- With superb Nearly Triple Plus (A++ to A+++) sound from first note to last, right up there with our Shootout Winner, this original RCA Orange Label pressing is guaranteed to sound dramatically better than any copy you’ve ever heard
- Here’s Elvis doing songs made famous by others, proving that he can still out-rock and out-soul practically anybody alive
- With ten million copies sold to date, this album’s appeal has transcended its time and must be considered a true Elvis Classic
- 4 stars: “”The Wonder of You” might not have been “That’s All Right” or even “Heartbreak Hotel,” but it was a towering performance by a singer who could, even then, run circles around virtually anyone in the business this side of Roy Orbison.”
- A stunning copy of this Hall and Oates classic from 1982 with a Shootout Winning Triple Plus (A+++) side two, mated with solid Double Plus (A++) sound on side one – mostly quiet vinyl too
- It’s lively, open, and natural – the voices of the two leads sound especially full-bodied, real and tonally correct from top to bottom, which is pretty much all you need to earn top grades in a shootout
- Much more consistent than most of their releases, this one boasts three killer hits including Maneater, Family Man and my All Time Favorite by the band, One on One
- 4 stars: “Private Eyes solidified Hall & Oates’ status as one of the most popular acts in America in the early ’80s, and…… with 1982’s H2O, they capitalized on its success, delivering an album that turned out to bigger than its predecessor, as it climbed higher on the charts and launched three Top Ten singles…”
- Excellent Double Plus (A++) sound from first note to last on this surprisingly good sounding record
- Recorded in Nashville by the brilliant Bill Porter, and with the Jordanaires singing backup, what’s not to like?
- If you want to know just how rich, spacious, natural and Tubey Magical Elvis’ records can sound, look no further
- “Pot Luck was a great vehicle for Presley’s voice as it was evolving — ‘She’s Not You’ brilliantly showcased the softer, more intense singing style that had manifested itself just a few months earlier with ‘Can’t Help Falling in Love.'”
If you’ve been on the site for any time at all you know how rare it is for any Elvis album to show up in Hot Stamper form. (more…)
- This outstanding pressing boasts solid Double Plus (A++) sound from first note to last
- Big space, breathy vocals, grungy guitars and plenty of Ken Scott’s luscious Tubey Magic makes this album a true audiophile treat
- As it says on the back of the jacket, “Many thanks to our engineer Ken (Scott, one of our favorites).”
- 4 1/2 stars: “Working with guitarist Mick Ronson and producer Tony Visconti for the first time, Bowie developed a tight, twisted heavy guitar rock that appears simple on the surface but sounds more gnarled upon each listen.”
*NOTE: On side one, a mark makes 8 light ticks at the beginning of Track 1, The Width Of A Circle. On side two, a mark makes 16 light ticks at the beginning of Track 1, Running Gun Blues.
The sound is rich and full, just the way the Brits (and us audiophiles) like it. The tube compression that both Bowie and Scott favor works its magic at every turn, adding fatness and richness and lovely harmonics to the guitars and the drums.
Mick Ronson’s guitars are wonderfully rich and grungy. The vocals can get a bit hot on the first track on side one (as is often the case), but by track two the sound has settled in and is rich and smooth, just the way we like it. Very present and lively vocals are a strong point. Listen to the big bass, richness and Tubey Magic of the third track on side two — that is some Ken Scott studio wizardry at play.
Note that the second track on the second side seems to be where Alice Cooper found his “sound.” More power to him I say. You could get away with ripping off Bowie in 1970; nobody bought this album in the states, which is why it’s so damn rare and expensive. (more…)
- With two nearly Triple Plus (A++ to A+++) sides, this copy is close to the BEST we have ever heard, right up there with our Shootout Winner
- Big, open, and clear, this album captures Elvis live and in the studio – a unique collection that should appeal to any Elvis fan
- 4 1/2 stars: “… [That’s The Way It Is] captures a peerless performer putting his amazing band through the paces… Elvis would record more great music in the next few years, but this record captures him at a pivotal moment when he retained the power of his 1968 comeback and had yet to succumb to all the glitz of Vegas.”
- You’ll find outstanding Double Plus (A++) sound or BETTER on all four sides of this Bowie classic
- One of our favorite live recordings – a great overview of Bowie’s career through 1974
- 1984, Rebel Rebel, Sweet Thing and Rock & Roll With Me come ALIVE in performance like you have never heard before
- A-List players of the day deliver sonic treats, including multiple horn players, multiple percussionists, all-male chorus background vocals, the searing fuzzed-out guitar leads of Earl Slick, piano and Mellotron by Mike Garson, and the amazing Herbie Flowers on bass
*NOTE: On side one, a group of light marks makes about 15 light ticks one-half inch from the end of Track 4, Sweet Thing. On side three, a mark on the edge makes 4 light ticks at the beginning of Track 1, Rock & Roll With Me. On side four, two marks make 8 light ticks during the intro to Track 3, Jean Genie, and 8 moderately light to light ticks during the intro to Track 4, Rock & Roll Suicide.
What can we say? RCA vinyl in 1974 was ticky. Most copies of this album are a helluva lot noisier than this one.
When you listen to an incredible copy of this Bowie classic, you will have no trouble picturing yourself in the audience with a front row center seat. And the great thing about a record like this is that you can be in the front row of this very concert whenever you want!
The other top live album is, of course, Waiting For Columbus, and the two have much in common. Most importantly, the songs played live on both albums are consistently better than their studio versions. (This is especially true on the Little Feat album. Little Feat was not a studio band and their live arrangements — with the Tower of Power horns — just murder the studio ones.)
For us audiophiles, the other reason to own a Hot Copy of David Live or Waiting For Columbus is that the sound is much improved over most of the studio albums in which the material was originally found. Have you ever heard a good sounding Diamond Dogs?
But David Live is full of great sounding material from the album. 1984 is much better here than on the original album. Rebel Rebel, Sweet Thing and Rock & Roll With Me also come alive in performance. They rock! (more…)
- With two seriously good Double Plus (A++) sides, this is one of the more outstanding copies to come out of our most recent shootout – exceptionally quiet vinyl too
- This is a dense, difficult recording to find the right sound for, which means you really need Hot Stampers on Station to Station to enjoy it
- Superb presence and energy – with Nearly White Hot sound on side two, this is a great copy for the classic, radio-friendly TVC 15, Stay and Wild Is the Wind
- 4 1/2 stars: “Station to Station is an avant-garde art-rock album … its epic structure and clinical sound were an impressive, individualistic achievement, as well as a style that would prove enormously influential on post-punk.”
Vintage covers for this album are hard to find in clean shape. Most of them will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you.
Full, punchy and present, with a wide open soundstage and powerful dynamics, this is the right sound for this album, and if you know the album at all, you know that good sound on Station to Station is far from easy to find. (more…)
- This outstanding copy boasts solid Double Plus (A++) sound or BETTER from beginning to end
- If you want to know just how rich, spacious, natural and Tubey Magical even a reissue Elvis record can sound, here’s your chance to find out
- Recorded partly in Nashville by the brilliant Bill Porter, and with the Jordanaires singing backup, what’s not to like?
- “…his voice is better than ever, and this is reflected in the arrangements, most of which are closer in spirit to the finely crafted pop symphonies of Roy Orbison than they are to any of Presley’s earlier work.”
This pressing has the glorious sound of 1961 in its grooves.
Most of the man’s records don’t sound good on most pressings, and more often than not the best sounding pressings are just too noisy to interest most audiophiles. Not so here though, as this was one of the quietest we played in our recent shootout. (more…)
Presenting another entry in our extensive Listening in Depth series with advice on
what to listen for as you critically evaluate your copy of Let’s Dance.
Here are some albums on our site you can buy
with similar Track by Track breakdowns.
This track has a tendency to be a bit brighter than those that follow. To find out if your Let’s Dance is killer, see how the title track sounds.
The best sounding track on the album and one of the handful of best sounding Bowie tracks ever recorded. With a truly Hot Stamper copy, try as you might you will be very hard pressed to find better sound. Demo Disc Quality doesn’t begin to do it justice.
Cat People (Putting Out Fire)
The best sound and music on side two. A top Bowie track.
Shake It (more…)
- Amazing Triple Plus (A+++) sound from beginning to end, making this THE copy to own of this wonderful Harry Nilsson – exceptionally quiet vinyl too
- A lusciously Tubey Magical Top 100 album with orchestral arrangements by the superbly talented Gordon Jenkins
- One of our favorite Nilsson releases (of which there are many) – it’s The Ultimate latter-day standards album
- If you could only have one album of standards from the Great American Songbook, wouldn’t it have to be this one?
- “This is a must have disc pure and simple as it is the best standards album any contemporary artist has ever recorded. All the ingredients were woven together for a remarkable vision.”
After our first big shootout for this album many years ago we were so blown away by what a great copy could do that we immediately added it to our Rock & Pop Top 100 list and have never once regretted doing so. It’s the only Nilsson album to make the cut. Even more unusual, considering it was recorded in 1973, it’s actually one of the better sounding orchestra-backed male vocal albums that we know of. (more…)