Louder Is Better

These records sound much better when you play them good and loud.

The Ultimate Jazz/Rock Fusion Album

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Romantic Warrior is my favorite JAZZ/ROCK FUSION album of all time. As good as the music is, the sound is even better. This is the Jazz/Rock Demo Disc that stands head and shoulders above the rest. In my experience, no record of this kind is more DYNAMIC or has better BASS. Not one. Demo Disc doesn’t begin to do this kind of sound justice.

Simply put, not only is this one of the greatest musical statements of all time, it’s one of the great recording statements. Few albums in the history of the world can lay claim to this kind of POWER and ENERGY.

But the Super Sound has a purpose, a raison d’etre. This is the kind of music that requires it; better yet, DEMANDS it. In truth, the sound is not only up to the challenge of expressing the life of the music on this album, it positively ENHANCES it.

Those monster Lenny White drum rolls that run across the soundstage from wall to wall may be a recording studio trick, but they’re there to draw your attention to his amazing powers, and it works! The drums are EVERYWHERE on this album, constantly jumping out of the soundfield and taking the music into the stratosphere where it belongs.
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Top 100 – Why Not This Amazing Phil Manzanera Record?

Like its brother 801 Live, this album is an amazing SONIC BLOCKBUSTER, with sound that positively leaps out of the speakers. Why shouldn’t it? It was engineered by the superbly talented Rhett Davies at Island, the genius behind Taking Tiger Mountain, the aforementioned 801 Live, Avalon, Dire Straits’ first album and many, many more.
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Led Zeppelin I – The Best Album These Guys Ever Made

More on the band’s phenomenal debut

Led Zeppelin I

 

  • TRIPLE TRIPLE!
  • A stunning pressing of Zep’s debut with A+++ sound on both sides and fairly quiet vinyl
  • The sound is MASSIVE — big, bold, lively and powerful with the kind of dynamics that bring out the best in this music
  • Demo Quality sound for a ton of Zep classics: Dazed and Confused, Good Times Bad Times, Babe I’m Gonna Leave You and more
  • 5 stars on Allmusic, BR Top 100, and one of the most important debut albums in all of rock and roll history

For the real Led Zep magic, you just can’t do much better than their debut — and here’s a copy that really shows you why. From the opening chords of Good Times Bad Times to the wild ending of How Many More Times, this copy will have you rockin’ like you won’t believe!

What do you get on a Triple Plus Zep One? Uncanny presence, clearer harmonics and transients, a fully extended top end, astonishing clarity and transparency and a WHOLE LOTTA BASS. You get all the texture, detail, and ambience that are missing from the average copy.

Two Shootout Winning Sides

Both sides have THE BIG ZEP SOUND. Right from the start, we noticed how clean the cymbals sounded and how well-defined the bass was, after hearing way too many copies with smeared cymbals and blubbery bass. When you have a tight, punchy copy like this one, Good Times Bad Times does what it is supposed to do — it REALLY ROCKS! The drum sound is PERFECTION.

Drop the needle on Babe I’m Gonna Leave You to hear how amazing Robert Plant’s voice sounds. It’s breathy and full-bodied with unbelievable presence. The overall sound is warm, rich, sweet, and very analog, with tons of energy. Dazed and Confused sounds JUST RIGHT — you’re gonna flip out over all the ambience!

Communication Breakdown sounds superb — the tone of Jimmy Page’s guitar during the solo is Right On The Money! You won’t find a better side two for this album, and we’ve rated it accordingly. (more…)

Some of the Best Live Rock Sound Ever Recorded

Cream Goodbye 

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When you get a good side one of Goodbye you’ll have no trouble hearing why we think it’s one of the Best Sounding Live Rock Albums of all time.

Goodbye has the Big Rock Sound that we go crazy for here 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 live rock music is meant to be heard.

It’s clearly one of BILL HALVERSON‘s Engineering Triumphs, along with Deja Vu and Steve Stills’ first album (now that’s a trio!). Live Rock Music on record just does not sound better than a White Hot Stamper side one of Goodbye.

See all of our Cream albums in stock

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?

What To Listen For (WTLF) (more…)

What Do You Hear on the Best Hot Stamper Pressings of Quadrophenia?

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They just plain ROCKED HARDER than the other copies we played. Yes, they’re bigger. Yes, they have more weight and whomp down low. Yes, they are smoother and more natural up top.

But what really sets them apart is their tremendous energy. The music EXPLODES out of the speakers and comes to life on the best copies of Quadrophenia like few records you have ever heard. When we find that power and energy on a record, all other things being equal, we have a name for them: White Hot Stampers.

More Copies of Quadrophenia

It’s what you’re paying for — and what you get — for the kind of money we charge.

Dynamics and Energy

The sine qua non of rock records is that they rock. The rock records that earn the highest grades here at Better Records are usually the ones that have the most energy and power. Transparency, Presence, Clarity, Tubey Magic, Sweetness and other favorites of the audiophile cummunity are very important qualities in a record, but all of them pale in comparison to raw power when it comes to rock and roll.

For us a transparent, sweet, lifeless record is just no fun, hence our disdain for Heavy Vinyl, which in our experience almost always lacks energy, along with lots of other things of course.

We like the BIG SPEAKER sound — the kind of sound that, when the record is playing at the right level makes you feel like you’re in the presence of live musicians.

This means the sound must be dynamic, immediate and full-range. Small speakers, screens and their ilk can do some nice things, but they can’t move air very well, so for us they fail to convey the true sense of the power, the “liveness”, of a recording the way dynamic drivers can (assuming of course the drivers are big enough and you have enough of them).

Room treatments play a vitally important role here of course. Untreated or poorly treated listening rooms constantly fight the speakers’ efforts to play louder without distortion. The room is the bottleneck, yet because the problem is not correctly identified, nothing is done to solve it. (I was heavily into audio for twenty years before I figured this out.) (more…)

Home Audio Exercises – Now 300+ Strong

This section is designed to help you become a better listener.

To that end we have created exercises, experiments and tests that you can do at home for fun and profit. We can all agree that the better our stereos sound, the more enjoyable they become. Learning how to get better sound from the equipment and recordings you own doesn’t cost a dime. It simply requires that you improve your critical listening skills.

Those skills develop through practice, by challenging yourself to understand what is really on your records — to figure out, to the best of your ability, what is right and what is wrong on every record you own. Same with your stereo. You can’t fix a problem that you haven’t yet recognized is a problem, right?

Here’s a fun one for Queen’s Jazz album

Rockin’ Out with Fat Bottomed Girls

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A distinguished member of the Better Records Rock Hall of Fame and another in the long list of recordings that really comes alive when you Turn Up Your Volume.

There is a tendency in the recording to be a little “hot” tonally on the vocals and snare. The better copies like this one keep it under control, with the lesser copies getting much too lean and gritty to play loudly. What good is a raver like Fat Bottomed Girls if you can’t turn it up and really rock out with it? (more…)

Never a Dull Moment – Unless You’re Playing the DCC Heavy Vinyl…

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In which case you are in for an unending string of dull moments (see below). 

Never A Dull Moment

We were thrilled when we dropped the needle on side one and heard sound that was AMAZINGLY airy, open, and spacious.

It’s got all the elements necessary to let this music REALLY ROCK — stunning presence; super punchy drums; deep, tight bass; and tons of life and energy. Rod’s voice sounds just right with lots of breath, texture, and ambience. The sound is clean, clear, smooth, and sweet — that’s our sound.

Side two here is nearly as good and dramatically better sounding than most. Listen to the percussion on Angel — you can really hear all the transients and the sound of the drum skins.

On the same track, the meaty guitar in the left channel sounds mind-blowingly good. The bass is deep and well-defined, and the sound of the drums is awesome in every way. Who has a better drum sound than Rod Stewart on his two best albums? (more…)

Maybe the Best Sounding Album Emerick Ever Recorded

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Bridge of Sighs

We’ve been wandering around in the dark for more than a decade with Bridge of Sighs — that is, until we found a clean early UK Chrysalis pressing. Now we know just how good this album can sound, and that means ASTOUNDINGLY good. Off the top of my head I can’t think of any Geoff Emerick album that sounds as big and clear as this one. The three dimensional space is really something else on the better UK copies.

There is a substantial amount of Tubey Magic and liquidity on the tape, recalling the kind of hi-rez vintage analog sound that makes the luminous A Space in Time such a mind-expanding experience. Recorded a few years earlier, both albums have the kind of High Production Value sound that we go crazy for here at Better Records. You can find many of our favorites in our Rock and Pop Top 100, and if we can find more of this title, it will surely be on the list as well.

No domestic pressing could touch our better British imports I’m sorry to say, and I’m sorry to say it because finding the right Brit copies in good condition is going to be a very expensive proposition going forward. I expect I shall be paying much too much to get a fairly high percentage of noisy, heavily played old records shipped to me. But that’s the business we’re in.

Fortunately for our Rock Guitar loving customers, when the sound and the music are this good, it’s more than worth all the effort and expense.

Size and Space

One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center. (more…)

Frank Zappa Big Band Jazz Fusion Masterpiece

Waka/Jawaka

 

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  • This copy is an absolute KNOCKOUT, with Triple Plus (A+++) sound on both sides
  • A Top 100 Title, and deservedly so: the sound is HUGE – big, rich, punchy, lively and clear
  • The size and power of a big band, Zappa style, with White Hot Stamper sound? There is (almost*) nothing like it
  • Rolling Stone raved that it’s “…some of the best material he’s done in years.”

See all of our Frank Zappa and Mothers of Invention albums in stock

(*Other than The Grand Wazoo, which can have sound every bit as good but is not the equal of Waka/Jawaka musically.)

What an incredible album. I know of no other music like it in the world. It’s not big band, it’s not rock, it’s not jazz, it’s a unique amalgamation of all three with an overlay of some of Zappa’s idiosyncratic compositional predilections (say that three times fast) thrown in for good measure.

In our opinion it’s nothing less than Zappa’s MASTERPIECE, the summation of his talents, and a record that belongs in every right-thinking audiophile’s collection. (We say that about a lot of records audiophiles don’t know well, but we’ve been doing it for most of our 27 years in this business and don’t see much reason to stop now.)

The Secret

Most copies, especially the WB brown label reissues, are dull and smeary with not much in the way of top end extension, failing pretty miserably at getting this music to come to life. This copy gets as much of what we like about the sound to actually come through the speakers as any copy we have ever played, and that makes it a very special copy indeed.

Not long ago we discovered the secret to separating the men from the boys on side one. On the lively, punchy, dynamic copies — which are of course the best ones — you can follow the drumming at the beginning of ‘Big Swifty’ note for note: every beat, every kick of the kick drum, every fill, every roll — it’s all there to be heard and appreciated. If that track on this copy doesn’t make you a huge fan of Aynsley Dunbar, I can’t imagine what would. The guy had a gift.

Big Swifty!

The 17-plus-minute-long Big Swifty is a suite in which each section slowly, almost imperceptibly blends into the next, so that you find yourself in a completely new and different section without knowing how you got there — that is, until you go back and play the album and listen for just those transistions, which is what makes it worth playing hundreds and hundreds and hundreds of times.

Big Swifty is a jazz suite with amazingly innovative work by Sal Marquez on trumpet. He single-handedly turns this music into a work of GENIUS. I can’t imagine a more talented player. Zappa on guitar is excellent as well. Aynsley Dunbar plays his ass off, only falling short when it comes time to do his drum solo on Waka/Jawaka. The interplay of each of these rock musicians is in the tradition of great jazz artists.

And since the drumming throughout this record is so crucial to the music itself, a copy that really gets that right is one that gets everything right.

A Desert Island Disc

What more can I say? If you love Zappa you need this record. If you want to expand your musical horizons and hear big band like you’ve never heard it before, this is the record for you. I’ve listened to this album literally hundreds and hundreds and hundreds of times. It gets better every time I play it.

Blue Labels and Reissues

By the way, the Blue Label originals are quite a bit better than the later Warner Brother reissues. I would avoid any reissues for Zappa’s albums; we’ve never heard a good one. And that includes the Classic Records reissue of Hot Rats.

1979 – Candy-O and the Year in Music

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We’re big fans of this album, and a Shootout Winning Hot Stamper copy like this one will show you exactly why. It’s a favorite recording of ours here at Better Records for one very simple reason: Candy-O has got The BIG ROCK SOUND we love!

Drop the needle on Let’s Go and check out the sound of the big floor tom. When the drummer bangs on that thing, you FEEL it! It’s similar to the effect of being in the room with live musicians — it’s the difference between hearing the music and feeling the music. That difference is what you get from our best Hot Stamper copies when you turn them up good and loud and let them ROCK your world.

A New Wave Classic

What other New Wave band ever recorded an album with this kind of demonstration quality sound? The sound of the best copies positively JUMPS out of the speakers. No album by Blondie, Television, The Pretenders or any of their contemporaries can begin to compete with this kind of huge, lively, powerful sound, with the possible exception of the Talking Heads’ Little Creatures.

It Rocks!

If you have big dynamic speakers and like to rock you cannot go wrong here. Neil Young albums have the Big Rock sound, and if you’re more of a Classic Rock kind of listener, that’s a good way to go. We’re behind you all the way, just check out our commentary for Zuma .

For a band with skinny ties, leather jackets, jangly guitars, synths and monstrously huge floor toms that fly back and forth across the soundstage, Candy-O is the girl for you, no doubt about it.

1979 – The Year in Music

1979 sure was an interesting year. The Wall, Breakfast in America, London Calling, Off the Wall, Get the Knack, Damn the Torpedoes, Armed Forces, Spirits Having Flown, Tusk, The B-52s, Rust Never Sleeps, Rickie Lee Jones, and our bad boy here, Candy-O — the variety is remarkable.

Even more remarkable is the number of albums recorded in ’79 that sound fresh and engaging to this day, more than 35 years after they were released. I could sit down in front of my speakers today and play any one of them all the way through. Try that with ten favorite albums from ’89, ’99 or ’09.

Albums from 1979 in stock

All albums from 1979