- Manna finally returns to the site after more than 6 years with outstanding Double Plus (A++) sound or BETTER throughout – fairly quiet vinyl too
- Tubier, more transparent, more dynamic, with that “jumpin’ out of the speakers” quality that only The Real Thing (an old record) ever has
- A superb album, featuring one of the strongest rockers the band ever recorded, “Let Your Love Go”
- 4 1/2 stars: “… this is a record that is laid-back and even tempered, which isn’t a bad thing — it results in a fine listen, especially since the group’s songwriting remains at the high standard instituted on that first Bread album.”
- A STUNNING sounding copy and the first to hit the site in many years — Shootout Winning Triple Plus (A+++) sound throughout
- These sides are dripping with Analog magic — transparent, sweet and rich from beginning to end and the bass is especially meaty and well-defined
- Those of you who have tried our Hot Stampers of JT will know exactly what to expect; Garay LOVES BASS and so do we
- “An abundance of riches can be heard in Andrew Gold’s first solo album. There are great Beatlesque melodies here, as well as heartfelt love songs that are Gold’s specialties. Playing nearly all of the instruments himself makes this a truly “solo” effort.” – All Music, 4 Stars
As audiophiles we all know that sound and music are inseparable. My comments for this copy note how spacious and present and full of energy it is. After dropping the needle on a dozen or so copies, all originals by the way, you KNOW when the music is working its magic and when it’s not.
As with any pop album there are always some tracks that sound better than others, but when you find yourself marvelling at how well-written and well-produced a song is, you know that the sound is doing what it needs to do. It’s communicating the Musical Values of the material. This Hot Stamper copy brings Andrew Gold’s music to LIFE.
This record is dripping with Analog Tubey Magic. It’s transparent, sweet and rich from beginning to end. The bass is especially meaty and well-defined. Val Garay puts plenty on his recordings, one of the reasons we love listening to them. The vocals are present and clear, the studio is huge, and the snare is FAT the way it always is on Val’s recordings. (more…)
- A KILLER pressing of Waiting For The Sun with Shootout Winning Triple Plus (A+++) sound or very close to it from start to finish
- The sound is present, lively and tonally correct, with Jim Morrison’s baritone reproduced with the weight, presence, space and depth all but missing from the reissues
- It’s tough (not to mention expensive) to find these early Gold Label pressings with this kind of sound and reasonably quiet vinyl
- “Krieger, Ray Manzarek and John Densmore were never more lucid… This was a band at its most dexterous, creative, and musically diverse …”
Here is THE BIG SOUND that makes Doors records such a thrill to play. Morrison’s vocals sound just right here — full-bodied, breathy and immediate. The transparency makes it possible to easily pick out Bruce Botnick’s double tracking of Morrison’s leads.
For a thrill just drop the needle on Not To Touch The Earth. Halfway through the song the members have sort of a duel — Robbie Krieger wailing on the guitar in one channel, Ray Manzarek pounding on the keyboards in the other, and John Densmore responding with drum fills behind them. On the average copy, the parts get congested and lose their power, but when you can easily pick out each musician, their part will raise the hair on your arms. It’s absolutely chilling, and it will no doubt remind you why you fell in love with The Doors in the first place. Who else can do this kind of voodoo the way that they do?
Check out the piano on Yes The River Knows on side two (such an underrated song!) or the big snare thwacks on Five To One to hear that Hot Stamper magic. The overall sound is airy, open, and spacious — you can really hear INTO the soundfield on a track like Yes The River Knows. The opaque quality that so many pressings of this album suffer from is nowhere to be found here. Not only that, but you will not believe how hard these sides rock. (more…)
- All four sides earned Double Plus (A++) grades for sound – exceptionally quiet vinyl too
- Our pick for the best sounding Little Feat album – it’s a monster, and a Must Own for any fan of the band
- “Filled with live performances, obscurities, album tracks, and a new song apiece from Bill Payne and Paul Barrere, Hoy Hoy is a bit scattered, a bit incoherent, a little bewildering, and wholly delightful — a perfect summation of a group filled with quirks, character, and funk, traits which were as much a blessing as they were a curse.”
This is one of the all time TOP Little Feat albums and a longtime personal favorite, but it takes a pressing like this to bring it to life.
As we said last time around, there is not a rock album on the The Absolute Sound’s Super Disc List that can hold a candle to the real Rock and Roll Power of a pressing such as this. It’s really not fair to judge the Harry’s List by records like this, which have never been the man’s forte. We, on the other hand, know these kinds of records about as well as anyone, and to prove it we would love to send you this copy. The AMAZING sound is guaranteed to blow your mind.
What a Recording!
The recording quality of many of these songs is OUT OF THIS WORLD, as good as any rock record I can think of. Although Waiting For Columbus is arguably the best sounding live rock ‘n roll album ever made, some of the tracks on this album are every bit as good or BETTER. (And the promo EP is practically in a league of its own for sound!)
This is some of the best High-Production-Value rock music of the ’70s. The amount of effort that went into the recording of many of these tracks is comparable to that expended by the engineers and producers of bands like Supertramp, The Who, Jethro Tull, Ambrosia, Pink Floyd and far too many of our favorites to list. It seems that no effort or cost was spared in making the home listening experience as compelling as the recording technology of the day permitted.
The sides that had sound that jumped out of the speakers, with driving rhythmic energy, worked the best for us. They really brought this complex music to life and allowed us to enjoy the hell out of it. This is yet another definition of a Hot Stamper — it’s the copy where the music works as music. (more…)
- An outstanding copy of Just One Night with solid Double Plus (A++) sound on all four sides
- This one is bigger, bolder and richer, as well as more clean, clear and open than many other copies we played
- Sure to be the best live Clapton sound you’ll hear on vinyl – and the music is wonderful as well
- 4 1/2 stars: “The most notable difference between Just One Night and Clapton’s other live albums is his backing band. Led by guitarist Albert Lee, the group is a collective of accomplished professionals who have managed to keep some grit in their playing. They help push Clapton along, forcing him to spit out crackling solos throughout the album.”
Some records are getting too expensive to find in clean condition nowadays, and that makes the expense and labor costs of doing shootouts for them hard to justify. Fingers is a Desert Island Disc for yours truly, and the links below will take you to many more.
- Excellent from first note to last – Double Plus sound (A++) on both sides – exceptionally quiet vinyl too
- Incredibly impressive funky Brazilian jazz sound with HUGE lifelike percussion – thanks RVG!
- “Produced by Taylor and recorded at Rudy Van Gelder’s famous New Jersey studio, this LP demonstrates just how exciting and creative 1970s fusion could be. When Moreira and his colleagues blend jazz with Brazilian music, rock and funk on such cuts as “Wind Chant,” “Tombo in 7/4” and “Romance of Death,” the results are consistently enriching. Fingers is an album to savor.”
This is without a doubt the BEST ALBUM the man ever made. On top of that, this copy really has the kind of sound we look for, with an open, fully extended top end that gives all the elements of this complex music room to breathe.
We Love Fingers
Fingers is one of our all time favorite records, a Desert Island disc to be sure. I’ve been playing this album for more than thirty years and it just keeps getting better and better. Truthfully it’s the only Airto record I like. I can’t stand Dafos, and most of the other Airto titles leave me cold. I think a lot of the credit for the brilliance of this album has to go to the Fattoruso brothers, who play keyboards, drums, and take part in the large vocal groupings that sing along with Airto.
At times this record really sounds like what it is: a bunch of guys in a big room beating the hell out of their drums and singing at the the top of their lungs. You gotta give RVG credit for capturing so much of that energy on tape and transferring that energy onto a slab of vinyl. (Of course this assumes that the record in question actually does have the energy of the best copies. It’s also hard to know who or what is to blame when it doesn’t, since even the good stampers sound mediocre most of the time. Bad vinyl, worn out stampers, poor pressing cycle, it could be practically anything.) (more…)
- An incredible copy of the band’s 1975 release, with Shootout Winning Triple Plus (A+++) sound or close to it throughout
- One of our favorite albums here at Better Records and clearly the band’s Masterpiece – the bass and dynamics on the better pressings make this a Demo Disc on the right system
- 4 stars [but we give it 5]: “Cut from the same cloth as the band’s 1973 Deliver the Word LP, War’s 1975 Why Can’t We Be Friends? is a masterpiece in its scope and breadth. [It] remains one of War’s truly outstanding efforts, and has become an integral part of the funk genre’s landscape. It also remains the nightcap of their finest hour.”
Engineered by the brilliant Chris Huston, this recording displays all his trademark gifts. His mixes feature lots of bass; huge, room-filling choruses that get loud without straining or becoming congested; and rhythmic energy that few pop recordings could lay claim to in 1975.
Low Rider sounds AWESOME on this one. This is the kind of record you can take to any stereo store or audiophile friend’s house and bring their stereos to their knees. Audiophile systems are rarely designed to play this kind of music at the levels it demands, but that doesn’t mean they shouldn’t be. Records like this are the challenge we audiophiles need to make our stereos even better. When the music is this good it’s worth the effort
What superb sides such as these have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1975
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
- 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…)
- Washington’s sophomore release finally returns to the site with STUNNING Shootout Winning Triple Plus (A+++) sound on both sides
- There’s so much life in these grooves – the sound jumps out of the speakers right into your lap
- Credit must go to Rudy Van Gelder for recording and mastering this album so well, and to Bob James for his brilliant big group arrangements
- We cannot recommend this album highly enough – if you have the big speakers a big group of musicians need to perform live in your listening room, his record is going to be nothing less than a thrill
- 4 stars: “. . . this set has assumed its proper place in Washington’s catalog: as one of his more ambitious and expertly performed sessions.”
Both sides of this original Kudu pressing are OUT OF THIS WORLD. The sweetness and transparency of Grover Washington Jr.’s breathy sax went beyond any copy we’ve ever played. Who knew it could sound like this? We sure didn’t!
It’s spacious and full of life with virtually no distortion. Of special note, this copy has amazingly articulate bass which brings out the undeniable funkiness of the music in a way that no other copy did.
The early ’70s were a good time for Rudy Van Gelder. All the King’s Men from 1973 is an amazing Demo Disc for a large group. But it only sounds good on the copies that it sounds good on, on the pressings that were mastered, pressed and cleaned right, a fact that has eluded most jazz vinyl aficionados interested in good sound.
But not us. We’ve played the very special pressings that prove the album can sound amazing. (more…)
- With two seriously good Double Plus (A++) sides, this copy is guaranteed to blow the doors off any other Future Games you’ve heard
- You’ll find HUGE sound on this copy – it’s big, bold and lively – this is clearly the right sound for Future Games
- Fleetwood Mac practically invented Space Rock, which reached its apotheosis in 1973 on Mystery to Me (my favorite by the band)
- A criminally underrated album unlike anything you’ve heard and a Better Records favorite for more than 40 years
- It’s also a record that has disappeared off the face of the earth – we would love to do more shootouts for the album, but we just never see them anymore (more…)