Vocals

Billie Holiday – All Or Nothing At All

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More Titles that Sound Best in Mono

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  • This outstanding pressing boasts solid Double Plus (A++) sound on all four sides – reasonably quiet vinyl too
  • This 2 LP set features most of the tracks from the original release plus another handful of recordings from the same period (1955-1956)
  • It’s one of the better sounding Billie Holiday records we’ve heard, any guaranteed to beat any Heavy Vinyl reissue you’ve wasted your money on
  • 4 1/2 stars: “… features some of Billie Holiday’s top Verve performances from the mid-’50s… she runs the emotional gamut from summery optimism to pathos-rich musings. Befitting her perennial after-hours mood, the majority of songs here feature Holiday in a low-down mood of the highest order.”

Naturally, the highest quality vocal reproduction has to be the main focus on a Hot Stamper pressing for any Billie Holiday record we would offer. Her voice should be rich and tubey, yet clear, breathy and present.

In addition to being tonally correct and natural, the pressings we offer must also be highly resolving. With the right room and the right equipment, properly setup and adjusted of course, you will hear everything that these vintage recordings have to offer, including the three-dimensional space of the studios in which the various sessions were recorded, under the auspices of Norman Granz.

The Sound of the Original

The original Trumpet Player Verve mono we had on hand to play suffered from an EQ problem we frequently run into during our shootouts for vintage vocal albums. Actually, to be clear, there were two main problems in the case of All or Nothing At All: a boosted midrange and occasional quite serious sibilance issues.

Ella Fitzgerald’s albums can suffer from these same two problems. It’s a trick to find the copies that are tonally correct in the midrange and do not have the kind of cutter head distortions that result in excessive sibilance. (more…)

Jim Reeves – The Intimate Jim Reeves

More Recordings by Bill Porter

More Living Stereo Titles Available Now

Yet Another Record We’ve Discovered with (Potentially) Excellent Sound…

and One We Will Probably Never Shootout Again

Some records never justified the time and money required to find Hot Stamper pressings of them in order to make it worth our while to give them a second go around. This is one such album, and the link above will take you to many more.


For us audiophiles both the sound and the music found here are enchanting. If you’re looking to demonstrate just how good 1963 All Tube Analog sound can be, this killer copy may be just the record for you.

All the copies we played were stereo. We’ve had very poor luck with mono pressings of Living Stereo recordings and tend to avoid them.

Produced by Chet Atkins in Nashville, 1960, with Bill Porter engineering, this is superb countrypolitan pop by the man who practically invented it.

Jim Reeves is lucky to have had the Bill Porter and his staff of RCA engineers from the era on his team. Although we love to do these vintage Hot Stamper shootouts, finding clean copies of these albums is getting harder every day.

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Julie London / Calendar Girl in Glorious 1956 Mono

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More Recordings Engineered by John Krauss

This Julie London 1956 Classic makes its Hot Stamper debut with outstanding Double Plus (A++) sound from first note to last – exceptionally quiet vinyl too. Both of these mono sides have plenty of Tubey Magic – they’re fuller, more musical and more natural than most any other copy we played. Julie’s voice sounds particularly nice on this copy – intimate, rich and warm, just as the way we like her to sound.

This is a wonderful sounding record, and almost impossible to find with surfaces this quiet.

However, the original label pressing from 1956 does have better sound, at least it does on the noisy reference copy we used in our shootout. It’s the only early pressing I have ever seen in playable condition, and it’s far too noisy to be enjoyed with audiophile equipment. Julie Is Her Name survived the bad turntables and their owners from the era because they made so many of them. This album did not sell in those kinds of numbers, and the result is that the early pressings are rare and virtually impossible to find in audiophile playing condition. (more…)

Frank Sinatra – Sinatra’s Sinatra

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More Nelson Riddle

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  • Sinatra’s wonderful 1963 release finally returns with STUNNING Shootout Winning Triple Plus (A+++) sound throughout
  • Forget the reissues – the stereo original we are offering here is the only way to go if rich, tubey, dynamic, musical sound is what you are after
  • Frank rerecorded some of his biggest hits in stereo for this album – the record is just one Sinatra Classic after another
  • “Some of his biggest hits and most famous songs are included in his picks, including “I’ve Got You Under My Skin” and “Young at Heart.””
  • Amazon 5 Stars: “Riddle’s arrangements are, as always, top-notch, and Sinatra is in fine, engaging form.”

Great bass and weight coupled with lots of space and correct tonality in the midrange add up to only one thing: Triple Plus or close to it sound on both sides!

Copies with rich lower mids and nice extension up top (to keep the strings from becoming shrill) did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record! We know, we heard them all.

We know a fair bit about the man’s recordings at this point. As of today we’ve done commentaries for more than 21 different Sinatra shootouts, and that’s not even counting the ten or twenty other titles that either bombed or were sold off years ago. (more…)

Casino Royale Can Be Amazing on the Right Copy, If You’ve Got the System For It…

Reviews and Commentaries for TAS Super Disc Recordings

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This is a record that has its share of problems, but if you’ve got the system for it (huge, heavily tweaked, fast, free from obvious colorations and capable of tremendous resolution), the best pressings are sure to impress.

Having heard the best sounding pressings I now understand why this has been such a highly regarded long-term resident of the TAS Superdisc List. The best copies are SUPERDISCS… while the average copy of this album is anything but. Who could take such harsh, grainy, thin, veiled, compressed sound seriously? What was Harry Pearson smokin’?

I can honestly and truthfully say that until we discovered the Hot Stampers for this album, I never thought this record deserved the praise Harry heaped upon it. Now I do. I once was blind but now I see, or something like that.

And by the way, does his copy sound as good as this one? Let’s face it: the late Harry Pearson was simply not the kind of guy who would sit down with five or ten copies and shoot them out.

When you listen to the average pressing of Casino Royale, you get the feeling that you’re hearing a standard-issue, boxy, lightweight, blary ’60s soundtrack. Perhaps you hear some promise in the recording, but it’s a promise that’s unfulfilled by the record on your turntable. This copy will completely redefine what you know about the sound of this music.

The space is big and the sound relatively rich (although the sound does vary quite a bit from track to track). The vocals have notably less hardness than most and the orchestra is not as brash as it can be on so many of the copies we audition. Huge amounts of Tubey Magic as well, which is key to the best sounding copies, and critical to The Look of Love.

The sound needs weight, warmth and tubes or you might as well be playing a CD. (more…)

Frank Sinatra – Sinatra’s Swingin’ Session

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  • This Capitol stereo pressing boasts outstanding Double Plus (A++) sound throughout – exceptionally quiet vinyl too
  • These sides are rich, Tubey Magical, balanced and natural – this is the way you want Frank Sinatra to sound
  • The tonality of Sinatra’s voice is right on the money, and the brass – so key to these big group sessions – is alive with energy and power
  • 4 1/2 stars: “Sinatra’s Swingin’ Session is a fast, driving album, the speediest and hardest swing collection Frank Sinatra ever recorded. Sinatra performed the songs twice as fast as was expected; consequently, it’s one of his jazziest swing sets, with the musicians spitting out energetic, forceful solos and providing tough, gutsy support.”

This is one of the more fun Sinatra albums we’ve had the pleasure of playing around here, and this is a copy that delivers big time. Nelson Riddle and his orchestra back Frank with wonderful arrangements, and a copy like this lets you appreciate everyone’s hard work. (more…)

Willie Nelson / Stardust – A Copy This Good Deserves to Be on the TAS List

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Reviews and Commentaries for Stardust

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  • You’ll find superb Nearly Triple Plus (A++ to A+++) sound on both sides of this exceptionally well-recorded album – just shy of our Shootout Winner
  • From the first few moments of the title track you’ll be blown away by the in-the-room immediacy of The Man himself
  • This copy is hi-res without sacrificing the Analog warmth that makes the recording so exceptional, especially for one from 1978
  • 5 stars: “Stardust showcases Nelson’s skills as a musician and his entire aesthetic — where there is nothing separating classic American musical forms, it can all be played together — perhaps better than any other album…”

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” meaning 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.

Georgia On My Mind is a DEMO QUALITY track on this album. You aren’t going to believe all the ambience on this copy. The top end is gorgeous — sweet, delicate, and silky with loads of extension. The sound is extremely hi-res without sacrificing any of the warmth that makes this music so special.

Just listen to the rimshots and the bell in Georgia On My Mind — we guarantee you have NEVER heard those instruments sound so present, clear, and immediate.

Willie’s voice is natural and tonally correct, with all the breathy texture you could ever hope to hear. The acoustic guitars and Booker T.’s organ are perfection. (more…)

What Recordings Are Audiophile Writers Writing About Now I Wonder?

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In the early seventies, when I was first becoming seriously interested in audiophile-quality equipment, this was a well-known Demo Disc at some high-end audio salons.

Five years later I would have speakers larger and more expensive in real dollars than the speakers I now own. At a tender age I acquired Stereophile’s cost no object, state-of-the-art speaker system from the mid-’70s, the Fulton J. I was the youngest person ever to own a pair of the behemoths, a record that has never and will never be broken I suspect.

The other monster speaker from that time was the Infinity Servo-Static 1A, which I auditioned before buying the Fultons. During the audition the electrostatic drivers kept blowing if the level got up too high, so that was the end of that. Who wants a speaker that can’t play at realistic sound levels?

Of course, many of you may never have heard of Carmen McRae’s The Great American Songbook album, because the heyday for this record was probably 30-40 years ago, back when the audiophile magazines were actually writing about exceptionally natural, realistic recordings such as this one.

I don’t know what they write about now; I stopped reading them years ago. But I doubt very much that they are still writing about recordings of this quality.

What’s striking about this album is how immediate and unprocessed everything sounds. It really gives you the feeling of being at a live show in a club. It helps that the performance was captured directly onto analog tape with minimal miking. Michael Cuscuna was the remix supervisor, by the way.

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Linda Ronstadt – Lush Life

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  • An outstanding copy of Ronstadt’s 1984 release with both sides earning solid Double Plus (A++) grades – exceptionally quiet vinyl too
  • These sides were doing everything right — clean, clear, full-bodied and dynamic with wonderfully breathy vocals and a solid bottom end
  • “What’s New illustrated that Linda Ronstadt was no longer interested in contemporary pop, and since it was a surprise success, there was no reason not to repeat the formula on Lush Life. Working again with Nelson Riddle, Ronstadt runs through several pop standards — ‘When I Fall in Love,’ ‘Sophisticated Lady,’ ‘Falling in Love Again,’ ‘It Never Entered My Mind’…”

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Frank Sinatra – Strangers In The Night

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More Nelson Riddle

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  • With excellent Double Plus (A++) grades on both sides, this Sinatra title surprised us with its DEMO DISC sound
  • Clearly one of the better sounding Reprise-era Sinatra pressings we have ever played
  • Credit must given to the extraordinarily inventive arrangements of Nelson Riddle and the All Tube engineering of Lee Herschberg
  • “Sinatra’s singing is relaxed, confident, and surprisingly jazzy, as he plays with the melody of “The Most Beautiful Girl in the World” and delivers a knockout punch with the assured, breathtaking “Summer Wind.”

We cannot recommend this pressing highly enough. If you want to know what the best sounding Sinatra records sound like, this is your chance. Folks, in my opinion it simply does not get any better than a killer White Hot Stamper of Strangers In The Night.

These originals are the only way to go for ’60s Sinatra, but finding them in good shape on quiet vinyl is no picnic and only a few of them actually sound the way we want them to. It’s a real treat to be in the presence of the Chairman Of The Board, in his prime, working his magic — but only an exceptional copy like this one has the power to put him right in the room with you.

What to Listen For

The Tubey Magic has to be heard to be believed. I cannot recall hearing a richer, smoother, tubier Frank Sinatra album in all my born days.

Weighty brass is key to the sound of more than just the horn section. Any leanness or thinness in the brass is instantly heard as Sinatra without weight and richness to his voice. This is the instantly recognizable sound of most reissues, the main reason we stopped buying them years ago. Having played so many amazing original stereo pressings for our shootouts over the years we don’t think that will change anytime soon. There simply is no substitute for a clean stereo pressing on the original label.

Full, Rich, Breathy, Present vocals are obviously critically important as well. This copy delivers some of the best we heard.

On this copy the orchestra and band are putting out plenty of low end, reaching down well into whomp land. It’s a thrill to hear to hear that sound on these swinging arrangements coming out of my speakers.

And of course the copies that are rich and tubey but also big, clear and open did the best in our shootout. (more…)