This outstanding pressing boasts solid Double Plus (A++) sound or BETTER from first note to last – fairly quiet vinyl too
Rich, tubey, solid, with tight, note-like bass, what early Byrds record sounds this good?
Top quality covers of great songs by Joni Mitchell (For Free) and Neil Young (Cowgirl in the Sand, See the Sky About to Rain)
*NOTE: On side one, a crackly edge is lightly stitchy for the first five revolutions.
The album features the original Byrds lineup of McGuinn, Gene Clark, Michael Clarke, David Crosby, and Chris Hillman.
Even though this is not one of The Byrds’ stronger albums, it does have some very nice material. For Free on side one may very well be the high point of the album for me. They also do a nice version of Neil Young’s Cowgirl In The Sand.(more…)
With two outstanding Double Plus (A++) sides, this White Label Asylum pressing was one of the best we played in our recent shootout – fairly quiet vinyl too
The sound is especially rich, warm and natural, with exceptional immediacy to Joni’s vocals and Tubey Magic for days
One of the best sounding Joni records, on a par with Court and Spark and Blue – fine company indeed
4 1/2 stars: “The lyrics here are among Mitchell’s best, continuing in the vein of gripping honesty and heartfelt depth exhibited on Blue…. More than a bridge between great albums, this excellent disc is a top-notch listen in its own right.”
This copy has real energy and dynamics that just could not be heard on most of the pressings we played. With dynamics AND the warmth and richness found here, this copy will be hard to beat.
Listen to how huge the piano is. No two copies will show you the same piano, which makes it a great test for sound. Both sides have clear, present, breathy vocals, about as good as Joni can sound on vinyl, which is saying a lot.(more…)
This outstanding pressing of Browne’s third album boasts solid Double Plus (A++) sound from start to finish – exceptionally quiet vinyl too
This one was bigger and bolder, with more Tubey Magical richness on Jackson’s voice, than most of what we played
We love the rich, smooth, natural sound that Asylum was known for, and this copy has a healthy dose of each of those qualities
It’s getting harder and harder to find these in good condition these days – the man has a lot of fans, and they prefer to hear him on vinyl
5 stars from AMG and Rolling Stone calls it the “quintessential Browne album,” saying the “… open-ended poetry achieves power from the nearly religious intensity that accumulates around the central motifs; its fervor is underscored by the sparest and hardest production to be found on any Browne album yet… as well as by his impassioned, oracular singing style.”
This Shootout Winning copy has Triple Plus (A+++) Demo Disc Linda Ronstadt sound throughout, and some of her biggest hits to boot!
Both sides are rich, Tubey Magical and spacious – Linda’s vocals on Alison are breathy and present like nothing else we played
Smokey Robinson’s “Ooh Baby Baby” with blistering sax work by David Sanborn has to be the highlight of the album for us
Do you have a copy that’s hard and lean in the midrange, lacking in bass down low and Tubey Magic everywhere else? We do too, more than one in fact.
Ah, but the good copies are rich, smooth, sweet and clear, precisely the kind of sound we’ve come to expect from the team of Val Garay and Peter Asher in the ’70s. The bass is deep and punchy, the keyboards tubey rich, and the whole of the ensemble displays both energy and conviction on this top quality batch of songs.
Check out the best of them, tracks that still get airplay today:
With Triple Plus (A+++) Shootout Winning sound or close to it on both sides, this copy had some of the best sound we have ever heard for the album
This early pressing was hard to fault – it will put Tom Waits right between your speakers, with a batch of great session players behind and to the side, all playing live in the studio
“The album contains more ballads than most of his records do, but they were the most effective vehicles for the kind of storytelling he was trying to get to. Produced and engineered by Bones Howe, Foreign Affairs was recorded live in studio by a quintet that included West Coast jazzmen Jack Sheldon on trumpet, saxophonist Frank Vicari, bassist Jim Hughart, and drummer Shelly Manne.
STUNNING Shootout Winning Triple Plus (A+++) sound or very close to it on both sides, making this a Pretender that rocks like no other!
One of the all time great rock / pop Demo Discs — the best copies are so rich and full-bodied they make most rock records sound positively anemic
Five Stars in Rolling Stone, one of their Top 500 Albums, and a true classic from 1976
Without a doubt the best sounding record Jackson Browne ever made – this is the pressing that backs up everything we say and more
As I’m sure you know by now, especially if you own a copy or two, pressings of The Pretender don’t usually sound like Demo Discs. In fact, most copies of this record are mediocre at best — thin, grainy, and flat sounding.
This copy is none of those things. And it positively kills the famous MoFi pressing.(more…)
An outstanding British SYL copy with solid Double Plus (A++) sound for this criminally underrated California Country Rock Classic – exceptionally quiet vinyl for this album, because early UK pressings are almost impossible to find in audiophile playing condition
If you’ve never heard one of these early pressings, you have simply never heard this album sound the way it should
You Never Cry Like A Lover and The Best Of My Love (their first No. 1) offer Glyn Johns magically delicious DEMO DISC quality sound
We’re HUGE fans of the album here at Better Records; it’s some of the most sophisticated, well-crafted, heartfelt music these guys ever made, and that’s saying a lot coming from us – we’ve been big fans for decades
NOTE: *On side one, a mark makes 2 moderately loud pops followed by 1 loud pop and 2 moderatly light ticks at the beginning of Track 2, You Never Cry Like a Lover.
Many of you have probably forgotten how good this album is (assuming you were ever familiar with it in the first place) probably because the typical domestic copy you would have played back in the day is fairly hard on the ears. Most pressings, even the British ones, barely hint at the kind of sound you’ll hear on this vintage UK pressing (the only kind we sell of course).
The LIFE and ENERGY of this pressing are going to knock you right out of your seat. Most copies leave you with a headache, but this one will have you begging to turn up the volume.(more…)
This superb copy of Zevon’s 1978 release boasts outstanding Double Plus (A++) sound from first note to last – exceptionally quiet vinyl too
The sound is anchored by an exceptionally fat, rich, punchy low end, and this copy delivers on that promise big time
Much like The Pretender, this is a superb recording with the kind of Tubey Magical Analog Richness we go crazy for here
4 stars: “Excitable Boy was an actual hit, scoring one major hit single, ‘Werewolves of London,’ and a trio of turntable hits (‘Roland the Headless Thompson Gunner,’ ‘Lawyers, Guns and Money,’ and the title track).”
Just listen to ‘Excitable Boy’ and ‘Werewolves Of London’ to hear how full-bodied the sound of this album can be — the louder you play it the better it gets!
That’s the Big Speaker Quality we live for around here. You turn it up and it starts to really ROCK.(more…)
Insanely good Shootout Winning Triple Plus (A+++) sound or close to it on both sides of this copy of Prisoner, the followup to Linda’s Masterpiece, Heart Like a Wheel
This is an amazing recording, but it takes a special copy like this one to reveal all the magic that we know must be on the tape
4 1/2 stars – Love Is a Rose, Tracks of My Tears and Heat Wave were hits, but Linda really pours her heart into Hey Mister, That’s Me up on the Jukebox
Andrew Gold (so critical to the success of HLAW) is still heavily involved, along with EmmyLou Harris, James Taylor, Lowell George, David Lindley, JD Souther, and of course Peter Asher
The soundfield has a three-dimensional quality that was pretty much nonexistent on most of the other copies we played. Drop the needle on Many Rivers To Cross and check out the amazing sound of the organ coming from the back of the room. Only the highest resolution copies give you that kind of soundstage depth.
The piano sounds natural and weighty. The fiddle on The Sweetest Gift (played by our man David Lindley) is full of rosiny texture.
Emmylou Harris, dueting here with Linda, is SUPERB, with truly Demonstration Quality Sound on the best copies.
The acoustic guitars are tonally Right On The Money throughout — the transient information is captured perfectly. Listen to the opening guitar in the right channel of The Sweetest Gift; we used it as a test track and when that guitar is RIGHT THERE you know you have a copy with Hot Stampers.(more…)
Superb engineering by Greg Ladanyi (Toto 4, The Pretender, El Rayo-X, demo discs one and all).
If you know the “Asylum Sound” — think of the Tubey Magical Analog of The Eagles first album and you won’t be far off — you can be sure the best copies of All This and Heaven Too have plenty of it. Rarely do we run into recordings from the mid- to late-’70s with richer, fuller sound. The bass on the best copies is always huge and note-like. In the ’80s the very engineer for this record, Greg Ladanyi, would produce solo albums for the likes of Don Henley with no bass. How this came to be I cannot begin to understand, but record after record that we play from that decade are bright and thin like a transistor radio. This accounts for why you see so few of them on the site.
But Andrew Gold’s albums from the later ’70s are amazingly rich and tubey. That sound never went out of style with us. In fact albums with those sonic qualities make up the bulk of our sales, from The Beatles to The Eagles, Pink Floyd to Elton John, Simon and Garfunkel to Graham Nash. In our world the more “modern” something sounds the lower the grade.