- This is probably the last domestically pressed record he made that still has the kind of sound we look for in a Hot Stamper
- “Over the years, Morrison has gathered around him a band that plays, like the best jazz ensembles, with effortless empathy. The group follows him through all his moods and meanderings, from the lilting cadences of “Tore Down à la Rimbaud” and “Ancient of Days” to the stately auguring of “Let the Slave” and the airy, triumphal shimmer of “A New Kind of Man.” A Sense of Wonder is serenely uplifting. With astonishing commitment and profound belief, Van Morrison continues to push forward into the mystic.”
- With two seriously good Double Plus (A++) sides, this copy has a lot going for it – exceptionally quiet vinyl for the most part too
- These sides are rich and full, with punchy bass and plenty of rockin’-down-the-highway Doobies energy – thanks Donn Landee, you da man
- Contains contributions from such guest musicians as Maria Muldaur, Ry Cooder, and Curtis Mayfield
- Allmusic 4 1/2 stars: “The Doobie Brothers’ rootsiest album to date, Stampede was virtuoso soulful countrified rock of a gritty nature, crossing over into blues as well as reaching back to a raw, traditional rock & roll sound…”
The average copy of this album is compressed and congested, recessed and veiled, grainy and thin; in other words, it sounds like an old Doobie Brothers album. It takes a copy like this one to show you just how good the Master Tape must be.
And if we hadn’t had plenty of copies to play with, we would never have found this one. (more…)
- This copy of Prince’s fourth studio album boasts outstanding Shootout Winning Triple Plus (A+++) sound on both sides
- Prince’s albums will never be demo discs, but the best pressings give you the sound that he was going for in the studio, and you can’t ask for more than that
- These vintage Prince albums are getting hard to find nowadays – prices have doubled and tripled in the last year or two
- “Controversy emerged in 1981 at a pivotal time not just for Prince, but for America. It’s often regarded as a bridge between Dirty Mind and 1999, but it’s fascinating record in its own right.” – Pitchfork (9.0)
The best copies sound pretty much the way the best copies of most Classic Rock records sound: tonally correct, rich, clear, sweet, smooth, open, present, lively, big, spacious, with breathy vocals and little spit, grit, grain or grunge. That’s the sound of analog, and the best copies of Controversy have that sound. (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
- These are the stampers that always win our shootouts, and when you hear them you will know why – the sound is big, rich and clear
- “The complexity of the material on Jazz, as well as the arrangements by Joseph Byrd, dictate that this is Cooder’s most polished and orchestrated effort to date.” — Allmusic
We’re big fans of Ry Cooder here at Better Records, and it’s always fun to hear the eccentric instruments and arrangements he and his cohorts cook up. Of course, it’s even more fun when you have a great sounding pressing like this one that lets you hear what the musicians were up to. (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 Insight Out. Here are some albums currently on our site with similar Track by Track breakdowns.
The real stars of Windy (and the album itself) are Hal Blaine and Joe Osborne, the famous session drummer/ bass player team from The Wrecking Crew who create the driving force behind these songs. Osborne’s web site puts Windy front and center as the first track demonstrating what a top rhythm section can do for a pop song. This whole album can be enjoyed simply for the great drum and bass work, not to mention the sound that both instruments are given by the Master of Tubey Magical Pop Recording, Mr. BONES HOWE.
He produced and engineered the show here; Bones is a man who knew his way around a studio as well as practically anybody in the ’60s. He’s the one responsible for all the Tubey Magic of the recording. That’s his sound.
Never My Love is clearly the best sounding track on the album. Those of you with better front ends will be astonished at the quality of the sound. Windy also sounds excellent, but I hear some sub-generation harmonic distortion, probably caused by bouncing down some of the tracks to make room for others.
This is the era of the four track machine, and when four of the tracks are used up they are bounced down to one track, making available three new tracks. Some of the albums from this era — the Mamas and the Papas come to mind — have multiple bounces, three and four deep, which accounts for the distortion that you hear all through their recordings. The two-track finished master might have upwards of five tape generations or more on some instruments or vocal parts.
In-Depth Track Commentary (more…)
If you have a Hot Side One for One Man Dog you will know it in a hurry. The guitars and congas will leap out of your speakers at the beginning of One Man Parade.
If they don’t, forget it, move along to the next copy and keep going until you find one in which they do. There are plenty of subtle cues to separate the White Hot copies from the merely Hot, but if the sound doesn’t come to life right from the get go, it never will.
Side Two Has Bells
The first track is a bit dull on even the best copies, so don’t lose hope if your first track sounds rolled off. They almost all do. One Morning in May, the second track and the one featuring Linda Ronstadt on background vocals, is a much better test, as is track three, Instrumental II, the one with the lovely bells.
Wte paid a lot of attention to the bells on Instrumental II to help us get a handle on the top end. Sure enough, those bells are key to the best copies.
Fanfare is one of the few songs here with horns, so it became another key track. The horns need to have bite and texture, with the best copies really bringing out the breath in the sax. Any smearing or dulling of the sound and the horns go south in a hurry, along with the rest of the instruments. (more…)
- STUNNING sound on both sides of this original Warner Bros. white label pressing of Jones’ sophomore release with a Shootout Winning Triple Plus (A+++) side two mated with an outstanding Double Plus (A++) side one
- Forget whatever dead-as-a-doornail Heavy Vinyl record they’re making these days – if you want to hear the Tubey Magic, size and energy of this wonderful album, a vintage pressing like this one is the only way to go
- Lee Herschberg recorded Rickie’s debut as well as this follow-up, and both can sound shockingly good
- 4 stars: “The musical and lyrical variety on the album is best represented in the album’s centerpiece, ‘Pirates (So Long Lonely Avenue),’ where she moves through mood and tempo changes with ease. Although the songs may not immediately grab the listener, the lyrical and musical complexities ultimately make this album more rewarding with every listen.”
- The band’s debut finally arrives on the site with KILLER Shootout Winning Triple Plus (A+++) stereo sound throughout – relatively quiet vinyl for a pressing of this vintage
- This TAS List title has real depth to the soundfield, full-bodied, present vocals, plenty of bottom end weight, and Tubey Magical analog warmth the likes of which you may have never heard
- 4 stars: “The debut album by Peter, Paul & Mary is still one of the best albums to come out of the 1960s folk music revival. It’s a beautifully harmonized collection of the best songs that the group knew, stirring in its sensibilities and its haunting melodies as it crosses between folk, children’s songs, and even gospel”
Tubey Magical Acoustic Guitar reproduction is superb on the better copies of this recording. Simply phenomenal amounts of Tubey Magic can be heard on every strum, along with richness, body and harmonic coherency that have all but disappeared from modern recordings (and especially from modern remasterings). (more…)
- This STUNNING copy of Sweet Baby James boasts Shootout Winning Triple Plus (A+++) sound or very close to it from start to finish – exceptionally quiet vinyl too, especially for this album
- All that lovely echo is a dead giveaway that this pressing has resolution far beyond that of the others you may have heard (and of course the Rhino Heavy Vinyl)
- Top 100, inarguably a Masterpiece – Fire and Rain and Suite for 20 G (one of JT’s All Time Best) are killer here
- 5 stars: “Sweet Baby James launched not only Taylor’s career as a pop superstar but also the entire singer/songwriter movement of the early ’70s that included Joni Mitchell, Carole King, Jackson Browne, Cat Stevens, and others…”
Vocal reproduction is key to the best sounding copies of Sweet Baby James, as it is on so many Singer Songwriter albums from the era.
To find a copy where Taylor’s vocals are front and center — which is exactly where they should be — but still rich, sweet, tonally correct and Tubey Magical is no mean feat. Only the best copies manage to pull it off.
Out of the dozen or more Green Label early pressings we play every year, relatively few have the full complement of midrange magic we know the best copies can have. As a rule of thumb, the hotter the stamper, the better the vocal reproduction on that copy.
Hot Stamper sound is rarely about the details of a given recording. In the case of this album, more than anything else a Hot Stamper must succeed at recreating a solid, palpable, real James Taylor singing live in your listening room. The better copies have an uncanny way of doing just that. (more…)
A White Hot side one mated to a Super Hot side two make this our big shootout winner this time around. Incidentally our last time around for Little Feat’s fourth album was 2008 for those of you keeping track at home; yes, it’s getting mighty hard to find clean copies of practically all the pre-Waiting For Columbus titles.
The good news we have to offer this time as opposed to last is that we can now clearly say that Feats Don’t Fail Me Now is the best sounding album of the first four the band recorded. We think the songs are great too; we would hope that goes without saying.
Waiting For Columbus — their live masterpiece and inarguably the definitive recording statement by the band — has at least one song from this album on each of its four sides. That ought to tell you something.
If only we could find good sounding copies! But enough about that album. Let’s talk about this one. (more…)