The immensely talented engineer ROBIN GEOFFREY CABLE worked his audio magic on this album. You may recall that he recorded a number of the greatest sounding rock records of all time, Elton John’s self-titled second album and Tumbleweed Connection, both in 1970, as well as this album and Nilsson Schmilsson in 1972, with Richard Perry producing.
One more note: having your VTA set just right is critical to getting the best out of this album. The loudest vocal parts can easily strain otherwise. Once you get your settings dialed in correctly, a copy like this will give you the kind of rich, sweet sound that brings out the best in this music.
An outstanding copy of the band’s sophomore release, with solid Double Plus (A++) sound from first note to last
This vintage pressing is well balanced, yet big and lively, with such wonderful clarity in the mids and highs as well as deep punchy bass and a big open and spacious soundfield
Demo Quality sound for so many classics: When The Music’s Over, Moonlight Drive, Love Me Two Times and more
“… if The Beatles had Sgt. Pepper’s Lonely Hearts Club and The Beach Boys had Pet Sounds, then The Doors’ answer was Strange Days… It’s the perfect introduction to a perfectly strange album.”
On side one, a mark makes 5 moderately loud pops, followed by 15 moderately light and 5 light stitches. Another mark makes 4 light ticks, followed by 3 very light ticks during track 3, Love Me Two Times.
If you’re looking to demonstrate just how good 1967 All Tube Analog sound can be, this copy will can do just that.
It’s 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 anyone seriously contemplated trying to improve it.(more…)
Judy Collins superb 1967 release finally returns to the site after many years with STUNNING Shootout Winning Triple Plus (A+++) sound on both sides of this Gold Label original stereo pressing
The sound is rich, sweet and open, with Judy’s voice especially clear and breathy – if you’re not quite sure what Tubey Magic is all about, the sound of this pressing will show you just how Tubey Magical the real deal can be
There is plenty of wonderful music on this album, including two of best songs Judy ever recorded (in our opinion), Michael from Mountains and Since You Asked, as well as two of Leonard Cohen’s best-penned tunes
“Soothing. Unique. Natural. These are clear adjectives used best when describing the style and grace of Judy Collins and her album Wildflowers. Her blend of folk and meditative music paints a tapestry of soft, nurturing colors that transcends the mind of the listener and seeks one’s soul.”
The first three songs on side one alone are worth the price of the album, three of the best Judy ever recorded. Joni Mitchell’s Michael from Mountains is one of the best songs on her debut album; Judy sings it with comparable taste and skill. Since You Asked is Judy’s own composition, her first to be recorded in fact. In this writer’s opinion, it’s the best song she ever wrote, “as good as it gets” as we like to say. And of course, Leonard Cohen’s Sisters of Mercy is one of his many masterpieces and brilliant in all respects as performed here.
Grammy Award for Best Folk Performance that year by the way.(more…)
Outstanding Double Plus (A++) sound from beginning to end on this wonderful Elektra pressing – fairly quiet vinyl too
Both sides here are incredibly rich, full-bodied and musical with excellent bass — essential for this funky music
We’ve called this album a Demo Disc for Bass and any Hot Stamper copy will show you why
4 1/2 stars: “Winelight is one of his finest albums, and not primarily because of the Bill Withers hit “Just the Two of Us.” It is the five instrumentals that find Washington (on soprano, alto, and tenor) really stretching out…”
The best copies must have one key ingredient that we’ve discovered is absolutely essential if this groundbreaking New Wave album is to come to life — a huge, spacious soundstage.
Some copies are huge; others, not so much. The effect of these size differentials is ENORMOUS. The power of the music ramps up like crazy — how could this recording possibly be this BIG and POWERFUL? How did it achieve this kind of scale? You may need twenty copies to find one like this, which begs the question: why don’t the other 19 sound the way this one does? The sound we heard has to be on the master tape in some sense, doesn’t it? Mastering clearly contributes to the sound, but can it really be a factor of this magnitude? (more…)
An outstanding copy of The Cars’ New Wave Classic, boasting solid Double Plus (A++) sound or BETTER on both sides
We guarantee this is some of the best sound you’ll ever hear on ANY Cars album – Roy Thomas Baker’s production makes this one jump out of the speakers like few recordings we’ve heard (and not many of them are from 1979, that’s for damn sure)
An underrated album by the band – we consider it a Must Own, along with their brilliant debut, two records that belong in any audiophile’s Rock and Pop collection
4 1/2 stars: “As it stands, it may be one of the best second albums ever made, full of great songs, inspired performances, and sporting a still-perfect sound. If this had been the Cars’ debut album, people might consider it a classic. Coming after The Cars, it has to be rated a little lower, but not by much.”
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…)