we made about ten years ago — nothing can touch them
- For those who appreciate the concept, nothing we have played to date can touch them, but tomorrow we could find a stamper with even better sound – who can say what tomorrow may bring?
- Forget the dead-as-a-doornail Heavy Vinyl and the domestic pressings too – only these Brits have the Tubey Magical Midrange that this Pink Floyd album needs
- “Of all of the classic-era Pink Floyd albums, Animals is the strangest and darkest, a record that’s hard to initially embrace yet winds up yielding as many rewards as its equally nihilistic successor, The Wall. Animals is all extended pieces, yet it never drifts — it slowly, ominously works its way toward its destination. For an album that so clearly is Waters’, David Gilmour’s guitar dominates thoroughly …it surges with bold blues-rock guitar lines and hypnotic space rock textures.”
As of 2021, Animals sounds better to us this way:
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