INCREDIBLY POWERFUL AND DYNAMIC DEMO QUALITY SOUND THROUGHOUT! If you’re looking for a jazz-fusion guitar album that will wake your system up (and show off its best qualities to boot), this is the hot ticket right here. We had been slowly compiling various pressings for a big shootout for ages, and we finally let it rip recently. This was one of the most impressive pressings, earning an A++ on side one and an A+++ on side two. If you’re a fan of ’70s Miles Davis or the Birds Of Fire album, you probably already know that you need this in your collection! (more…)
- An outstanding copy of Electric Ladyland with solid Double Plus (A++) sound or close to it on all FOUR sides
- Big, clear, tubey, sweet ANALOG sound – we played it good and loud and it was ROCKIN’!
- Probably the best-recorded of Hendrix’s studio albums – huge studio space and Tubey Magical richness are key to the best sound
- 5 stars: “…not only one of the best rock albums of the era, but also Hendrix’s original musical vision at its absolute apex.”
*NOTE: On side four, a mark makes 10 moderate to loud pops at the beginning of Track 1, Still Raining, Still Dreaming.
Some of Jimi’s best songs can be found here, including Crosstown Traffic, Voodoo Child (Slight Return) and his incendiary cover of Dylan’s All Along The Watchtower. All four sides have truly killer sound, big and full-bodied with a MUCH better low end than you’ll find on most. You get enough energy and weight to make the rock songs really ROCK, and enough clarity and transparency to bring out the more spacey, psychedelic elements that Jimi and Eddie Kramer worked so hard on.
Ready to go on a trip? You’ve come to the right place. While the sound is not Demo Quality on every track, the acid-drenched soundscapes created by Jimi and producer Eddie Kramer are certainly going to be exciting to the kind of audiophile who still digs Classic Rock. Unfortunately, most copies are missing a lot of the magic — the space, the tubes, the ambience, the size, the weight. (more…)
- An outstanding copy of Live Cream, with solid Double Plus (A++) sound throughout – exceptionally quiet vinyl too
- Super lively and clear with the kind of bass that most pressings simply don’t have in our experience
- 4 stars: “Foreground and background seem to dissolve as all three musicians take charge, using the full range of their instruments. And where Bruce goes with his bass, especially on ‘Sweet Wine,’ is every bit as rewarding as the places that Clapton’s guitar takes us; and Ginger Baker’s playing is a trip all its own. Performances like this single-handedly raised the stakes of musicianship in rock.”
Cream were certainly no slouches in the musicianship department, and this live performance captures them at the peak of their powers!
When you get a good copy of this album you’re sure to hear what we heard — that this is truly one of the great live rock albums (with a bit of studio material on side two as well). This has the Big Rock Sound that we go crazy for at Better Records. The best pressings, the ones that are full-bodied and smooth, let you crank the levels and reproduce the album good and loud the way it was meant to be heard.
When it’s all working, you’re front and center for a fiery Cream concert with these guys delivering one heckuva performance. And where else are you gonna get that these days?
Over the last twelve years that we’ve been doing our Hot Stamper thing we’ve heard scores of Cream albums; we know their music well, and they are hard to beat when playing live.live (more…)
- An outstanding pressing with solid Double Plus (A++) sound from the first note to the last
- Glyn Johns’ MAGIC is on display here, with open mics in a big studio space creating the 3-D Soundscapes we love
- Features two of their most iconic songs, Slip Kid and Squeezebox, and both sound great on this copy
- 4 Stars – Rolling Stone raves: “They may have made their greatest album in the face of [their personal problems]. But only time will tell.”
In our opinion this is the best — and best sounding — Who album released post-Quadrophenia. (more…)
- SUPERB! An insanely good copy with Shootout Winning Triple Plus (A+++) sound or close to it on both sides — this one will blow you away!
- The sound is dramatically bigger, cleaner, livelier and more present than you’ll hear on any other copy
- Incredible sound for Purple Haze, Hey Joe, The Wind Cries Mary, Fire and Foxy Lady
- No matter what version you’ve been playing, we guarantee you’ll be blown away by the energy and punch on this import
- “One of the most stunning debuts in rock history, and one of the definitive albums of the psychedelic era.” 5 stars
It is no easy task trying to find good copies of this album (or any Hendrix album, really). This one is absolutely killer. The bottom end is big and weighty, the top is open and transparent, and there’s plenty of rich, full tubey magic. Good luck finding this kind of sound for Are You Experienced on your own — it took us DECADES! (more…)
- With stunning Triple Plus (A+++) sound or close to it on both sides, this British Polydor pressing was rockin’ like crazy
- This is a fun live album with stellar performances by Jimi – the best of his many posthumous releases
- The awesome version of Little Wing is just killer on this copy – it’s Jimi’s best performance of the song
- “Hendrix in the West is a collection of extremely good live Hendrix performances between 1968-1970. Three different concerts are sampled on this 1972 release, one of the few official live Hendrix releases following his death.”
*NOTE: A mark plays very lightly five times at the end of side one track three, Blue Suede Shoes. On side two a mark makes four light thumps at the start of track three, Red House.
We’re still surprised at how well recorded the album is. It takes a pressing like this to really show you the live Jimi Hendrix magic Eddie Kramer got onto tape. Drop the needle on Little Wing and you are going to be FLOORED.
The size and space here are really something, miles beyond most. The resolution and clarity of the open live sound of this copy bring out all the instrumental textures and details of the recording like few we played. More importantly, the extended top keeps the highs from getting hard or harsh the way they do on so many pressings we’ve played.
As these performances are culled from different concerts the sound varies a bit from track to track, but every track on here sounds good and the best tracks sound amazing.
- Outstanding Double Plus (A++) sound from start to finish – you’ll have a hard time finding a copy that sounds remotely as good as this one does
- This copy has the Glyn Johns BIG, BOLD sound we demand from this famous producer/engineer
- The title song sounds great on this killer copy — the dynamic power of the recording comes through loud and clear
*NOTE: On side one, a mark makes 8 light ticks near the end of Track 4, Sister Disco.
Big, tubey and rockin’, this copy has The Who sound we know from Who’s Next so well. Huge and pacious, with lovely three-dimensional depth, the sound has that patented Live in the Studio quality that Johns’ practically trademarked. Breathy vocals and great life and presence to every instrument, this is the way to hear it!
Forget the domestic pressings, forget the DD Labs half-speed, forget whatever lame reissues have come or will come down the pike — if you want to hear this album right, a Hot Stamper British pressing is the only way to go.
This copy has the Glyn Johns Who Sound we demand from one of the most famous producer/artist collaborations in the history of rock music. (Johns’ work with the Stones is even more legendary I would argue.)
This is certainly not the equal of the beyond brilliant Who’s Next — what is? It’s an undisputed Masterpiece — but the best songs here are certainly in that league. The title track is one I used to demo my system with twenty years ago and, with a copy like this, would be happy to again. (more…)
- This outstanding copy of Before And After Science on the Island Black Label boasts solid Double Plus (A++) sound from first note to last
- Here you will find that rare combination of silky highs and deep low end, with huge amounts of space in the middle, three qualities among many that make this album an especially magical listening experience
- I know whereof I speak- I must have played this album at least two hundred times in the 43 years that have passed since I first bought a copy
- If you’re a fan of Art Rock or Prog Rock or just like something a little different, this is an album that belongs in your collection
- 5 stars: “Despite the album’s pop format, the sound is unique and strays far from the mainstream. The music on Before and After Science at times resembles Another Green World (“No One Receiving”) and Here Come the Warm Jets (“King’s Lead Hat”) and ranks alongside both as the most essential Eno material.”
*NOTE: On side one, a mark makes 1 loud stitch followed by 1 moderate pop one-quarter inch from the end of Track 3, Kurt’s Rejoinder. On side two, a mark makes 1 moderate, then 1 moderately light, stitch a quarter inch from the end of Track 1, Here He comes.
Side one, the rock side, strongly relies on its deep punchy bass to make its material come to life and rock (or should we say art rock?). Eno’s vocals are clear and present with virtually no strain. Phil Collins’ drumming is energetic and transparent and perfectly complemented by Percy Jones’ simultaneously acrobatic and hard-driving bass work. (more…)
It’s EXCEPTIONALLY difficult to find even decent sounding copies of this album. We’ve played SCORES of original domestic copies, original imports, and all kinds of reissues — trust me, most of them would make you cringe.
When you get a good copy, this music is AWESOME! For ’60s power trio hard rock, you just can’t do much better than the studio material.
White Room, Sitting On Top Of The World, Politician, Born Under A Bad Sign — this is the very essence of Classic Blues Rock. Unfortunately, the typical copy barely hints at the potential of this recording, and the audiophile pressings are even worse.
The DCC Gold CDs are especially bad in our opinion; they sound nothing like the good pressings we’ve played over the years.
Where’s The Bass?
Most early pressings you find these days are thrashed beyond belief. We used to pick up every clean Plum & Gold label copy we’d find back in he day, but no more. We gave up. The Cream magic was just plain missing from the early domestic pressings. The problem is simple: a glaring lack of bass.
Let’s think about that. Cream is a power trio. The music absolutely demands a solid, weighty bottom end. Sacrifice the bass and the sound is just too lean to rock.
We can sum up the sound of the whomp-less copies in a word: fatiguing. As is always the case, some copies sound better than others, but none could give us the kind of bass that we were hoping for. (more…)
- A superb pressing of The Hollies’ 1974 release, with outstanding Double Plus (A++) sound or BETTER from first note to last – exceptionally quiet vinyl too
- The sound of this early UK pressing is big, full-bodied and dynamic with Tubey Magic to die for – forget the dry, edgy sound of the domestic LPs, this is the real master tape, baby!
- The Air That I Breathe is the monster track here, and on these killer British Polydor pressings it’s out of this world thanks to the engineering prowess of none other than Alan Parsons