A superb copy of Electric Ladyland with roughly solid Double Plus (A++) sound on all FOUR sides of this UK import
Forget the Track originals – they can’t hold a candle to the Hot Stamper reissues like the one we are offering here
Big, clear, tubey, sweet ANALOG sound – we played it good and loud and it was ROCKIN’!
Probably the best-recorded of Hendrix’s studio albums – huge studio space and the Tubey Magical richness of analog are key to the best sound
5 stars: “…not only one of the best rock albums of the era, but also Hendrix’s original musical vision at its absolute apex.”
If you’re a fan of Jimi and his band, this UK import of his 1968 classic belongs in your collection.
The complete list of titles from 1968 that we’ve reviewed to date can be found here.
Some of Jimi’s best songs can be found here, including “Crosstown Traffic,” “Voodoo Child (Slight Return)” and his incendiary cover of Dylan’s “All Along The Watchtower.” All four sides have truly killer sound, big and full-bodied with a MUCH better low end than you’ll find on most. You get enough energy and weight to make the rock songs really ROCK, and enough clarity and transparency to bring out the more spacey, psychedelic elements that Jimi and Eddie Kramer worked so hard on.
Ready to go on a trip? You’ve come to the right place. While the sound is not Demo Quality on every track, the acid-drenched soundscapes created by Jimi and producer Eddie Kramer are certainly going to be exciting to the kind of audiophile who still digs Classic Rock. Unfortunately, most copies are missing a lot of the magic — the space, the tubes, the ambience, the size, the weight.
A superb vintage UK copy of the band’s masterpiece – we guarantee the sound is dramatically bigger, richer, fuller, and livelier than any pressing you have ever heard, and on this record that is saying a LOT
A tough record to find in audiophile playing condition – copies without audible marks were not easy to come by
The band’s Magnum Opus, a Colossal Production to rival the greatest Prog, Psych and Art Rock recordings of all time (Whew!)
4 stars: “Thanks to the duo’s uncompromising stubbornness, expansive creative vision, and Dave Bascombe’s final production, The Seeds of Love has dated better than either of its predecessors and is inarguably Tears for Fears’ masterpiece.”
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…)
Pretty quiet if you ask me, all things considered!
This album is 55-years-old, for god’s sake! In those 55 years I’d forgotten how good it is.
“Tuesday Afternoon” is the Perfect Pop Song, with the whole of side two flowing effortlessly from it as each song (each day) is linked by means of the surrounding orchestrations until it reaches its zenith with the climax of “Nights in White Satin.”
The sound is very much a part of the entire experience. The strings of the orchestra sound as sweet as any Decca, the soundstage wide and deep as a symphony. For those of you who still think Mobile Fidelity is the king on this one, here’s a record that demonstrates what a real orchestra sounds like.
Cream ROCKS on this insanely good UK import with KILLER Shoutout Winning Triple Plus (A+++) sound on sides three and four
The power and energy of the live sides is off the charts, since off the charts is the kind of sound that wins shootouts — punchy, open, and spacious with bass and whomp you have never experienced for this music, guaranteed
Everything you’d want sonically from a live Cream recording is present on sides three and four – big-time presence, tons of life, tonal correctness, and loads of tubey magic
4 stars: “…Clapton is at a peak here, whether he’s tearing off solos on a 17-minute “Spoonful” or goosing “White Room” toward the heights of madness. But it’s the architect of “White Room,” bassist Jack Bruce, who, along with his collaborator Peter Brown, reaches a peak as a songwriter…. [I]n many ways Wheels of Fire is indeed filled with Cream’s very best work, since it also captures the fury and invention (and indulgence) of the band at its peak on the stage and in the studio, but as it tries to find a delicate balance between these three titanic egos, it doesn’t quite add up to something greater than the sum of its parts. But taken alone, those individual parts are often quite tremendous.
If you’re a fan of Clapton and the band, this RSO UK import from 1968 belongs in your collection.
The complete list of titles from 1968 that we’ve reviewed to date can be found here.
It’s exceptionally difficult to find even decent sounding copies of this album. We’ve played SCORES of original domestic copies, original imports, and all kinds of reissues over the years, and it’s very rare to find a copy that sounds this good on all four sides.(more…)
This outstanding pressing on the early Stereolab label boasts Double Plus (A++) sound or very close to it on both sides
The overall sound here is rich, full-bodied and lively, with solid and present vocals, as well as excellent clarity all around
A very difficult record to find with good sound and clean surfaces, which is why we rarely have them on the site
4 1/2 stars: “Their full-length debut is their most joyous and cohesive statement and one of the most important and enduring documents of the psychedelic era …”
If you’re a fan of Country Joe, a Hot Stamper pressing of their release from 1967 might just belong in your collection.
Vintage covers for this album are hard to find in clean shape. Most of them will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you.
First, a little background on the general sound of Electric Music For The Mind and Body, the band’s debut and an album that is widely considered a true psych masterpiece. Most copies of the album have an unfortunate tendency to be boosted in the midrange, and on top of that they are often veiled and lack space.
Both sides here do a much better job in these areas than most of what we played, which, frankly, was not too good. These sides may not be perfect but they communicate the music well and that counts for a lot in our world.
And to be fair some of the album is actually quite well-recorded, “Not So Sweet Martha Lorraine” being probably the best sounding (and best arranged) track on the record.
An excellent Columbia pressing with solid Double Plus (A++) sound throughout
These sides are tonally correct, big and bold, with the kind of rich, full-bodied sound that is the hallmark of rock recordings in the early to mid- ’70s
One of the most important records in my growth as an audiophile from 1971 to the present – my stereo was forced to evolve in order to play this kind of Big Production rock, at the loud levels that the album requires to work its magic
No matter how many times you play the album you will hear (and hopefully appreciate) something new in the mix
4 stars: “The leadoff track, ‘One of These Days,’ is a particularly scorching workout, featuring extended harmonica and guitar solos. The production on A Space in Time is crisp and clean, a sound quite different from the denseness of its predecessors [that] has its share of sparkling moments.”
I always knew this great album could sound good, but it’s not often I heard it sound like this!
A Space in Time is just one of the recordings that made me pursue Big Stereo Systems driving Big Speakers, right from my earliest days in audio. You need large dynamic drivers with plenty of piston area – the kind that can move a lot of air – in order to bring the power of the music to life.
If you have big speakers and a penchant for giving the old volume knob an extra click or two, it just doesn’t get any better than A Space In Time.
No matter how many times you play the album you will hear (and hopefully appreciate) something new in the mix. I’ve been playing ASIT for thirty years and I heard lots of things this time around I never knew were there. This is why we keep improving our systems, right? There is never going to be a time when these nearly forty year old recordings have nothing new to offer.
Big, rich and solid on both sides, with a more relaxed, musical quality, as well as the clarity that was missing from most copies we played
“With the exception of harmonium by Abbey Road engineer John Kurlander on ‘Songs of Praise,’ all the instrumentation on Boulders was played by Wood, who also provided all lead, harmony and backing vocals.” – Wikipedia
4 1/2 stars: “An intricate, deliberately idiosyncratic record, assembled piece by piece, Boulders perfectly captures Roy Wood’s peculiar genius, more so than anything else he recorded. All of his obsessions are here — classical music, psychedelia, pre-Beatles pop, pastoral folk ballads, absurdist humor, studio trickery, and good old-fashioned rock & roll — assembled in a gracefully eccentric fashion.”
If you’re a Psych Rock or Art Rock fan, this is a classic from 1973 that belongs in your collection.
With a wonderful combination of Tubey Magical richness and clarity, this Threshold pressing will be very hard to beat
Full-bodied and lush, yet not veiled or distant, this is the sound that brings the Moodies magic to life
4 1/2 stars: “The best-realized of their classic albums, Every Good Boy Deserves Favour was also the last of the group’s albums for almost a decade to be done under reasonably happy and satisfying circumstances — for the last time with this lineup, they went into the studio with a reasonably full song bag and a lot of ambition and brought both as far as time would allow…”
This copy had the BIG, RICH, LUSH British sound that can only be heard on the very best Moody Blues pressings.
Great-sounding Moody Blues albums don’t show up on our site too often — they’re just not that easy to come by.
Dull, veiled, boring sound is the rule, and big, rich, CLEAR sound like this the exception.