Labels We Love – Warners

The Faces – A Nod Is As Good As A Wink

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  • Triple Plus (A+++) sound on side one backed with excellent Double Plus (A++) sound on side two, this copy is a MONSTER!
  • Rich and solid, yet open, spacious, and transparent — nothing like the muddy, congested sound we heard all day
  • 5 stars: it “doesn’t feel cobbled together and it serves up tremendous song after tremendous song.”

This Warner Bros. Green Label LP has MASTER TAPE sound on the first side and not far from it on the second! If you like your hard rock dirty and bluesy, you can’t do much better than this record. You’re going to freak out over the meaty guitars, the HUGE bass, and the live-in-the-studio vocals. We played a ton of copies and none of them could hold a candle to this one. 

You won’t be a minute into this record before you’re blown away by all the ambience and echo. You can really hear the sound of the big room around these guys as they rock out. The vocals sound Right On The Money — smooth, but with all of the raspiness that Rod Stewart is famous for.

The drums are big and punchy and the guitars sound grungy and  right. (more…)

Bryan Ferry – Boys and Girls

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  • You’ll find excellent Double Plus (A++) sound on both sides of this classic Ferry album from 1985 
  • This copy was super big, full and lively with plenty of presence and bottom end weight
  • On this record, bigger bass and punchier drums make all the difference in the world
  • “Instead of ragged rock explosions, emotional extremes, and all that made his ’70s work so compelling in and out of Roxy, Ferry here is the suave, debonair if secretly moody and melancholic lover, with music to match…”

Excellent sound and quiet vinyl on both sides! If you’ve spent any time with this album, you will be blown away by how great both sides of this copy sound.

Key Listening Test

The song Valentine, the second track on side two, is a key test for that side. Note how processed Ferry’s vocals are; on the best copies they will sound somewhat bright. The test is the background singers; they should sound tonally correct and silky sweet. If Ferry sounds correct, they will sound dull, and so will the rest of the side. That processed sound on his vocal is on the tape. Trying to “fix” it will ruin everything. (more…)

Peter, Paul & Mary – See What Tomorrow Brings

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  • This incredible copy boasts killer Triple Plus (A+++) sound on side two and an outstanding Double Plus (A++) side one
  • Wonderfully rich, sweet vocals – it’s hard to imagine this trio sounding much better than they do on this very copy
  • Very quiet for a WB Gold label original — Mint Minus to Mint Minus Minus
  • “See What Tomorrow Brings is a strong album that plays to the strengths of Peter, Paul, & Mary. There is a good variety of material within their folk format, and a nice esprit de corps that pervades the recording. All members sing lead, which brings a good balance to the proceedings.”

Peter, Paul & Mary records live and die by the quality of their midrange reproduction. These are not big-budget, high-concept mulit-track recordings. They’re simple, innocent folk songs featuring exquisite vocal harmonies, backed by straightforward guitar accompaniment. If the voices aren’t silky sweet and delicate, while at the same time full-bodied and present, let’s face it — you might as well be listening to something else. (As we say below, the average copy will have you looking for another record to put on.)

The Breath Of Life

Steve Hoffman’s famous phrase is key here: we want to hear The Breath Of Life. If P, P & M don’t sound like living breathing human beings standing right between your speakers, toss yours and buy this copy, because that’s exactly what they sound like here. The TUBEY MAGIC of the MIDRANGE is practically off the scale. Until you hear it like this you almost can’t really even imagine it. It’s a bit disconcerting to hear each and every nuance of their singing reproduced so faithfully. (more…)

The Grateful Dead – Workingman’s Dead

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  • With a Triple Plus (A+++) shootout winning side two and a Double Plus (A++) side one, this copy was one of the best in our most recent shootout
  • A Top 100 album, and a truly superb recording of the Dead at the peak of their creativity (along with American Beauty)
  • We love the amazingly rich, weighty and huge bottom end found on the truly killer sides such as these
  • 5 stars in Allmusic: “The lilting Uncle John’s Band, their first radio hit, opens the record and perfectly summarizes its subtle, spare beauty; complete with a new focus on more concise songs and tighter arrangements, the approach works brilliantly.”

This original pressing has the kind of Tubey Magical Midrange that modern records cannot even 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 control room hearing the master tape being played back, or, better yet, the direct feed from the studio, this is the record for you. It’s what Vintage Analog Recordings are known for — this sound. (more…)

The Faces – Long Player

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  • A killer copy with a stunning Triple Plus (A+++) side two and an excellent Double Plus (A++) side one
  • Amazing live-in-the-studio sound that conveys completely the raw power of one of the hardest rockin’ bands of all time
  • 5 stars in Allmusic and probably the Faces’ Best Album, for sound and music – Maybe I’m Amazed? Hell yeah!
  • “…a ferocious rock & roll band who, on their best day, could wrestle the title of greatest rock & roll band away from the Stones.”

We knew this album could sound good, but back in the day we sure didn’t know it could sound like this. The best pressings of this album have amazing live-in-the-studio sound that conveys completely the raw power of one of the hardest rockin’ bands of all time. (more…)

America’s Phenomenal Debut on a Phenomenally Good Sounding Pressing

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  • An incredible sounding copy with Shootout Winning Triple Plus (A+++) sound or very close to it on both sides
  • One of our favorite Hippie Folk Rock albums – the instruments and voices seem to be right in your listening room
  • The Tubey Magical acoustic guitars on this record are a true test of stereo reproduction – thanks Ken Scott!
  • “America’s debut album is a folk-pop classic, a stellar collection of memorable songs that would prove influential on such acts as the Eagles and Dan Fogelberg…”

This is clearly America’s best album, and on the better pressings like this one the sound is worthy of Demo Disc status. You’ll find the kind of immediacy, richness and harmonic texture that not many records (and even fewer CDs) are capable of reproducing.

The version we are offering here has the song A Horse With No Name. Some copies without that song can sound very good as well, but with grades these good this copy is going to be very hard to beat.

Interestingly A Horse With No Name never sounds quite as good as the rest of the album. It was recorded after the album came out in 1971 and added to later pressings starting in 1972. Unlike the rest of the album, it was not engineered by Ken Scott at Trident, but by a different engineer at Morgan Studios. (more…)

Prince – Purple Rain

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  • With a Triple Plus (A+++) shootout winning side two and a better than Double Plus (A++ to A+++) side one, this copy is practically as good as it gets
  • This copy was just BIGGER and RICHER than any other we played, with rock solid energy to beat them all
  • Clean and clear and open are nice qualities to have, but rich and full are harder to come by on this record – but here they are!
  • 5 Stars and “… a stunning statement of purpose that remains one of the most exciting rock & roll albums ever recorded.” – All Music

The shootout winner for this album earned top grades and showed us a Purple Rain we had never heard before.

The best copies sound pretty much the way the best copies of most Classic Rock records sound: tonally correct, rich, clear, sweet, smooth, open, present, lively, big, spacious, Tubey Magical, with breathy vocals and little spit, grit, grain or grunge. (more…)

Ry Cooder Plays Jazz (of a Sort)

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See all of our Ry Cooder albums in stock

 

We’re big fans of Ry here at Better Records, and it’s always a lot of fun to hear the eccentric instruments and arrangements he and his cohorts cook up. Of course, it’s even more fun when you get a great sounding pressing like this one!

Far Beyond Your Average Rock or Jazz Record

The instrumentation here goes far beyond your average rock or jazz record. Rounding up a panoply of relatively exotic instruments for an album doesn’t make it especially noteworthy. Thankfully Cooder’s up to more than that. Using an ensemble of seriously talented musicians, as well as studio engineers who really understand how to capture these instruments, with Jazz Cooder succeeds in giving the audiophile public a full course spread of new and unusual sounds, all the while staying true to these popular songs from days long gone. (more…)

The Five Men and Women Who Recorded My Favorite Fleetwood Mac Album

Mystery to Me

 

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The album is Mystery to Me, and it contains  my favorite Fleetwood Mac song of all time, “Why”, written by the lovely Christine McVie. Considering how many great songs this band has recorded over the last thirty plus years, that’s really saying something. (“Need Your Love So Bad” off Pious Bird is right up there with it. “Beautiful Child’ from Tusk would be in the Top Five, as would “Oh Well Parts 1 and 2” from Then Play On.)

Bob Weston, I learned recently, did the arrangement. He plays the lap guitar you see pictured below. His guitar work throughout the album, along with the wonderfully complex arrangements he provided for both Why and other songs on the album, make this music a powerful and engaging listening experience forty years on.

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The fold-open cover looks like this. You figure out what they were going for because I sure can’t.

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From Bob Weston’s Bio (not sure where I found it)

The band recorded another album, the inspiring “Mystery To Me”. It contained such Mac classics as “Hypnotized”, “Emerald Eyes”, and the song “Why” which was a Bob Weston arrangement (a fact sadly left off the album’s liner notes). It is also interesting to note that Bob Welch’s song, “Good Things (Come To Those Who Wait)” was dropped at the last minute (but not before thousands of record sleeves and lyric inserts had been printed) in favor of a song suggested by Weston, the Yardbird’s “For Your Love”, which was also released as a single.

Eager to support the promise of “Mystery To Me”, the band scheduled a tour of the States. The tour had already begun, when Mick Fleetwood noticed something was awry. Bob Weston, always the ladies’ man, was spending a whole lot of time with Mick’s wife, Jenny. Not surprisingly, it became increasingly difficult, as the tour progressed, for the two musicians to appear on stage together. And Jenny did nothing to dispel his worst suspicions. Mick toughed it out as long as he could, but by the end of October it was clear someone had to go. Road Manager John Courage did the deed: Bob Weston was fired on October 26, 1973. And so ended one of the most magical lineups the band ever produced.

James Taylor – Gorilla

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  • Two outstanding Double Plus (A++) sides, with excellent sound for one of James Taylor’s best softer rock albums
  • Soulful JT at his best, an underappreciated album by our man and one that belongs in your collection
  • Mexico, How Sweet It Is (To Be Loved By You) and I Was A Fool To Care are standouts – there are no weak tracks here
  • Rolling Stone notes, “With Gorilla, Taylor is well on his way to staking out new ground. What he’s hit upon is the unlikely mating of his familiar low-keyed, acoustic guitar-dominated style with L.A. harmony rock and the sweet, sexy school of rhythm and blues.”

This is soft rock at its best, made up primarily of love songs, and helped immensely by the harmonically-gifted backing vocals of Graham Nash and David Crosby.

Rolling Stone notes that “With Gorilla, Taylor is well on his way to staking out new ground. What he’s hit upon is the unlikely mating of his familiar low-keyed, acoustic guitar-dominated style with L.A. harmony rock and the sweet, sexy school of rhythm and blues.”

To be honest, the recording of Gorilla itself cannot compete with the likes of Sweet Baby James or JT, both of which are Top 100 Titles. It can be a good sounding record, not a great one, certainly not in the same league as those two. (more…)