- The band’s 1986 follow-up to Sports finally arrives on the site with Shootout Winning Triple Plus (A+++) sound or very close to it on both sides
- The open, spacious soundstage and full-bodied tonality here are obvious for all to hear – huge, punchy, lively and rockin’ throughout
- This copy will show you just how big, lively and POWERFUL this music can be on the right pressing
- “This is by far one of the absolute best releases by Huey Lewis & the News. Powerful, hard-hitting, and quite emotional. . . for those of you who like hard-hitting, powerful rock music from the ’80s era.”
- We’ve only had a handful of copies go up since 2013 – it’s tough to find these vintage UK pressings in clean condition with this kind of sound
- Guaranteed to soundly trounce any Pink Label Island original you may have heard – these are the Hot Stampers and it doesn’t take a pair of golden ears to hear it
- Melody Maker thoroughly recommended the album in 1968 for being “full of excitement and emotion” and described the band as a blues ensemble “influenced by jazz music” capable of setting “the audience on fire.” Wikipedia
- Incredible sound for this early British pressing, with huge and dynamic Shootout Winning Triple Plus (A+++) sound throughout
- The Tubey Magical Richness of this recording must be heard to be believed
- Some of the best English Folk Rock Music ever recorded on analog tape and preserved on this lovely vinyl disc!
- Allmusic gives it 4 1/2 stars: “Now a full-fledged rock group, competing with the likes of Jethro Tull and pumping out higher amperage than Fairport Convention, Steeleye engages in heavy riffing, savage attacks on their instruments, and generally kicks out the jams on this album.”
This original Porky/Pecko mastered British Chrysalis pressing has insanely good sound on both sides and, even more importantly, some of the best English Folk Rock Music ever recorded on analog tape (and preserved on this lovely vinyl disc!).
I grew to love this album back in the ’70s; the stereo store I worked at used it as a Demo Disc, so I heard it on a regular basis. Rather than getting sick of it, I actually bought a copy for my own collection to play at home. (Not sure if I managed to get an import, not sure if I would even have been able to hear the difference.)
Things have changed as we never tire of saying here at Better Records, but in a way you could say they have stayed the same. This used to be a Demo Disc, and now it’s REALLY a Demo Disc. You will have a very hard time finding a record with a richer, fuller, better-defined, dare I say “fatter” bottom.
Both sides have practically everything we look for in a Hot Stamper British Folk Rock Album — this copy is stunningly dynamic; has really solid bass; lovely transparency, incredible presence; tons of space and ambience; you name it, this copy has it. It does it all. (more…)
- You’ll find outstanding Double Plus (A++) sound on both sides of this UK Charisma pressing – it’s guaranteed to beat any Heavy Vinyl (or other) pressing you may have
- The sound here is rich and Tubey Magical, which is the only way this music makes any sense at all
- Probably for the more serious fan, but Melody Maker found it “…tasteful, subtle and refined.”
- “… cannot find many ‘modern’ acts that can even come close to the brilliance demonstrated in these six songs… cannot recommend this album enough.”
Take it from us, the guys who play every kind of pressing we can get our hands on, the UK pressings are the only way to go on Trespass. (more…)
- With a Triple Plus (A+++) Shootout Winning side one and a Double Plus (A++) side two, this copy had some of the best sound we have ever heard for Parallel Lines
- The energy and enthusiasm of the band on this Retro Power Pop Classic really comes through here, and that’s not a claim you can make about very many copies
- There’s not a bad song to be found anywhere, and lots of great ones: One Way Or Another, Heart Of Glass, Hanging On The Telephone, etc.
- 5 stars: “Blondie’s best album,” which is actually a bit of an understatement – it’s by far their best album
All the Blondie magic you could ever want is in these grooves. The truly powerful sound of this Power Pop Classic really comes through on this bad boy — and that’s simply not a claim you could make about too many copies out there in record land, which tend to be flat, opaque and compressed. Not so here. This one just plain ROCKS.
Can this kind of music get any better? This album is a MASTERPIECE of Pure Pop, ranking right up there with The Cars first album. I can’t think of many albums from the era with the perfect blend of writing, production and musicianship under the guidance of producer Mike Chapman (The Knack) Blondie achieved with Parallel Lines.
As expected, if you clean and play enough copies of a standard domestic major label album such as Parallel Lines eventually you will stumble upon The One, and boy did we ever. The very best copies in our recent shootout were OFF THE CHARTS with presence, breathy vocals, and punchy drums. On top of that they were positively swimming in studio ambience, with every instrument occupying its own space in the mix and surrounded by air. (more…)
- An outstanding copy of Trower’s amazingly well recorded Psych masterpiece with solid Double Plus (A++) sound or BETTER on both sides
- This early UK pressing is huge, rich and punchy, with guitar solos that soar like few others you’ve heard
- The title track is on this killer side one – you have never begun to hear it sound like this!
- Brilliant engineering by Geoff Emerick at George Martin’s AIR studios – maybe the best sounding album Emerick ever made
- Top 100 and 4 1/2 stars on AMG: “…his most stunning, representative, and consistent collection of tunes. Bridge of Sighs holds up to repeated listenings as a timeless work, as well as the crown jewel in Trower’s extensive catalog.”
We’d been wandering around in the dark for more than a decade with Bridge of Sighs — that is, until about 2015 when we finally stumbled upon a certain UK Chrysalis pressing in audiophile playing condition.
Now we know just how good this album can sound. How good? Astonishingly good. The three-dimensional space is positively breathtaking on the best UK copies.
There is a substantial amount of Tubey Magic and liquidity on the tape, recalling the kind of hi-rez vintage analog sound that makes the luminous A Space in Time (1971) such a mind-expanding experience. Both albums have the kind of High Production Value sound that we go crazy for here at Better Records.
- Stunning sound for the band’s follow up to Parallel Lines with both sides of this original pressing earning Shootout Winning Triple Plus (A+++) grades or or close to them – exceptionally quiet vinyl too
- Turn it up as loud as you want – the top end and vocals are balanced, smooth and tonally correct, not gritty or edgy
- The drums and bass of Die Young Stay Pretty are as real sounding as if you were standing five feet from the band
- 4 1/2 stars: “The British… made Eat to the Beat another chart-topper, with three major hits, including a number one ranking for Atomic and almost the same success for Dreaming.”
This is Mike Chapman’s Big Beat Sonic Masterpiece — yes, the sound is actually bigger and better than the sound on Parallel Lines — akin to the debuts of The Knack and The Cars, and every bit as huge and punchy as either.
Eat to the Beat lives and dies by its energy, its bass and above all by its transient snap. The drums and bass of Die Young Stay Pretty are as real sounding as if you were standing five feet in front of the band. On the best copies it’s hard to imagine that song sounding any better. The drum and bass are massive in their attack. It’s the very definition of punch. (more…)
We’ve been wandering around in the dark for more than a decade with Bridge of Sighs — that is, until we found a clean early UK Chrysalis pressing. Now we know just how good this album can sound, and that means ASTOUNDINGLY good. Off the top of my head I can’t think of any Geoff Emerick album that sounds as big and clear as this one. The three dimensional space is really something else on the better UK copies.
There is a substantial amount of Tubey Magic and liquidity on the tape, recalling the kind of hi-rez vintage analog sound that makes the luminous A Space in Time such a mind-expanding experience. Recorded a few years earlier, both albums have the kind of High Production Value sound that we go crazy for here at Better Records. You can find many of our favorites in our Rock and Pop Top 100, and if we can find more of this title, it will surely be on the list as well. (more…)
- An excellent sounding UK copy with Double Plus (A++) sound from the first note to the last
- Both sides are super big and full with wonderfully breathy vocals and a deep punchy bass
- Very quiet for this title — Mint Minus to Mint Minus Minus
- “Minstrel in the Gallery was Tull’s most artistically successful and elaborately produced album since Thick As a Brick…” – All Music=
This original British Chrysalis copy has two excellent sides, with ROCK ENERGY and power that few other copies could compete with. This copy gets BIG when it needs to (the proggy parts), and that makes it fun.
Plenty of Tubey Magic is on offer as well, with rich, sweet acoustic guitars and a lovely freedom from hi-fi-ishness on the vocals. As you probably know, Ian Anderson can get a little carried away with the processing on his voice, but the best copies make that processing sound right within the context of the overall sound. Most copies have added distortion and grit on the vocal effects, making them much less pleasing to the ear than the engineers envisioned. (more…)
Thick As A Brick is quite possibly the BEST SOUNDING ALBUM Jethro Tull ever made. It’s dynamic; has really solid, deep punchy bass; transparency and sweetness in the midrange; Tubey Magical acoustic guitars and flutes; in other words, the record has EVERYTHING that we go crazy for here at Better Records. I can guarantee you there is no CD on the planet that could ever do this recording justice. The Hot Stamper pressings have a kind of MAGIC that just can’t be captured on one of them there silvery discs.
We play quite a few original British and domestic copies of this record when we do these shootouts and let me tell you, the sound and the music are so good I can’t get enough of it. Until about 2007 this was the undiscovered gem (by me, anyway) in the Tull catalog. The pressings I had heard up until then were nothing special, and of course the average pressing of this album is exactly that: no great shakes. But with the advent of better record cleaning fluids and much better tables, phono stages and the like, some copies of Thick As A Brick have shown themselves to be AMAZINGLY GOOD SOUNDING. Even the All Music Guide could hear how well-engineered it was.