A STUNNING ‘Triple Triple’ (A+++) copy with the kind of energy, body and punch this music needs
Easily the group’s best sounding studio recording and especially impressive on a copy like this
Cue up Midnight Rider or In Memory Of Elizabeth Read to hear the Allman Brothers magic in these grooves
5 stars “The best studio album in the group’s history, electric blues with an acoustic texture, virtuoso lead, slide, and organ playing, and a killer selection of songs, including “Midnight Rider,” “Revival,” “Don’t Keep Me Wonderin’,” and “In Memory of Elizabeth Reed”…”
Drop the needle on Midnight Rider or In Memory Of Elizabeth Read to hear what this copy can do. You get lots of extension both up top and down low that make the overall sound far more engaging and musical than what you’d hear on most copies.(more…)
An excellent copy of the band’s debut, with seriously good Double Plus (A++) grades on both sides and reasonably quiet vinyl, especially on side one
Forget whatever dead-as-a-doornail Heavy Vinyl record they’re making these days – if you want to hear the Tubey Magic, size and energy of this wonderful album, a vintage pressing like this one is the way to go
4 1/2 stars: “This might be the best debut album ever delivered by an American blues band, a bold, powerful, hard-edged, soulful essay in electric blues with a native Southern ambience. There isn’t a bad song here, and only the fact that the group did even better the next time out keeps this from getting the highest possible rating.”
This album has some of the ABB’s very best music and on a copy like this, sonics, but man is it tough to find a good one. We’ve been picking these up for years and the fact that it took us until 2016 to get any copy at all on the site should tell you something.
Here’s a perfect example of an album that’s so mediocre on the average pressing that we had practically given up hope of hearing the record sound good. But we’re not ones to run away from a challenge, so we kept picking up copies, figuring out a few things in the process. Eventually, we made real progress and today we can proudly post a copy that’s beyond worthy of Hot Stamper status.(more…)
If you want to hear what happens when five virtuoso instrumentalists manage to combine their talent for Jazz, Rock, Classical and Country (thanks god there aren’t any vocals) into a potent mix that defies classification and breaks all the rules, this is the one. It reminds me of Ellington’s famous line that there are only two kinds of music: good music and bad music. This is the kind of music you may have trouble describing, but one thing’s for sure — it’s good. In fact it’s really good.
This is the most AMAZING album the Dregs ever recorded, and now this wild amalgamation of rock, jazz, country, prog and classical music has the kind of sound I always dreamed it could have. It’s rich and smooth like good ANALOG should be. It’s also got plenty of energy and rock and roll drive, which is precisely where the famous half-speed falls apart.
Few audiophiles know this music, and that’s a shame. This record is just a delight from beginning to end.
I’m apparently not the only one who noticed how good the album is. In 1980 Dregs of the Earth received a Grammy nomination for Best Rock Instrumental Performance. (more…)
Amazing sound from start to finish with both sides coming in just shy of our big Shootout Winner — nearly White Hot (A++ to A+++) throughout
Both sides here are incredibly big, full-bodied and spacious with a punchy bottom end and tons of energy
“The Allman Brothers came first, but Lynyrd Skynyrd epitomized Southern rock… Produced by Al Kooper, there are few records that sound this raw and uncompromising, especially records by debut bands… the band rocks like a motherf*cker. It’s the birth of a great band that birthed an entire genre with this album.” – All Music, 5 Stars
These Nearly White Hot Stamper pressings have top quality sound that’s often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers (“relative” being relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don’t agree, please feel free to return the record for a full refund, no questions asked.
This vintage original Sounds of the South/MCA yellow label pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.(more…)
Clean copies of the album are rare enough as it is; good sounding clean copies are as rare for this title as for practically any we offer.
Fortunately we’ve made some strides of late finding the “right’ pressings for this band, and with better cleaning technologies we are finding that the better copies such as this one are sounding the way we want our Creedence records to sound.
Note that the Hoffman reissues and the MoFi pressing sound nothing like the Creedence records we all grew up with, and records that sound that enervated, small, lifeless and boring just can’t be what audiophiles want, can they?
Those of you who have been watching the site for a while have probably noticed that we hardly ever list Hot Stamper copies of Creedence records. That’s because it is DARN NEAR IMPOSSIBLE to find copies that sound any good, a fact that many of you have probably stumbled upon on your own.
The typical copy of this album is grainy, murky, and veiled — and that’s just for starters. It took us a HUGE stack of copies to find ANY that had bottom end weight, midrange presence, freedom from grain (mostly) and real energy.(more…)
One of the best copies of Eat a Peach to ever hit the site – Triple Plus (A+++) sound or close to it on ALL FOUR SIDES!
These superb sides have the immediacy that will put these wild and crazy southern rockers right in your living room
Includes phenomenal hits Melissa, One Way Out, Blue Sky, Ain’t Wastin’ Time No More and more
5 stars: “The record showcases the Allmans at their peak .. proof of Duane Allman’s immense talents and contribution to the band.”
What do such high grades give you for this album? Unbelievably Tubey Magical guitars, huge whomp factor on the bottom end, incredible dynamics and life, shocking transparency and clarity, and the kind of immediacy that puts these crazy southern rockers right in your very own living room. The overall sound is impressively BIG, BOLD, and POWERFUL!(more…)
THE ALLMAN’S MASTERPIECE CONQUERED AT LAST! I don’t think you could find a more tubey magical Southern Rock record than this! We just shot out a huge stack of these double LPs, no mean feat, and this Original Capricorn pressing manhandled the competition, rating A++ or better on ALL FOUR SIDES. Not only that, but the vinyl plays mostly Mint Minus throughout — exceptionally quiet for an old Allman Brothers record.
This and Live At Fillmore East are the two monumental albums these guys ever put out, and they have a lot in common. You know what you’re gonna get with the Allmans: dueling electric guitars, sweet acoustic guitars, energetic drumming, and full-bodied vocals throughout. There’s obviously a lot of exploration — two complete sides are dedicated to the song Mountain Jam — but the heartfelt radio-friendly songs such as Melissa and Little Martha keep up the energy and enjoyment factor.
The Three Keys: Transparency, Energy, and WHOMP
A super transparent, super lively copy like this one really lets everything that’s great about this music come through. You can easily pick out each of the musicians and follow their contributions over the course of the songs. The huge WHOMP factor throughout kicks up the excitement factor and sets the necessary foundation for the crazy guitar jams to sound correct. The top end has the kind of extension necessary to bring out all the ambience and spaciousness.(more…)
There was a time when we never dreamed we’d find a copy of this hard rockin’ live album with SUPERB SOUND and QUIET VINYL on all four sides, but we got a hold of a seriously hot one here! This is one of the all-time great live albums, and with a copy like this one YOU ARE THERE at the Fillmore!
A+++, huge and lively with real rock energy! The guitars really jump out of the speakers here and the bass is solid and full. When the music sounds this good, with this kind of rich, musical tonality and big, open soundstage, it just WORKS. A+++, White Hot Stamper material all the way!(more…)
A KILLER Shootout Winning Triple Plus (A+++) copy – you won’t find better sound for this band on vinyl
Proud Mary and Good Golly Miss Molly are absolute MONSTERS on this early pressing – you will be floored
Our pick for the best sounding CCR recording – when you have a copy that sounds like this one, and, trust me, a copy as good sounding as this one is tough to find
4 1/2 stars: “All the songs add up to a superb statement of purpose, a record that captures Creedence Clearwater Revival’s muscular, spare, deceptively simple sound as an evocative portrait of America.”
It’s beyond tough to find copies that aren’t bright, gritty, grainy or edgy — that’s how most Creedence records sound I’m afraid — but here’s a Bayou Country that’s fairly smooth, exceptionally lively, mostly transparent and just plain rockin’ enough to make your day.(more…)
KILLER Triple Plus (A+++) sound from the first note to the last – it doesn’t get any better than this folks!
The sound is incredibly present and punchy with great clarity, excellent bass, freedom from grain and real swamp rockin’ energy
So many great songs: Run Through the Jungle, Lookin’ Out My Back Door, Who’ll Stop the Rain, etc.
A 5 star album and arguably the best record the band ever made: “…an album made during stress and chaos, filled with raging rockers, covers, and intense jams…”
We’ve made some strides of late (in 2015 as a matter of fact) finding the “right’ pressings for this band on some of their albums, especially this one, and with improved cleaning technologies we’re finding that the better copies such as this one are sounding the way we want our Creedence records to sound.
Note that the Hoffman reissues and the MoFi pressing sound nothing like the Creedence records we all grew up with, and records that sound that small, lifeless, boring or wrong just can’t be what audiophiles want, can they?(more…)