- An original domestic pressing with seriously good Double Plus (A++) sound from start to finish – remarkably quiet vinyl too
- These sides had the presence, bass, and dynamics that were missing from most other copies we played
- “…a handful of songs have a spry, vigorous attack – ‘One Hit (To the Body)’ is a classic, and ‘Winning Ugly’ and ‘Had It With You’ have a similar aggression.”
- This is Exile raw and real the way it should be – full-bodied and punchy with great vocal presence and plenty of grungy rock and roll energy
- 5 stars: “Few other albums, let alone double albums, have been so rich and masterful as Exile on Main St., and it stands not only as one of the Stones’ best records, but sets a remarkably high standard for all of hard rock.”
- If you’re a Classic Rock fan, this Must Own Classic from 1972 surely belongs in your collection.
- The complete list of titles from 1972 that we’ve reviewed to date can be found here.
All four sides here have the kind of bass, energy, and presence that is essential for this music to rock the way it wants to. A copy like this conveys the emotional power of The Stones’ performances in a way that most pressings simply fail to do.
This shootout is always a struggle, an uphill battle all the way. You’d have to find, clean and play a ton of copies to come up with four sides that can do this music justice. We’re sure that Stones fans and Hot Stamper die-hards are going to be very pleased with this copy.
This vintage Artisan mastered pressing (the only ones that have any hope of sounding good) has the kind of Tubey Magical Midrange that modern records can barely 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 studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound. (more…)
- A truly excellent import of Zep’s amazing debut with outstanding sound from first note to last – quiet vinyl too
- Arguably the biggest, clearest and most Tubey Magical Zeppelin album ever recorded, thanks to the engineering genius of Glyn Johns (and production genius of Jimmy Page, who paid for the whole thing out of his own pocket)
- Just look at the track list – the lucky owner of this LP will be hearing those songs come to life like never before
- The band’s first album is a permanent member of our Top 100 and a Big Speaker Demo Disc like you will not believe
- 5 stars: “Taking the heavy, distorted electric blues of Jimi Hendrix, Jeff Beck, and Cream to an extreme… But the key to the group’s attack was subtlety: it wasn’t just an onslaught of guitar noise, it was shaded and textured, filled with alternating dynamics and tempos.”
For the real Led Zep magic, you just can’t do much better than their debut — and here’s a copy that really shows you why. From the opening chords of “Good Times Bad Times” to the wild ending of “How Many More Times” (“times” start the album and end it, too, it seems) this copy will have you rockin’ out!
Both sides have THE BIG ZEP SOUND. Right from the start we noticed how clean the cymbals sounded and how well-defined the bass was, after hearing way too many copies with smeared cymbals and blubbery bass.
When you have a tight, punchy copy like this one, “Good Times Bad Times” does what it is supposed to do — it REALLY ROCKS! With this much life, it’s lightyears ahead of the typically dull, dead, boring copy. The drum sound is PERFECTION.
Drop the needle on “Babe I’m Gonna Leave You” to hear how amazing Robert Plant’s voice sounds. It’s breathy and full-bodied with in-the-room presence. The overall sound is warm, rich, sweet, and very analog, with energy to spare. “Dazed and Confused” sounds JUST RIGHT — you’re gonna flip out over all the ambience!
Communication Breakdown is crazy good — the sound of Jimmy Page’s guitar during the solo is so good.
At its best, this album is a Big Speaker Prog-Rock opus with tremendous power and dynamic range, but it takes a special pressing like this one to really bring it to life.
These guys — and by that I mean this particular iteration of the band, the actual players that were involved in the making of this album — came together for the first time and created the sound of Yes on this very album, rather aptly titled when you think about it.
With the amazing Eddie Offord at the board, as well as the best batch of songs ever to appear on a single Yes album, they produced both their sonic and musical masterpiece — good news for audiophiles with Big Speakers!
Drop the needle on this bad boy and you will find yourself on a Yes journey the likes of which you have never known. And that’s what I’m in this audiophile game for. The Heavy Vinyl crowd can have their dead-as-a-doornail, wake-me-when-it’s-over pressings that play quietly. I couldn’t sit through one with a gun to my head.
This Copy Prog Rocks
Both sides have MASTER TAPE SOUND or something close to it! They’re rich and full-bodied with lots of punch and plenty of WHOMP. The guitars are Tubey Magical with a fluid sound that takes the brilliant solos of Mr Steve Howe to a whole new level.
The transparency is also mindblowing — you can easily pick out each multi-tracked voice and follow it throughout the course of a song.
The cymbal crashes are BIG and POWERFUL with correct extension. The tonality on both sides is Right On The Money.
The organ and synths sound amazingly real. Starship Troopers will blow your mind on this copy!
The Yes Album – What to Listen For
Here are the main qualities we listen for when we shootout Yes records:
1. Dynamics – The best copies have amazing dynamics. Some parts of this album should be STARTLING in their power. There is a fair amount of compression on this recording in places, don’t get me wrong, but on the right copies many passages of this music will have tremendous life and energy.
2. Smoothness – This album can be very harsh and unpleasant if the upper midrange is boosted at all, or lacks a full lower midrange to balance it out. The last thing in the world you want is a bright, harsh Yes record.
3. Bass – Bass definition and weight are CRUCIAL to the sound of this record. The thin-sounding copies rob this music of much of its POWER and are downgraded severely for it.
- You’ll find superb grades on both sides of this early pressing – fairly quiet vinyl too
- It’s got weight, punch, energy and fullness – qualities key to the best sounding pressings
- A Top 100 Title, with a surplus of great songs – “Miss You,” “Beast of Burden” and “Shattered,” all sounding shockingly good, thanks to the engineering skills of Chris Kimsey
- 5 stars: “Opening with the disco-blues thump of ‘Miss You,’ Some Girls is a tough, focused, and exciting record, full of more hooks and energy than any Stones record since Exile on Main St. Even Their rockers sound harder and nastier than they have in years.”
This is the Stones’ last truly great album. All Music Guide gives it the same 5 star rating that they awarded Beggars Banquet, Let It Bleed, and Sticky Fingers. With hits like “Miss You,” “Shattered,” and “Beast Of Burden,” it’s easy to see why.
Most copies are too thin and grainy for serious audiophile listening, but this one is a different story. It’s not easy to find great sound for The Stones, so take this one home for a spin if you want to hear this band bring these songs to life in your very own listening room.
Not many copies have this kind of clarity and transparency, or this kind of big, well-defined bottom end. The sound of the hi-hat is natural and clear on this pressing, as are the vocals, which means that the tonality in the midrange is correct, and what could be more important than a good midrange? It’s where the music is.
- With outstanding sound throughout, this copy of Still’s superb debut is doing just about everything right
- Love the One You’re With and Sit Yourself Down are to die for, but there’s really not a bad track on the album
- A triumph of engineering for Bill Halverson and Andy Johns – this and Deja Vu are the very definition of Big Production Rock
- A member of our Top 100 and a Rock Demo Disc on big speakers at loud levels
- 4 1/2 stars: “Listening to this album three decades on, it’s still a jaw-dropping experience, the musical equal to Crosby, Stills & Nash or Déjà Vu, and only a shade less important than either of them.”
When we say it’s getting harder and harder to find clean copies of albums such as this in the bins of our local record stores, we are not kidding. (more…)
We applaud TAS’s decision not to add the Classic pressing of this title to the list, the way they foolishly have with so many other Classic pressings that have no business being on anything called a Super Disc list.
Dark Side Ones
Those of you who’ve played a number of copies of the album over the years surely know that side one has a marked tendency to be much darker and duller than side two. Finding a good side one is five times harder than finding a good side two. If your copy sounds recessed and lacks extension up top, don’t feel bad. Most of them do.
(By the way, the first track has that “home recording” sound and always sounds weak compared to the rest of this album. Don’t expect any wonders. As a wannabe hit single, peaking at #95 on the charts, it may even be sourced here from a dub of the real master tape. That shit happens.)
Your Reward Awaits You
As you may have read elsewhere on the site, records like this are the reward for owning the right stereo equipment and having it properly tweaked. There is no way in the world I could have played this album 20 years ago remotely as well as I can now. It only makes me appreciate the music even more.
You Don’t Have to Be High to Hear It
When you drop the needle on this record, all barriers between you and the musicians are removed. You’ll feel as though you’re sitting at the studio console while Crosby and his no-doubt-stoned-out-of-their-minds Bay Area pals (mostly Jefferson Airplaners and Grateful Deads, see list below) are laying down this emotionally powerful, heartfelt music.
The overall sound is warm, sweet, rich, and full-bodied… that’s some real ANALOG Tubey Magic, baby! And the best part is, you don’t have to be high to hear it. You just need a good stereo and the right pressing.
One of our key test tracks for side one is Cowboy Movie, and one thing that separated the best pressings from the lesser ones was the sound of the hand claps. It’s a dense mix and they are not easy to hear, but on the best copies there is audible echo and ambience around them, with a richer “flesh on flesh” quality to their sound. Not many pressings had it, and the ones that did tended to do most other things well also. Which is what makes it a good test!
We all owe a debt of gratitude to the superbly talented recording engineer on this project, Stephen Barncard (American Beauty, Deja Vu, Tarkio, etc.). This album is without a doubt his masterpiece. It fully deserves its standing as one of the Ten or Twenty Best Sounding Rock Recordings of All Time.
Here are some Hot Stamper pressings of TAS List titles that actually have audiophile sound quality, guaranteed. And if for some reason you disagree with us about how good they sound, we will be happy to give you your money back.
Here are some others that we do not think qualify as Super Discs.
- You’ll find solid Double Plus (A++) sound from first note to last on this outstanding UK pressing of Time And A Word – exceptionally quiet vinyl too
- Some of the best High Production Value rock music of the ’60s and ’70s, thanks to the band and a Mr. Eddie Offord
- If you’ve ever heard one of our Yes Album or Fragile Hot Stampers, you’ll know what to expect here – huge and powerful sound
- “[T]he group was developing a much tauter ensemble than was evident on their first LP, so there’s no lack of visceral excitement. “No Opportunity Necessary, No Experience Needed” was a bold opening [and] “Everydays” is highlighted by Anderson’s ethereal vocals and Kaye’s dueting with the orchestra.”
- You’ll find solid excellent sound on both sides of this outstanding copy of Zep’s final release
- It’s all here: huge amounts of rock-solid bass, grungy guitars, breathy, natural vocals, and jump out of the speakers presence and energy
- Fool In The Rain and All My Love are two of the best, and best sounding, tracks on the album
- “The album’s opening number, ‘In the Evening,’ with its stomping rhythms and heavy, staggered riffs, suggests that Zeppelin haven’t deviated from their course, but by the time the rolling shuffle of ‘South Bound Suarez’ kicks into gear, it’s apparent that they’ve regained their sense of humor.”
- If you’re a Zep fan, this title from 1979 is surely a Must Own
- The complete list of titles from 1980 that we’ve reviewed to date can be found here.
This may not be Zep’s best album, but there are some great songs here, and the music really works when the sound is this good. (more…)
- This outstanding early Modern Records pressing boasts Double Plus (A++) sound from start to finish
- The spacious size, vocal presence, bottom end weight and (relative) warmth throughout are exactly the sound you want for The Wild Heart
- Features a host of stellar guest musicians, including Tom Petty, Mick Fleetwood, Steve Lukather (Toto), and even Prince, though he wasn’t credited on the album
- 4 stars: “The Wild Heart sold to the faithful — it made the Top Ten, sold over a million copies, and spawned three Top 40 hits… if you loved Bella Donna, you would like The Wild Heart very much.”
It’s easy to spot the good-sounding copies. They’re big and rich, not thin nor harsh. They open up on the top end and go down deeper on the bottom. They’re smooth and full-bodied in the midrange. Stevie’s vocals are breathy and present. The energy of her performance drives the music the way you want it to.
In short, the best copies demonstrate the sound one could expect to hear on a good Tom Petty album. Nothing surprising there; this album, like Petty’s, was produced and engineered by the same team, Jimmy Iovine and Shelly Yakus. They’ve made some great records together, Damn the Torpedoes being the best of the batch for sonics.