This outstanding pressing boasts solid Double Plus (A++) sound from the first note to last
Some of the best sound Queen achieved in the studio, thanks to talented engineer Rienhold Mack
Plenty of hits here, including Another One Bites The Dust and Crazy Little Thing Called Love, which both sound amazing on this Super Hot Stamper
4 1/2 stars: “… the striking difference with this album is that it finds Queen turning decidedly, decisively pop, and it’s a grand, state-of-the-art circa 1980 pop album that still stands as one of the band’s most enjoyable records.”
Throughout this copy, you get solid bass, Tubey Magic, breathy vocals and BIG BOLD sound.
Compared to most of the copies we played, these sides have more energy, bigger bass and even more present and breathy vocals. This is without a doubt some of the best sound we have ever heard for Queen, no ifs, ands or buts about it.
The quality of bass on this record is often superb. The best copies were Demo Discs in that regard.) You have probably never heard Queen sound this good.
Take it from us, the guys who play nothing but vintage vinyl all day: not many Queen records sound as good as The Game.(more…)
This outstanding early pressing boasts solid Double Plus (A++) sound from start to finish
Produced by Mr. Paul Samwell-Smith, this album blends Carly’s lilting vocals with lush, harmonically detailed acoustic guitars and BIG punchy drums
Brimming with favorites, like Anticipation, Legend In Your Own Time and I’ve Got To Have You, this is clearly one of her most consistent albums
“Carly Simon’s second album found her extending the gutsy persona she had established on her debut album… a frankly passionate person whose vulnerability was a source of strength, not weakness, a valuable feminist trait and one Simon would pursue in her later work.”
The acoustic guitars sound particularly good on this copy, with just the right balance of pluck and body. The vocals are breathy and full-bodied with extraordinary immediacy. The tonality from top to bottom is Right On The Money. I don’t think you could find a much better sounding copy of this album no matter how hard you tried. We went through plenty to find this one, I can tell you that.(more…)
A wonderful copy of Carly’s 1976 release, a personal favorite of mine, and this pressing rated Double Plus (A++) grades throughout – exceptionally quiet vinyl too
There’s gobs and gobs of 1976 Tubey Magical Richness courtesy of engineer Donn Landee and producer Ted Templeman
Our pick for the best – and best sounding – Carly Simon album, a Must Own which Rolling Stone called “Carly Simon’s best record.”
She’s got help from a wonderful backing crew including the Doobies and Little Feat, plus Linda Ronstadt, Jackson Browne, Dr. John, and of course good ‘ol JT
There’s one quality in particular that added immensely to our enjoyment of the music — gobs and gobs of Tubey Magic. The copies that were opaque, dry, flat and “modern” sounding — which pretty much describes practically every Heavy Vinyl record we’ve played in the last five years — bored us to tears, not surprisingly in the very same way that most Heavy Vinyl does.
Most copies of the album get Carly’s voice all wrong — gritty, edgy, hard and strained, but not this one. Carly’s singing on this copy is smoother, sweeter, more immediate and clearly more emotionally compelling than we heard on most of the other copies in our shootout. The music seems to come to life right in front of you, right there in your very own listening room.
This is 1976, they were still making good records then. You would hardly know it by playing the average pressing of the album, but when you hear one like this, there is no mistaking the richness, sweetness and freedom from artificiality that must be on the tape, qualities for which good tube equipment is rightly revered. (We no longer use tube equipment ourselves, preferring to be guided by the approach of reproducing the Tubey Magic of the records we play unadorned.)(more…)
The best copies of Bread’s third album have amazingly sweet and rich 1971 ANALOG sound on both sides. That big rich bottom end and the volume of space that surrounds all the instruments and singers are the purest and most delightful form of Audiophile Candy we know.
The acoustic guitars? To die for. Talk about Tubey Magical Analog, this copy will show you just what’s missing from modern remastered records (and modern music generally). Whatever became of that sound?
This record put Bread’s heavily Beatles-inflected Pure Pop back on the charts after their the single from their previous album, On The Waters, made it to Number One, that song of course being Make It With You. “If”, the big hit off this album, went to number five, but we like it every bit as much as that earlier chart topper. Both represent the perfect melding of consummate songcraft and pure emotion. (more…)
This superb compilation boast a Shootout Winning Triple Plus (A+++) side one mated with an outstanding Double Plus (A++) side two – exceptionally quiet vinyl too
The sound is especially rich, warm and natural, with exceptional immediacy to Judy’s vocals and Tubey Magic for days
Tons of breath of life, superb production and mastering, and some of the best sounding echo ever recorded
Note that Artisan cut this record a whole helluva lot better than DCC – the so-called audiophile label – ever did
4 1/2 stars: “Lovingly programmed (it leads off with her excellent country-pop hit ‘Someday Soon,’ an Ian Tyson classic), this is Collins at her finest… This anthology brings the ‘best-of’ collection to a new art form.”
I remember being a bit taken aback by how much better my original Artisan pressing sounded compared to the supposedly superior DCC, pressed at high quality Heavy Vinyl at RTI to the most exacting standards possible.
What finally turned me completely against DCC were the awful Paul Simon solo albums they remastered. Two were released, two I had as unreleased test pressings, and all of them were barely second rate compared to a good original pressing.
So much for believing in DCC. Since that time we have learned that placing your faith in any record label or cutting operation is a mistake. You have to play the records to know how they sound. Nothing else works, and nothing else can work.(more…)
Simon’s wonderful 1981 release makes its Hot Stamper debut here with Shootout Winning Triple Plus (A+++) sound from start to finish
Surprisingly rich, natural and analog considering the recording date – very little sound of the sound of the day — the kind that ruined most of what was made in the ’80s — is on display here, and thank god for that
“Carly Simon’s Torch is a gorgeous throwback to the Fifties and early Sixties… By blending old and new material, and by incorporating a hint of jazz-fusion music into a studio-orchestra sound, Simon and her producer, Mike Mainieri, begin to suggest a continuity between Fifties torch and Eighties pop.”
With two Shootout Winning Triple Plus (A+++) sides, we guarantee you’ve never heard L. A. Woman sound remotely as good as it does here
Dramatically better than most of what we played, this early pressing is huge, lively and rich, with in-the-room vocal presence
Our White Hot Stamper of L.A. Woman was the best copy we heard in our recent shootout – it’s got the big Bruce Botnick sound we love
If all you know are the various Heavy Vinyl versions, this outstanding copy will show you just what you’ve been missing
“The seven-minute title track was a car-cruising classic that celebrated both the glamour and seediness of Los Angeles; the other long cut, the brooding, jazzy ‘Riders on the Storm,’ was the group at its most melodic and ominous.”
White Hot A+++ sound on side two of this 2-pack, with Shootout Winning sound. Great material including The Moon Is a Harsh Mistress and Sondheim’s Send in the Clowns. Another 2-pack that proves our case – the good sides here are wonderful, the bad sides plainly awful. The engineer for Judith is Phil Ramone, who went on to win the Grammy the following year for Still Crazy After All These Years.(more…)
A superb sounding stereo original of Love’s first album, with Shootout Winning Triple Plus (A+++) sound or close to it throughout – reasonably quiet vinyl too
A classic from 1966, a combination of proto-punk and psychedelia featuring My Little Red Book, Hey Joe and more
The first Love album is without a doubt the punchiest, liveliest, most POWERFUL recording in the Love catalog
Engineered by none other than Bruce Botnick, here is the kind of massive bottom end weight and energy that we like to call WHOMP
4 1/2 stars: “Love’s debut is both their hardest-rocking early album and their most Byrds-influenced…”
Some of you may not know this music, but it’s a true Must Own Psychedelic Gem from the ’60s, a record no rock collection should be without, along with other groundbreaking albums from the ’60s such as Surrealistic Pillow, The Doors’ debut, the first Spirit album and too many others to list.
If you’re looking to demonstrate just how good 1966 All Tube Analog sound can be, this killer copy will do the trick. This Gold Label pressing is spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.
This IS the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. Of course there’s a CD of this album, but those of us in possession of a working turntable and a good collection of vintage vinyl have no need of it.(more…)
We have just recently moved our record business to our new Shopify store. None of the links to the old site will work anymore. We apologize for the inconvenience and hope to be able to rectify the situation soon. For now please check out Better Records, Mach II, home of the ultimate vinyl pressing, the White Hot Stamper.
Tom Port – Better Records
Our shootout from a while back (4/2014) included a minty Gold Label pressing, which did reasonably well, but not great, on side one. Side two however was OFF THE CHARTS and won the shootout on that side handily. The fact that side one wasn’t a knockout is yet more evidence that individual pressings with the same label — even the “right” label — vary dramatically in sound.
The sound of most pressings of The Soft Parade is just plain horrible. The brass that opens side one is so pinched, compressed, grainy and aggressive it will practically make your hair stand on end. Almost all the reissue LPs sound like they are made from sub-generation EQ’d compressed tape copies, what are commonly called cutting masters. So many reissues have such a similar character that it’s hard to imagine they’re not all sourced from the same bad “master.” (more…)