One of the best copies of this phenomenal Fusion Guitar Jazz Classic to ever hit the site, Triple Plus (A+++) throughout
Both sides are incredibly lively, full-bodied, open and present – the sound is HUGE and WEIGHTY and it rocks
There is a mark that plays during track one on side one so we’ve discounted this one accordingly
5 stars: “Generally an explosive affair, although it does have a fair amount of variety. A near classic in the fusion vein.”
SHOCKINGLY GOOD SOUND for one of the all-time great guitar albums! We were positively BLOWN AWAY by how lively, dynamic and full-bodied this copy sounds. There’s real texture to all the instruments and the bottom end is tight and punchy beyond belief. They just don’t make records with this kind of Tubey Analog Magic anymore.
If you’ve enjoyed the sonics on one of our Hot Stamper pressings of Return To Forever, Weather Report or Santana, I think you’ll find a lot to like about this record.
This album still holds up today. The All Music Guide gives it five big stars, and on a copy like this one I bet you’ll rate the music just as highly. When you have a pressing with this kind of weight, power, clarity and transparency, you can easily appreciate just how amazing the musicianship is.(more…)
The British pressings are simply not competitive with the best domestics. No import, from any country, can touch a good Columbia pressing from the states. The most common stampers for the Columbia pressings have never sounded very good to these ears, but that doesn’t mean there aren’t some killer copies with different stampers sitting in the bins wearing the generic ’70s Red Columbia label. We’ve heard them. Wish we could find more of them but they are rare and only getting rarer. (more…)
A recent White Hot Stamper pressing of L&M’s fourth release demonstrates pretty convincingly just what an amazing DEMO DISC this album can be. When Jim Messina rips into his mandolin solo half way through Be Free your jaw is likely to hit the ground. On the best copies it positively LEAPS out of the left speaker. I can’t recall another pop or rock recording that captures either the plucked energy or the harmonic nuances of the instrument better. To hear such a well-recorded mandolin on a copy of this quality is nothing less than a THRILL. (more…)
Heart’s Little Queen has long been a favorite Test Disc. It works especially well as a test for something we here at Better Records like to call Whomp — the energy found at the low end of the frequency spectrum. Some call it slam, we prefer whomp.
The commentary is here to help guide you as you make changes to your system, insuring that you end up with more whomp without sacrificing equally important qualities found in the midrange and top end of your system. (more…)
Let me tell you, it is no walk in the park to find a copy of The Pros and Cons of Hitch Hiking that sounds as good as this one and plays as quietly. Those of you who like Floyd’s The Final Cut will probably get a lot out of the album.(more…)
Another in our series of Home Audio Exercises with specific advice on What to Listen For (WTLF) as you critically evaluate your copy of Simon & Garfunkel’s groundbreaking third album (from 1966 no less!).
Listen carefully to the voices on this track, one of our favorites to test with. On the best copies they sound exceptionally delicate yet full-bodied.(more…)
At the end of a long day of listening at loud levels to multiple copies of this album you may want to run yourself a nice hot bath and light some candles. If you have an isolation tank so much the better. You could of course turn down the volume, but what fun is that? This music wasn’t meant to be heard at moderate levels. Playing it that way is an insult to the musicians who worked so hard to make it.
The Right Balance
Every once in a while you hear a pressing in which the right balance has been struck, and this one clearly belongs to that group. It’s not perfect; you have to put up with a few rough patches to get the sound that serves most of the music properly. No copy will do it all; with this album the goal is to do the best you can. (more…)
This is one of our favorite James Taylor albums here at Better Records, a Forgotten Classic from 1981. It’s the last album written and performed by this hugely talented man that bears much resemblance to the quality of his early work. It’s steeply, steeply downhill after DLHW. (Case in point: His specials for PBS of the last few years are a positive cure for insomnia, with every song slowed down and all the energy drained from the material.)
But he still had fire in his belly when he made this one — one listen to Stand and Fight is all the evidence you need; the song rocks as hard as anything the guy ever did. And it’s got plenty of cowbell, always a good sign.(more…)
We would be foolish to make claims for “audiophile quality” sound on Springsteen’s albums — they are what they are. The simple claim we make for our Hot Stampers is that the best of them sound as good as the album can sound, and we back that up with a 100% Money Back guarantee.(more…)
There is a line in the Hot Stamper commentary below concerning driving punk rock bass. Man, this record lives or dies by your ability to reproduce the powerful bottom end that propels this music. Pardon me for cueing up a broken record again, and with all due respect to the things they do well — they must do something well, right? People keep buying them — small speakers and screens are not going to cut it on My Aim Is True. This is precisely the kind of album they don’t do well.(more…)