Yet another in the long list of recordings that really comes alive when you Turn Up Your Volume.
There is a line in the Hot Stamper commentary on the site concerning driving punk rock bass. Man, this record lives or dies by your ability to reproduce the powerful bottom end that propels this music.
Pardon me for cueing up a broken record again, and with all due respect to the things they do well — they must do something well, right? People keep buying them — small speakers and screens are not going to cut it on My Aim Is True. This is precisely the kind of album they don’t do well.(more…)
The sound is lively, punchy, and powerful – with all due respect, it should MURDER whatever copies you may have
A massive step up sonically from most domestic pressings, early or otherwise, and guaranteed to handily beat the imports as well
5 stars: “A phenomenal debut, capturing a songwriter and musician whose words were as rich and clever as his music.”
Yes, it’s lively and has that driving punk rock bass, but what sets this copy apart from the average pressing is the top end — it’s extended, silky and correct. As a consequence, the vocals end up being much more present and natural, with almost none of the grit and spit common to most of the copies anyone is ever likely to come across. (more…)
With a Triple Plus (A+++) Shootout Winning side one and a Double Plus (A++) side two, this copy had some of the best sound we have ever heard for Parallel Lines
The energy and enthusiasm of the band on this Retro Power Pop Classic really comes through here, and that’s not a claim you can make about very many copies
There’s not a bad song to be found anywhere, and lots of great ones: One Way Or Another, Heart Of Glass, Hanging On The Telephone, etc.
5 stars: “Blondie’s best album,” which is actually a bit of an understatement – it’s by far their best album
All the Blondie magic you could ever want is in these grooves. The truly powerful sound of this Power Pop Classic really comes through on this bad boy — and that’s simply not a claim you could make about too many copies out there in record land, which tend to be flat, opaque and compressed. Not so here. This one just plain ROCKS.
Can this kind of music get any better? This album is a MASTERPIECE of Pure Pop, ranking right up there with The Cars first album. I can’t think of many albums from the era with the perfect blend of writing, production and musicianship under the guidance of producer Mike Chapman (The Knack) Blondie achieved with Parallel Lines.
As expected, if you clean and play enough copies of a standard domestic major label album such as Parallel Lines eventually you will stumble upon The One, and boy did we ever. The very best copies in our recent shootout were OFF THE CHARTS with presence, breathy vocals, and punchy drums. On top of that they were positively swimming in studio ambience, with every instrument occupying its own space in the mix and surrounded by air. (more…)
An outstanding early British pressing, with solid Double Plus (A++) sound on both sides
Rich, spacious and lively, with an open, extended top end – this is the sound you want from Tears for Fears
More great songs than practically anything from the ’80s – Shout, Everybody Wants To Rule The World and Head Over Heels, just to name a few
4 1/2 stars: “It is not only a commercial triumph, it is an artistic tour de force. And in the loping, percolating “Everybody Wants to Rule the World,” Tears for Fears perfectly captured the zeitgeist of the mid-’80s while impossibly managing to also create a dreamy, timeless pop classic. Songs From the Big Chair is one of the finest statements of the decade.”
This is a CLASSIC in the Tears for Fears canon, probably the album most people regard as their best. I myself prefer Seeds of Love, which should take nothing away from Big Chair — both are exceptional productions from the ’80s no matter how you look at them.
SFTBC went to Number One on the charts for a reason. There’s really not a bad song on either side and mostly absolutely brilliant ones. (more…)
You’ll find Shootout Winning Triple Plus (A+++) sound or close to it on both sides of this superb pressing
Here’s the midrange magic that’s surely missing from whatever 180g reissue has been made from the tapes (or, to be clear, a modern digital master copied from who-knows-what-tapes)
This is that rare copy with top quality sound and exceptionally quiet vinyl – it plays Mint Minus to Mint Minus Minus, as quiet as they ever do
“Despite its perfunctory nature, however, True Stories is not without its charms… ‘Dream Operator’ is one of the most affecting tunes Talking Heads ever recorded; the closing-credits theme ‘City of Dreams’ is similarly touching.”
Stunning sound for the band’s follow up to Parallel Lines with both sides of this original pressing earning Shootout Winning Triple Plus (A+++) grades or or close to them – exceptionally quiet vinyl too
Turn it up as loud as you want – the top end and vocals are balanced, smooth and tonally correct, not gritty or edgy
The drums and bass of Die Young Stay Pretty are as real sounding as if you were standing five feet from the band
4 1/2 stars: “The British… made Eat to the Beat another chart-topper, with three major hits, including a number one ranking for Atomic and almost the same success for Dreaming.”
This is Mike Chapman’s Big Beat Sonic Masterpiece — yes, the sound is actually bigger and better than the sound on Parallel Lines — akin to the debuts of The Knack and The Cars, and every bit as huge and punchy as either.
Eat to the Beat lives and dies by its energy, its bass and above all by its transient snap. The drums and bass of Die Young Stay Pretty are as real sounding as if you were standing five feet in front of the band. On the best copies it’s hard to imagine that song sounding any better. The drum and bass are massive in their attack. It’s the very definition of punch. (more…)
I’m embarrassed to say we used to like the Rhino Heavy Vinyl version, and in our defense let me tell you why: it was (for the most part) tonally correct, fairly low distortion, and had tight punchy bass.
Boy, Was We Ever Wrong. Now it sounds positively CRUDE and UNPLEASANT next to the real thing — if by “the real thing” you mean an honest to goodness properly mastered, properly pressed copy (also known as a Hot Stamper). Kevin Gray’s crude cutting system did this album no favors.
The average copy of this record is aggressive and unpleasant. The British pressings are mud.
You either have to work very hard to find a good domestic pressing (which means buying, cleaning and playing lots and lots of them), or you have to luck into a good one by accident.(more…)
Insanely good sound throughout — Triple Plus (A+++) on the second side, Double Plus (A++) on the first – we rarely have copies that rock the way this one does
This is one of engineer Bill Price’s better efforts behind the boards, and Chris Thomas’s production is State of the Art
Relatively quiet vinyl throughout this early UK pressing – Mint Minus to Mint Minus Minus
Five Stars: “Few rock & roll records rock as hard or with as much originality as the Pretenders’ eponymous debut album. A sleek, stylish fusion of Stonesy rock & roll, new wave pop, and pure punk aggression, Pretenders is teeming with sharp hooks and a viciously cool attitude.”
What really separated this copy from the pack was the lack of edge on the vocals. It’s not duller — it’s bigger and clearer yet less distorted and cut cleaner than the other sides we played.
Add big bass and dynamics and you have yourself some truly Hot Stamper sound!
Forget the dubby domestic vinyl, these Brit pressings are the only way to go.(more…)
Devo’s superb debut finally returns to the site after more than a year, with outstanding Double Plus (A++) sound on both sides – fairly quiet vinyl too
This pressing is head and shoulders above the pack, with the kind of big, punchy, full-bodied sound this music absolutely demands
Tons of great songs on here, including Uncontrollable Urge, Jocko Homo, Too Much Paranoias, and their killer cover of The Stones’ Satisfaction
4 1/2 stars: “A seminal touchstone in the development of American new wave… had a conceptual unity that bolstered the consistent songwriting, making it an essential document of one of new wave’s most influential bands.”
Let the Devolution begin!
While Devo’s music may never sound as rich, warm, and tubey as the typical classic rock album, that certainly doesn’t mean we need to accept completely anemic, sterile sound for this album. It took a big stack of copies, but here’s one that made us sit up straight, pay attention and enjoy!
Tons of great songs here, including Uncontrollable Urge, Jocko Homo, Too Much Paranoias, and their killer cover of The Stones’ Satisfaction. (more…)