- You’ll find outstanding Double Plus (A++) sound on both sides of this vintage stereo UK pressing
- Forget whatever sleep-inducing Heavy Vinyl record they’re making these days – if you want to hear the Tubey Magic, size and energy of these wonderful sessions from 1967 (some with Syd, some with David), this is the only way to go
- in 2014, Nick Mason named A Saucerful of Secrets as his favorite of Pink Floyd’s studio albums. “I think there are ideas contained there that we have continued to use all the way through our career,” he says. “I think [it] was a quite good way of marking Syd [Barrett]’s departure and Dave [Gilmour]’s arrival. It’s rather nice to have it on one record, where you get both things. It’s a cross-fade rather than a cut.”.
This early Pink Label import pressing boasts Shootout Winning Triple Plus (A+++) sound or close to it on both sides, making this one of the best copies to hit the site in many years, if not THE best.
We used to think that The Best of Traffic had better sound, but in a head to head comparison with this very copy, we were proved WRONG.
Big, full-bodied and lively, with huge amounts of space and off the charts Tubey Magic, the sound here is Hard to Fault.
This is one of the best sounding Traffic records ever made. Musically it’s hit or miss, but so is every other Traffic record, including my favorite, John Barleycorn. The best songs here are Heaven Is In Your Mind, Dear Mr. Fantasy, and Coloured Rain. The first of these is worth the price of the album alone, in my opinion. It’s a wonderful example of late ’60s British psychedelic rock. (more…)
Hits That Are Made from Dub Tapes
The sound of some songs on some greatest hits albums can be BETTER than the sound of those very same songs on the best original pressings.
How can that be you ask, dumbfounded by the sheer ridiculousness of such a statement? Well, dear reader, I’ll tell you. It’s a dirty little secret in the record biz that sometimes the master for the presumptive Hit Single (or singles) is pulled from the album’s final two track master mix tape and used to make the 45 single, the idea being that the single is what people are going to hear on the radio and want to buy, or, having heard it sound so good on the radio, go out and buy the album.
One way or another, it’s the single that will do the selling of the band’s music. This is clearly the case with the albums of Traffic.
Presenting another entry in our extensive Listening in Depth series, with advice on what to listen for as you critically evaluate your copy of Retrospective.
Here are some albums on our site you can buy with similar Track by Track breakdowns.
Extracting all the midrange magic from a legendary album and Desert Island Disc like this should be the goal of every right-thinking audiophile.
Who cares what’s on the TAS Super Disc List? I want to play the music that I love, not because it sounds good, but because I love it.
And if the only way to find good-sounding clean copies of typically poorly-mastered, beat-to-death records like this is to go through a big pile of them, well then, I guess that’s what we will have to do.
We’ve never heard a copy of this album that truly qualifies as a Demo Disc, but some of the songs can sound superb — Kind Woman and I Am A Child come immediately to mind. The recording, like so many from the ’60s, may not be perfect, but it’s so full of midrange magic, ambience and sweetness that the musical values of the recording are communicated effortlessly and completely — assuming you have a good copy.
For What It’s Worth
Almost all copies have surface noise issues at the start of this song.
The aggressive quality of the screaming crowd at the beginning of this track is a dead giveaway of the poor sound found on most pressings. When the screaming is clean, undistorted and extends well up top, you have a contender. Add bass, some tubey magic to the midrange and then you can call it a Hot Stamper.
How hot is another question entirely, but if you get this far, you are definitely in the majors. The typical pressing of this album is strictly bush league.
Sit Down, I Think I Love You
On the best copies the tape hiss is clearly audible and tonally correct; this is the first thing you will notice if you have a Hot Stamper. The second thing is how much the guitars “ring”. On the higher rez copies the guitars have some of the loveliest tone you can find on any Springfield album. (more…)
- An outstanding copy of Trower’s amazingly well recorded Psych masterpiece with solid Double Plus (A++) sound or BETTER on both sides
- This early UK pressing is huge, rich and punchy, with guitar solos that soar like few others you’ve heard
- The title track is on this killer side one – you have never begun to hear it sound like this!
- Brilliant engineering by Geoff Emerick at George Martin’s AIR studios – maybe the best sounding album Emerick ever made
- Top 100 and 4 1/2 stars on AMG: “…his most stunning, representative, and consistent collection of tunes. Bridge of Sighs holds up to repeated listenings as a timeless work, as well as the crown jewel in Trower’s extensive catalog.”
We’d been wandering around in the dark for more than a decade with Bridge of Sighs — that is, until about 2015 when we finally stumbled upon a certain UK Chrysalis pressing in audiophile playing condition.
Now we know just how good this album can sound. How good? Astonishingly good. The three-dimensional space is positively breathtaking on the best UK copies.
There is a substantial amount of Tubey Magic and liquidity on the tape, recalling the kind of hi-rez vintage analog sound that makes the luminous A Space in Time (1971) such a mind-expanding experience. Both albums have the kind of High Production Value sound that we go crazy for here at Better Records.
- The sound is present, lively and tonally correct, with Jim Morrison’s baritone reproduced with the weight, presence, space and depth all but missing from the reissues
- It’s tough (not to mention expensive) to find these early Gold Label pressings with this kind of sound and reasonably quiet vinyl
- “Krieger, Ray Manzarek and John Densmore were never more lucid… This was a band at its most dexterous, creative, and musically diverse …”
Here is THE BIG SOUND that makes Doors records such a thrill to play. Morrison’s vocals sound just right here — full-bodied, breathy and immediate. The transparency makes it possible to easily pick out Bruce Botnick’s double tracking of Morrison’s leads.
For a thrill just drop the needle on Not To Touch The Earth. Halfway through the song the members have sort of a duel — Robbie Krieger wailing on the guitar in one channel, Ray Manzarek pounding on the keyboards in the other, and John Densmore responding with drum fills behind them. On the average copy, the parts get congested and lose their power, but when you can easily pick out each musician, their part will raise the hair on your arms. It’s absolutely chilling, and it will no doubt remind you why you fell in love with The Doors in the first place. Who else can do this kind of voodoo the way that they do?
Check out the piano on Yes The River Knows on side two (such an underrated song!) or the big snare thwacks on Five To One to hear that Hot Stamper magic. The overall sound is airy, open, and spacious — you can really hear INTO the soundfield on a track like Yes The River Knows. The opaque quality that so many pressings of this album suffer from is nowhere to be found here. Not only that, but you will not believe how hard these sides rock. (more…)
- This outstanding pressing boasts solid Double Plus (A++) sound from top to bottom – exceptionally quiet vinyl too
- We guarantee you have never heard Space Cowboy and Brave New World sound remotely as good as they do here
- Engineered by the one and only Glyn Johns – until we heard this specific pressing we had no idea the album could sound as good as this one does
- 4 1/2 stars: “Brave New World was more fully realized, and rocked harder, than the Steve Miller Band’s first two albums.”
- With a nearly Triple Plus (A++ to A+++) side one and a seriously good Double Plus (A++) side two, this British pressing will be very hard to beat – fairly quiet vinyl too
- Released right before the raging bluesy rock of Beggars Banquet and Let It Bleed
- This is some crazy Stones music, with loads of psychedelic madness and a number of catchy tunes
- It’s a lot of fun on a pressing that sounds as good as this one, with the space, clarity and richness that only vintage vinyl can offer in such abundance
- Every one of the original Decca stereo pressings we’ve played has come up short against these recuts from the Seventies
- 4 stars: “Never before or since did the Stones take so many chances in the studio… a fascinating anomaly in the group’s discography”.
This is the Stones at their most experimental, so there are plenty of strange effects and trippy arrangements. Only the best copies manage to make sense of it, but when you find one this music is a lot of fun.
If you’re looking for the raging bluesy rock of Sticky Fingers and Let It Bleed, you’ll find some of that here but also a lot of psychedelia too. You do get some great rockers though — Citadel, 2000 Man, and 2000 Light Years From Home to name a few. She’s A Rainbow is the poppiest song here, and on this copy it sounds WONDERFUL. (more…)
(not as shown)
- You’ll find Shootout Winning Triple Plus (A+++) sound or very close to it – As Good As It Gets in our experience – on both sides of this copy of the band’s sophomore release
- The best pressings with this label (you’ll find out when the record arrives!) are the biggest, most open, most clear, and the least compressed, which makes them especially energetic and fun
- Finding clean copies of Country Joe’s albums is no walk in the park, but here’s one, and it sounds great too
- 4 1/2 stars: “Country Joe & the Fish’s second album, “I-Feel-Like-I’m-Fixin’-To-Die”, is quite similar to their first in its organ-heavy psychedelia with Eastern-influenced melodic lines…”
Some copies we played had more Tubey Magical sound, but that quality comes at a price. Those pressings tend to be crude, with gritty vocals and a noticeable lack of transparency and space.
In other words, they sound pretty much like an old record.
This pressing, on the other hand, gives you much more of what sounds to me like the Master Tape, with less of the bad mastering equipment and bad vinyl coming between you and the music.
We have added some moderately helpful Title Specific advice at the bottom of the listing for those of you want to find your own Hot Stamper pressing
- This stunning two-pack boasts Shootout Winning Triple Plus (A+++) sound on side one and an outstanding Double Plus (A++) side two
- The sound is huge and spacious with richness and Tubey Magic like nothing you’ve heard
- Most copies we played were just too thin and crude-sounding to capture our attention — we played a good-sized stack of copies and these two were the ones that stood out and made the music work for us – and it will be quite a while before we are likely able to find any others
- 5 stars: “… the music reveals itself as exceptionally strong, and Zappa’s politics and satirical instinct have rarely been so focused and relevant, making We’re Only in It for the Money quite probably his greatest achievement.”
Excellent sound for both sides of this wacky album! Any fan of the Mothers should know by now that this isn’t a very sonically impressive recording, but the sound on these Super Hot Stamper sides went far beyond what we heard elsewhere. It was a blast hearing what a serious pressing could do in relation to the mediocre copies I’ve played for so many years. And there are certainly some good sounding parts, but the presentation of the music is so wacky and lo-fi at times that I don’t want to raise expectations to an unreasonable level.
Don’t expect miracles here, nothing is going to turn this album into a stunning Demo Disc. However, those of you who love the music and want to hear what a serious pressing of this insane platter can do should get a kick out of this excellent sounding copy. I don’t think you can find better sound for this album no matter what you do. Your satisfaction is as always 100% guaranteed. (more…)