- Simply phenomenal amounts of Tubey Magic can be heard on every strum of the guitars, along with the kind of richness, body and harmonic coherency that have all but disappeared from modern remasterings.
- Becker and Fagen spared no effort in the recording of this album – the mix is PERFECTION
- A Top 100 Album and our pick for The Best Sounding Steely Dan Recording of Them All
- 5 stars: “Steely Dan made more accomplished albums than Pretzel Logic, but they never made a better one.”
Click on the link below to pull up the many reviews and commentaries we’ve written
Here is the story of my first encounter with a amazing sounding copy of Zep II.
I had a friend who had come into possession of a White Label Demo pressing of the album and wanted to trade it in to me for the Mobile Fidelity pressing that I had played for him once or twice over the years, and which we both thought was The King on that album.
To my shock and dismay, his stupid American copy KILLED the MoFi. It TROUNCED it in every way. The bass was deeper and punchier. Everything was more dynamic. The vocals were more natural and correct sounding. The highs were sweeter and more extended. The whole pressing was just full of life in a way that the Mobile Fidelity wasn’t.
The Mobile Fidelity didn’t sound Bad. It sounded Not As Good. More importantly, in comparison with the good domestic copy, in many ways it now sounded wrong.
Let me tell you, it was a watershed moment in my growth as a record collector. I had long ago discovered that many MoFi’s weren’t all they were cracked up to be. But this was a MoFi I liked. And it had killed the other copies I had heard in the past.
So I learned something very important that day. I learned that hearing a good pressing is the best way to understand what’s wrong with a bad pressing. (more…)
- 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.
- With two outstanding sides each rating a Double Plus (A++) for sound, this copy is guaranteed to rock like no other you’ve ever heard
- The sound is rich, full-bodied and musical with punchy drums and guitar solos that really get LOUD
- 5 stars on Allmusic, and a Top 100 title for its blistering solos that soar into space
- “America was never the same after Carlos Santana discovered the smoldering Afro-Cuban magic of Tito Puente. A sinuous cha cha cha that sounds as if it had been waiting for Santana’s soulful guitar licks to reinvent it, the Puente-penned “Oye Como Va” became the pillar of U.S. Latin rock.” -Rolling Stone
This copy is smooth, sweet, rich, full-bodied, and SUPER dynamic. The vocals are shockingly present and clear, with breath and body like nothing you have ever heard. Just listen to all that room around the drums!
The sound is transparent, open, and spacious, with life and rhythmic energy to spare. The bass is deep, tight, and note-like, exactly what this music needs to REALLY ROCK!
Both sides have an exceptionally big soundfield, which opens up and allows you to appreciate all of the players’ contributions. That’s a BIG deal for this music. For me, a big speaker guy with a penchant for giving the old volume knob an extra click or two, it just doesn’t get any better than Abraxas.
This is a true Demo Disc in the world of rock records. It’s also one of those recordings that demands to be played LOUD. If you’ve got the the big room, big speakers, and plenty of power to drive them, you can have a LIVE ROCK AND ROLL CONCERT in your very own house.
When Santana lets loose with some of those legendary monster power chords — which incidentally do get good and loud in the mix, unlike most rock records which suffer from compression and “safe” mixes — I like to say that there is no stereo system on the planet that can play loud enough for me. (Horns maybe, but I don’t like the sound of horns, so there you go.)
You may have heard me say this before, but it’s important to make something clear about this music. It doesn’t even make sense at moderate listening levels. Normal listening levels suck the life right out of it. You can tell by the way it was recorded — this music is designed to be played back at LOUD levels, and anything less does a disservice to the musicians, not to mention the listener, you. (more…)
- A truly INCREDIBLE import of Zep’s amazing debut with Nearly Triple Plus (A++ to A+++) sound on both sides – this is very close to As Good As It Gets folks, and on quiet vinyl to boot!
- Arguably the biggest, clearest and most Tubey Magical Zeppelin album ever recorded, thanks to the engineering genius of Glyn Johns (and production genius of Jimmy Page, who paid for the whole thing out of his own pocket)
- Just look at the track list – the lucky owner of this LP will be hearing those songs come to life like never before
- 5 stars: “Taking the heavy, distorted electric blues of Jimi Hendrix, Jeff Beck, and Cream to an extreme… But the key to the group’s attack was subtlety: it wasn’t just an onslaught of guitar noise, it was shaded and textured, filled with alternating dynamics and tempos.”
For the real Led Zep magic, you just can’t do much better than their debut — and here’s a copy that really shows you why. From the opening chords of Good Times Bad Times to the wild ending of How Many More Times (“times” start the album and end it too it seems) this copy will have you rockin’ out!
Both sides have THE BIG ZEP SOUND. Right from the start we noticed how clean the cymbals sounded and how well-defined the bass was, after hearing way too many copies with smeared cymbals and blubbery bass.
When you have a tight, punchy copy like this one, Good Times Bad Times does what it is supposed to do — it REALLY ROCKS! With this much life it’s light years ahead of the typically dull, dead, boring copy. The drum sound is PERFECTION.
Drop the needle on Babe I’m Gonna Leave You to hear how amazing Robert Plant’s voice sounds. It’s breathy and full-bodied with in-the-room presence. The overall sound is warm, rich, sweet, and very analog, with tons of energy. Dazed and Confused sounds JUST RIGHT — you’re gonna flip out over all the ambience!
Communication Breakdown sounds superb — the sound of Jimmy Page’s guitar during the solo is shockingly good. (more…)
- With two amazing Shootout Winning Triple Plus (A+++) sides, this original pressing has the analog magic in its grooves
- We love the All Analog Tubey Magical sound of the recording, especially on a copy as rich and full-bodied as this one
- Arguably the best of the solo CSN albums – a founding member of our Top 100 Rock and Pop List and, with grades like these, a True Demo Disc
- 4 1/2 stars: “From the soaring “I Used to Be a King” through the gossamer “Simple Man” to the wah-wah-laden “Military Madness,” the record is filled with gorgeous melodies, flawless singing, and lyrical complexities that hold up decades later.”
When you hear Chicago here you will not believe how cinematic the sound is! It’s everything we love about analog and then some.
Most of the credit must go to the team of recording engineers, led here by the esteemed Bill Halverson, the man behind all of the Crosby Stills Nash and Young albums. Nash was clearly influenced by his work with his gifted bandmates, proving with this album that he can hold his own with the best of the best. Some songs (We Can Change The World, Be Yourself) are grandly scaled productions with the kind of studio polish that would make Supertramp envious. For me, a big speaker guy with a penchant for giving the old volume knob an extra click or two, it just doesn’t get any better.
Others (Sleep Song, Wounded Bird) are quiet and intimate. Their subtlety is highlighted by the big productions surrounding them. This is the rare album in which every aspect of the production, from the arrangements to the final mix, serves to bring out the best qualities in the songs, regardless of scale. (more…)
- With a Triple Plus (A+++) Shootout Winning side two and a superb Double Plus (A++) side one, this copy of Supertramp’s Masterpiece will be very hard to beat
- Ken Scott engineered this one to have Cinerama-sized height, width and depth to rival the best rock albums you’ve ever heard
- Clearly their Magnum Opus, a great leap forward and a permanent member of our Rock & Pop Top 100 Album List
- “The tuneful, tightly played songs, pristine clarity of sound, and myriad imaginative sound effects, helped create an album that Sounds magazine likened to ‘Genesis, The Beach Boys…a smattering of [Pink] Floyd.'”
CONDITION NOTES: A mark at the start of track two makes about twenty light to very light intermittent ticks, with a few a bit louder.
This is engineer Ken Scott’s (and the band’s) MASTERPIECE, but the average copy sure can’t get your blood pumping the way this one will. We’ve long recognized that Crime of the Century is a true Demo Disc in the world of rock recordings, a member of our Rock & Pop Top 100 list right from the get go.
When you hear the guitars come jumping out of your speakers on School or Bloody Well Right you can be sure that you’re playing a very special pressing of a very special recording indeed. (Yes, you need both. That’s why we’re here.) (more…)
The best copies must have one key ingredient that we’ve discovered is absolutely essential if this groundbreaking New Wave album is to come to life — a huge, spacious soundstage.
Some copies are huge; others, not so much. The effect of these size differentials is ENORMOUS. The power of the music ramps up like crazy — how could this recording possibly be this BIG and POWERFUL? How did it achieve this kind of scale? You may need twenty copies to find one like this, which begs the question: why don’t the other 19 sound the way this one does? The sound we heard has to be on the master tape in some sense, doesn’t it? Mastering clearly contributes to the sound, but can it really be a factor of this magnitude?
- This outstanding pressing earned solid Double Plus (A++) grades or BETTER on both sides for its remarkably Tubey Magical sound from start to finish
- This is the vinyl embodiment of the Classic Analog Rock sound we love – smooth, rich, full-bodied, warm, punchy, dynamic and clear
- 5 Stars in Allmusic, Top 100, and a Demo Disc that is guaranteed to knock your socks off
- “It’s a magnificent, style-setting album which saw the Canadian’s elevation to rock hero. For those who like their emotion raw.”
*NOTE: On side one, a mark on the edge makes 9 light to very light tics. On side two, a mark on the edge makes 30 moderately light to light tics at the beginning of Track 1, Oh Lonesome Me.
Vintage covers for this album are hard to find in clean shape. Most of them will have at least some ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG and may be a bit better than that.
Folks, a Hot Stamper collection of the Greatest Rock Records of All Time would not be complete without a knockout copy this album. That’s why it’s been a Better Records All Time Top Ten Title right from the start. (more…)