- A superb copy of this 2-LP set with Double Plus (A++) sound or BETTER on all FOUR sides
- My personal favorite EWF song of all time, “Can’t Hide Love,” sounds INCREDIBLE on this Nearly Triple Plus (A++ to A+++) side four, where you will also find “Sing a Song,” “Gratitude,” and “Celebrate”
- We guarantee there is dramatically more richness, fullness, vocal presence, and performance energy on this copy than others you’ve heard, and that’s especially true if you made the mistake of buying whatever Heavy Vinyl pressing is currently on the market
- 4 1/2 stars: “Gratitude brilliantly captures the excitement EWF generated on-stage at its creative peak… Neither hardcore EWF devotees nor more casual listeners should deprive themselves of the joys of the live versions of “Shining Star” and “Yearnin’ Learnin’.”
- This STUNNING copy boasts a Shootout Winning Triple Plus (A+++) side two mated with outstanding Double Plus (A++) sound on side one – exceptionally quiet vinyl too
- One of our favorite Sonny Rollins records for sound – both sides here are incredibly big, full-bodied and Tubey Magical
- 4 1/2 stars: “This LP contains alternate versions of selections from two famous Sonny Rollins albums: Way out West and Sonny Rollins and the Contemporary Leaders. These “new” renditions… hold their own against the classic versions. …the music is hard-swinging and frequently superb.”
The album is made up of alternate takes from the Way Out West and Sonny Rollins and the Contemporary Leaders sessions, and as such there is a bit of sonic variation between these tracks and the ones on the actual albums. The best-sounding songs here, particularly the material from Way Out West, can sound amazing!
All Tube in ’58
The best copies are rich and tubey; many pressings were thin and modern sounding, and for that they would lose a lot of points. We want this record to sound like something Roy DuNann recorded with an All Tube chain in 1958, and the best copies give you that sound, without the surface noise and groove damage the originals doubtless suffer from.
Some copies have much more space; some are more present, putting the musicians right in the room with you; some are more transparent, resolving the musical information much better than others, letting you “see” everyone in the studio clearly. Some have more rhythmic drive than others. On some the musicians seem more involved and energetic than they do on the average pressing.
The copies that do all these things better than other copies are the ones that win our shootouts.
This is clearly one of the best copies we have ever played. We think you will enjoy it immensely.
- Outstanding Double Plus (A++) sound on both sides of this early domestic (!) A&M copy
- Most pressings are painfully thin and harsh, but this one had much more of the richness and smoothness we were looking for, closer to the Brit Shootout Winner and miles away from the painfully bad original domestic pressings we know to avoid
- Credit the man behind the board, Ken Scott (Ziggy Stardust, Honky Chateau, Crime of the Century, A Salty Dog, Magical Mystery Tour, America and more), who knows a thing or two about Tubey Magic
- A Desert Island Disc for TP, from all the way back in 1975 when I first gave it a spin on my Ariston RD 11 turntable
- “Even simple tracks like ‘Lady’ and ‘Just a Normal Day blend in nicely with the album’s warm personality and charmingly subtle mood. Although the tracks aren’t overly contagious or hook laden, there’s still a work-in-process type of appeal spread through the cuts, which do grow on you over time.”
- This copy of Cocker’s sophomore release boasts excellent Double Plus (A++) sound throughout – exceptionally quiet vinyl too
- It’s the impossibly rare copy with sides that play this quiet, and the first ever to hit the site with our condition grade of Mint Minus to Mint Minus Minus
- Consistently stronger material than his debut – did Cocker ever release an album with more good songs than this one?
- Take a gander at this track listing: “Dear Landlord,” “Bird on the Wire,” “She Came in Through the Bathroom Window,” “Something,” “Delta Lady,” “Darling Be Home Soon” – and there’s plenty more where those came from
- Records like these are getting awfully hard to find these days in audiophile playing condition, which explains why you so rarely see them on the site
- 4 stars: “Cocker mixed elements of late-’60s English blues revival recordings (John Mayall, et al.) with the more contemporary sounds of soul and pop; a sound fused in no small part by producer and arranger Leon Russell, whose gumbo mix figures prominently on this eponymous release and the infamous Mad Dogs & Englishmen live set.”
This is a surprisingly good recording. Cocker and his band — with more than a little help from Leon Russell — run through a collection of songs from the likes of Bob Dylan, Leonard Cohen and the Beatles, and when you hear it on a White Hot Stamper copy it’s hard to deny the appeal of this timeless music.
This album is a ton of fun, with Cocker and his band putting their spin on some of the best songs of the era. You need energy, space and full, rich, Tubey Magical sound if this music is going to sound right, and on those counts these copies deliver. (more…)
- Finding the right balance between Tubey Magical Richness and Transparency is the trick, and we think this copy strikes that balance as well as any pressing we’ve heard
- Boogie On Reggae Woman and You Haven’t Done Nothing were the big hits but the other tracks on the album are where the real Stevie Wonder MAGIC can be found
- 4 1/2 stars [but we give it 5]: “The songs and arrangements are the warmest since Talking Book, and Stevie positively caresses his vocals on this set, encompassing the vagaries of love, from dreaming of it (“Creepin'”) to being bashful of it (“Too Shy to Say”) to knowing when it’s over (“It Ain’t No Use”).”
- We’ve recently compiled a list of records we think every audiophile should get to know better, along the lines of “the 1001 records you need to hear before you die,” but with less of an accent on morbidity and more on the joy these amazing audiophile-quality recordings can bring to your life. Fulfillingness’ First Finale is a good example of a record most audiophiles don’t know well but should.
- If you’re a Stevie Wonder fan, and what audiophile wouldn’t be?, this title from 1974 is clearly one of his best, his two best in our opinion, just a tad behind his masterpiece, Inner Visions
- The complete list of titles from 1974 that we’ve reviewed to date can be found here.
We’re big fans of Stevie here at Better Records, but it’s always a challenge to find good sound for his albums. Tons of great songs here, including the ones everybody knows, Boogie On Reggae Woman and You Haven’t Done Nothing. Both sound WONDERFUL on this pressing.
For the first time in my life, over the course of the last five years or so I’ve really gotten to know the album well, having found a CD at a local store to play in the car (and now I also have a cassette to play in my Walkman while working out).
I’ve listened to Fulfillingness’ First Finale scores of times. I now see that it is some of the best work Stevie Wonder ever did, right up there with Innervisions and ahead of any other Stevie Wonder album, including Talking Book and Songs in the Key of Life.
The best songs on the album to my mind are the quieter, more heartfelt and emotional ones, not the rockers or funky workouts. My personal favorites on side one are: Smile Please. Heaven Is 10 Zillion Light Years Away, Too Shy to Say and Creepin’, which, as I’m sure you’ve noticed, are all the songs that weren’t hits.
On side two the two slowest songs are the ones I now like best: It Ain’t No Use & They Won’t Go When I Go (famously and brilliantly covered by George Michael on Listen Without Prejudice Vol. 1 in 1990). (more…)
- You’ll find outstanding Double Plus (A++) sound on both sides of this wonderful copy of Equinox, along with vinyl that is about as quiet as we can find it
- The breathy intimacy of the two wonderful female leads – Lani Hall and Janis Hansen – were brilliantly captured by the engineering team of Bruce Botnick and Larry Levine at A&M
- It’s humble records like this one that blew my mind when I first discovered them back in the ’80s, with their dynamic, energetic, spacious sound, as well as shockingly good music that at the time I had no idea existed
- “Watch What Happens,” “Night and Day,” “Wave” – Mendes brings his innovative Bossa Nova arranging skills to these timeless classics
- 4 1/2 stars: “Equinox continues the scrumptiously winning sound that Sergio Mendes cooked up in the mid-’60s… Again, the mix of American pop tunes old and new and Brazilian standards and sleepers is impeccable, and the treatments are smooth, swinging, and very much to the point.”
- We’ve recently compiled a list of records we think every audiophile should get to know better, along the lines of “the 1001 records you need to hear before you die,” but with less of an accent on morbidity and more on the joy these amazing audiophile-quality recordings can bring to your life.
- Equinox is a good example of a record most audiophiles don’t know well but should.
These Sergio Mendes records can be surprisingly dynamic, but only the better copies (such as this one) will allow those dynamics to explode naturally, with the kind of ease that only analog is capable of reproducing correctly in our experience.
As you’ve no doubt noticed, we’re the world’s biggest fans of Sergio Mendes here at Better Records. Brasil ’66, Stillness, and this album are ALL Desert Island Discs for us, and we even enjoy the hell out of some of the later albums. You can search all you want, but outside of The Beatles you are going to have a very tough time finding the diverse thrills that this group offers. We go CRAZY for the breathy, multi-part female vocals, their unusually voiced multi-tracked harmonies, the brilliant percussion, and, let us not forget, Mendes’ superb keyboard work anchoring as well as jazzing up the whole production.
His stuff never sounds dated to us, and we’ve never heard another artist do anything in the ’60s samba idiom nearly as well. We love Astrud Gilberto’s albums from the period, which no doubt served as a template for the style Sergio wanted to create with his new ensemble, but Brazil 66 is clearly a step up in every way: songwriting, arranging, production, and quality of musicianship.
Just play the group’s amazing versions of “Watch What Happens,” “Night and Day,” or “Jobim’s Wave” to hear the kind of Mendes Magic that makes us swoon. For we audiophiles, it just doesn’t get any better. (Well, almost. Stillness is still the Ultimate, on the level of a Dark Side of the Moon or Tea for the Tillerman, but Equinox is right up there with it.)
- Both of these sides are SUPERB in all respects; there’s plenty of Tubey Magic, and that’s one quality that’s hard to come by on this album
- Rich, sweet, and lively — Woman’s Gotta Have It sounds fantastic here
- An underappreciated album that we’re big fans of here at Better Records!
The quality of the songwriting is what makes this album such a moving listening experience. These songs are superb, individually and collectively, and can hold their own up against those found on Gorilla, an album with which In the Pocket has much in common.
Just as they did on Gorilla, Taylor and his multi-talented, multi-tracking production team polish these songs into three and four minute gems of popcraft, and they do so without ever compromising the emotional heart of the material. I’ve searched and I honestly cannot find a bad song on the album. Better than that, not even a weak one.
Both of these sides are rich, smooth, yet transparent and high-rez. The vocals are breathy, and again, that is not something we heard nearly enough of in our shootout.
And no hardness. This is key. And the best tonal balance, which is also key. (more…)
- 801 Live IS BACK and rocks harder than ever on this early Island import copy with excellent Double Plus (A++) sound from start to finish – exceptionally quiet vinyl too
- We shot out a number of other imports and this one had the presence, bass, and dynamics that were missing from most of the other copies we played, not to mention that LIVE ROCK and ROLL ENERGY that old records have and new records don’t
- Recorded at Queen Elisabeth Hall in September 1976 – one of only three gigs the group (a side project of Roxy Music’s Phil Manzanera) did over a two-month period
- 4 1/2 stars: “This album marks probably one of the last times that Eno rocked out in such an un-self-consciously fun fashion, but that’s not the only reason to buy it: 801 Live is a cohesive document of an unlikely crew who had fun and took chances. Listeners will never know what else they might have done if their schedules had been less crowded, but this album’s a good reminder.”
801 Live ranks near the top of the list of my All Time Favorite Albums — a Desert Island Disc if ever there was one.
I stumbled across it decades ago and have loved it ever since. (It started when a college buddy played me the wildly original “Tomorrow Never Knows” from the album and asked me to name the tune. Eno’s take is so different from The Beatles version that I confess it took me an embarrassingly long while to catch on.)
What’s especially interesting about this copy is that we went crazy for it even though it did not have the best bass of the copies we played, which, as you will see below, clearly contradicts what we had previously written. We thought that the copies with the best bass had the best everything else too, but that was not what we heard this time around.
THIS copy got the music to work its magic, and it did it with most, but not all, of the bass of the best. Not sure how to explain it. Rules were made to be broken maybe?
- An outstanding UK import LP with solid Hot Stamper sound or BETTER from start to finish — exceptionally quiet vinyl too
- This is a True Tull Classic – my favorite by the band – and a VERY tough record to come by with this kind of sound and surfaces this quiet, as quiet as any copy we have ever played
- Both of these sides give you richness, Tubey Magic, clarity and resolution few copies can touch – these are the Hot Stampers, folks
- “Stand Up! has great textural interest, due, in part, to a more sophisticated recording technique, in part to the organ, mandolin, balalaika, etc., which Anderson plays to enrich each song. The band is able to work with different musical styles, but without a trace of the facile, glib manipulation which strains for attention.”
Need a refresher course in Tubey Magic after playing too many modern recordings or remasterings? These UK pressings are overflowing with it. Rich, smooth, sweet, full of ambience, dead-on correct tonality — everything that we listen for in a great record is here. We must give thanks to the brilliant engineer Andy Johns.
This record is the very definition of Tubey Magic. No recordings will ever be made that sound like this again, and no CD will ever capture what is in the grooves of this record. There is of course a CD of this album, quite a few of them I would guess, but those of us with a good turntable could care less.
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 Tube Analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
- An outstanding copy, with Shootout Winning Triple Plus (A+++) grades throughout, making this the best copy to hit the site in many years!
- There’s Tubey Magic, sweetness and spaciousness all over this recording – when it all comes together on Where Is The Love, you won’t believe how good it sounds
- One of our favorite duet albums, Flack and the woefully underrated Soul Man Donny Hathaway are in top form here
- Allmusic raves: “A duet classic, and perhaps the most popular album Roberta Flack made. ‘Where Is the Love’ dominated urban contemporary radio for almost the entire year, while ‘You’ve Got a Friend’ was just as influential…”
These soulful duets sound wonderful. The best sides are big, bold, open and transparent with a huge three-dimensional soundfield, strong presence, good rhythmic energy, and wonderfully dynamic leads and choruses. (more…)