Masterpieces of Rock & Pop

Rock and Pop Masterpieces

Joe Jackson – Night and Day

More of the Music of Joe Jackson

  • A vintage copy of Joe Jackson’s 1982 Masterpiece with solid Double Plus (A++) sound or BETTER from first note to last – exceptionally quiet vinyl too
  • Rich solid piano tone, lively drums, tight powerful bass and strong vocal presence – it’s all here and more
  • From that opening big drum on “Another World,” you’ll know this pressing has the Night and Day magic
  • 4 1/2 stars: “…his blend of percolating Latin rhythms, jazzy horns and pianos, stylish synths, and splashy pop melodies uncannily feel like a bustling, glitzy evening in the big city.”
  • If you’re a Joe Jackson fan, this title from 1982 is surely a Must Own

You’ll want to turn this one up good and loud to get the full effect because the music really swings on a copy that sounds as good as this one does. It not only swings, it ROCKS.

From that opening big drum on ‘Another World’ you know you’re in for some wonderful sound: BIG, spacious, transparent, dynamic — you name it, this record pretty much has it all.

Night and Day is Joe Jackson’s Masterpiece. It’s simply WONDERFUL from start to finish. This is adult popular music that belongs in any serious thinking person’s record collection. Not many records from the ’80s sound as natural as this one. It’s analog, that’s for damn sure. (more…)

Peter Frampton – Wind of Change

More of the Music of Peter Frampton

  • A Wind of Change like you’ve never heard, with solid Double Plus (A++) sound or BETTER on both sides
  • This vintage British pressing of Frampton’s solo debut is the very definition of Tubey Magic, with sound so rich and sweet it will make you want to take all your CDs and dump them in the trash (now that record stores don’t even want them anymore)
  • The better copies like this one keep what’s good about the recording while letting us hear into the soundfield with glorious transparency
  • 4 stars: “The sound is crisp, the melodies catchy, and Frampton’s distinctive, elliptical Gibson Les Paul guitar leads soar throughout….“

This is some of the best high-production-value rock music of the 70s. The amount of effort that went into the recording of this album is comparable to that expended by the engineers and producers of bands like Supertramp, Yes, Jethro Tull, Ambrosia, Pink Floyd, Elton John and too many others to list. It seems that no effort or cost was spared in making the home listening experience as compelling as the recording technology of the day permitted.

The best song Peter Frampton ever wrote (and performed) is on this very record, in White Hot Stamper sound no less: All I Wanna Be (Is by Your Side). It has the Tubey Magical sound WE LOVE here at Better Records.

However, the richness that makes British recordings from the era so good can easily go over the edge, turning the sound into a thick, mucky stew in which the individual sonic components become difficult to separate out. Think of the typically dull Who’s Next or early Genesis or Jethro Tull albums and you’ll know exactly what I mean.

Only a select group of pressings are able to strike the right balance between Tubey Magic and clarity. This is one of those.

And as far as we can tell, it’s the only version of the album that’s pressed from the master tape. The domestic A&M LPs are clearly made from dubbed tapes. They are as flat, small, smeary, veiled and opaque as any Heavy Vinyl pressing being made today, and we long ago gave up on them (i.e., domestic pressings of this album and Heavy Vinyl in general). (more…)

Rickie Lee Jones – Self-Titled

More of the Music of Rickie Lee Jones

  • You’ll find STUNNING Shootout Winning Triple Plus (A+++) grades or close to them on both sides of this vintage copy of Rickie Lee Jones’s debut LP
  • Exceptionally present, real and resolving, this pressing is guaranteed to murder any remastering undertaken by anyone, past, present and future
  • The superbly talented musicians and engineers deserve much of the credit for making this album a Grammy Winning Must Own audiophile favorite
  • Both of our two best sounding pressings had condition issues, as did many of the other copies we played, which we chalk up to the Warner Bros. quality control department of 1979
  • Not their finest hour, but at least they still knew how to record in rich, smooth, very real sounding analog as that decade came to a close
  • 4 stars: “One of the most impressive debuts for a singer/songwriter ever, this infectious mixture of styles not only features a strong collection of original songs but also a singer with a savvy, distinctive voice that can be streetwise, childlike, and sophisticated, sometimes all in the same song.”

This vintage Warner Brothers LP has the kind of Tubey Magical midrange that modern pressings barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back.

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Sting – The Dream Of The Blue Turtles

More Sting and The Police

  • An original A&M pressing that was doing just about everything right, with both sides earning outstanding Double Plus (A++) or BETTER grades – fairly quiet vinyl too
  • Remarkably big, full-bodied and musical, with wonderful presence for the most important element of the recording, Sting’s voice
  • Even though the album was recorded at studios all over the world, the best sound can be found on the domestic pressings Robert Ludwig cut for Masterdisk
  • It was a wise move on Sting’s part to pick RL, a man who could bring the best aspects of analog to a modern recording that could really use them
  • Don’t waste your money on 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 Sting’s debut solo album, a vintage 80s pressing like this one is the only way to go
  • 4 stars: “Sting incorporated heavy elements of jazz, classical, and worldbeat into his music, writing lyrics that were literate and self-consciously meaningful… he proves that he’s subtler and craftier than his peers.”

This album has long been a favorite among audiophiles and it’s pretty easy to see why. What Sting does here with jazz music is very similar to what Paul Simon later did with African music on Graceland.

Sting surrounded himself with legitimate jazz musicians and together they created an album that gives you the loose, relaxed feel of jazz mixed with Sting’s distinct pop sensibility.

There are elements of worldbeat, reggae, and soul here as well, but the album never feels disjointed. Sting managed to pull it all together to create a sound that is somehow unique and familiar at the same time.

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Eric Clapton – 461 Ocean Boulevard

More of the Music of Eric Clapton

  • With two STUNNING Shootout Winning Triple Plus (A+++) sides or close to them, this vintage UK import could not be beat – fairly quiet vinyl too
  • Big and full-bodied with exceptionally breathy vocals, strong rhythmic energy and virtually none of the smear that plagues so many copies
  • If you’re a Clapton fan, and what audiophile wouldn’t be?, this return to form released in 1974 is clearly a must own, a title it shares with two of his other top albums: Unplugged and Just One Night
  • As good as the best domestic pressings can be, these British LPs simply capture a good deal more of the Midrange Magic of the master tape than they do
  • 4 1/2 stars: “…the pop concessions on the album don’t detract from the rootsy origins of the material, whether it’s Johnny Otis’ ‘Willie and the Hand Jive,’ the traditional blues ‘Motherless Children,’ Bob Marley’s ‘I Shot the Sheriff,’ or Clapton’s emotional original ‘Let It Grow.'”
  • If you’re a Clapton fan, and what audiophile wouldn’t be?, this return to form released in 1974 is clearly a Must Own, a title it shares with two of his other top albums: Unplugged and Just One Night.
  • His debut album is a longtime personal favorite, but I’m not quite sure it would make the cut for our core rock collection

Tom Dowd recorded this album at Criteria in Miami, the same studio in which Layla was recorded. I’d say the sound here is substantially better than what you typically get on that album, keeping in mind the sonic variations from track to track on Layla, which can be fairly dramatic.

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Tom Petty & the Heartbreakers – You’re Gonna Get It!

More of the Music of Tom Petty

  • A vintage Shelter pressing that was doing just about everything right, earning solid Double Plus (A++) grades on both sides – exceptionally quiet vinyl too
  • Rich and open with a killer bottom end, musically it’s surely the best record Tom Petty ever made – a late 70s Rock Classic
  • Three of Petty’s best songs are here – “Restless,” “I Need To Know,” and “Listen To Her Heart” – and on this early pressing they sound outstanding
  • “Overall, the current LP boasts an impressive stylistic cohesiveness with its predecessor, but what makes the album exciting are the fresh hints of openness and expansion just beneath the surface. The rhythms are a bit looser, and there’s a new emphasis on Petty’s rough, driving, rock & roll guitar in the mix.” – Rolling Stone
  • If you’re a Tom Petty fan, his sophomore effort, released in 1978, surely belongs in your collection
  • This is a Personal Favorite of yours truly, and a Must Own Rock and Pop album from 1978, which, in hindsight, turned out to be a surprisingly good year for music

Sweetly textured guitars, breathy vocals — all the subtleties of a High Quality Recording are here, along with prodigious amounts of bass and powerful dynamics. Check out that drum sound! If you can play this one at the levels it demands, you might just be shocked at how good it sounds.

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Bryan Ferry – Let’s Stick Together (on Island)

More of the Music of Bryan Ferry

  • Boasting two solid Double Plus (A++) sides, this UK Island label pressing is doing just about everything right – fairly quiet vinyl too
  • For material and sound, we consider this to be the best of Bryan Ferry’s solo albums – it’s a blast from start to finish
  • The energy, presence, bass, and dynamic power (love that horn section!) place it well above his other side projects
  • 4 stars: “The title track itself scored Ferry a deserved British hit single, with great sax work from Chris Mercer and Mel Collins and a driving, full band performance. Ferry’s delivery is one of his best, right down to the yelps, and the whole thing chugs with post-glam power.”
  • If you’re a Roxy Music fan, this title from 1976 is surely a Must Own
  • We’ve recently compiled a list of records we think every audiophile should get to know better, along the lines of “the 1001 records you need to hear before you die,” but with less of an accent on morbidity and more on the joy these amazing audiophile-quality recordings can bring to your life. Bryan Ferry’s third solo album is a good example of a record many audiophiles may not know well but should get to know better.

As for material, he covers some early Roxy songs (brilliantly I might add); Beatles and Everly Bros. tunes; and even old R&B tracks like ‘Shame, Shame, Shame.’ Every song on this album is good, and I don’t think that can be said for any of his other solo projects. Five stars in my book.

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Ambrosia – Self-Titled

More of the Music of Ambrosia

  • This copy was delivering the goods for Ambrosia’s ambitious Masterpiece with very good Hot Stamper grades throughout
  • We guarantee there is more space, richness, presence, and performance energy on this copy than others you’ve heard or you get your money back – it’s as simple as that
  • A permanent member of our Top 100 and, on big speakers at loud levels, the best copies are Rock Demo Discs of the highest order
  • “Its songs skillfully blend strong melodic hooks and smooth vocal harmonies with music of an almost symphonic density.”
  • Ambrosia is an album that helped us dramatically improve our playback quality

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Heart – Dreamboat Annie

More of the Music of Heart

  • A vintage copy of Heart’s debut LP with very good Hot Stamper grades from first note to last
  • It’s richer, fuller and with more presence than the average copy, and that’s especially true for whatever godawful Heavy Vinyl pressing is currently being foisted on an unsuspecting record buying public
  • This is true of even our lowest-priced, lowest-graded copies – they are guaranteed to sound much better than any pressing you can find on the market today, as well as any pressing you may already own
  • Marks in the vinyl are sometimes the nature of the beast with these Classic Rock records – there simply is no way around them if the superior sound of vintage analog is important to you
  • A Better Records Top 100 album, 4 1/2 stars on AllMusic: “Aggressive yet melodic rockers like ‘Sing Child,’ ‘White Lightning & Wine,’ and the rock radio staples ‘Magic Man’ and ‘Crazy on You’ led to the tag ‘the female Led Zeppelin.'”

Not many records have this kind of big, rockin’ sound, that’s for sure! Punchy and present, open and transparent, with real weight and power to the low end. If you’re an audiophile who loves classic rock, you just haven’t lived until you’ve heard side one of this album on a Hot Stamper pressing.

We’re pretty fond of these ladies here at Better Records. Their second album, Little Queen, has been a favorite test disc around here for years. When Heart is at their best, the music is wonderful. If you’re lucky enough to own the right pressing, this band can ROCK with the best of them.

Live Rock and Roll Sound

This is a true Demo Disc in the world of rock records. It’s also one of those recordings that demands to be played LOUD. If you’ve got the big room, big speakers, and the power to drive them, you can have a live rock and roll concert in your very own house. When the boys behind Heart (superb musicians all) let loose with some of those Zep-like monster power chords — which incidentally do get good and loud in the mix, unlike most rock records which suffer from compression and “safe” mixes — I like to say that there is no stereo system on the planet that can play loud enough for me. (Horns maybe, but I don’t like the sound of horns, so there you go.)

What A Hot Copy Gets You

For one thing, the music just JUMPS out of the speakers. There is so much more LIFE to this recording than I ever thought possible, and only the best pressings let that energy come through. In a nutshell, those are the ones that earn the name Hot Stamper. (more…)

Emerson, Lake & Palmer – Out of This World Sound at Loud Levels

More of the Music of Emerson, Lake and Palmer

  • Boasting KILLER Shootout Winning Triple Plus (A+++) sound or close to it throughout, this UK Island Pink Rim pressing makes the case that ELP’s debut is clearly one of the most powerful rock records ever made – exceptionally quiet vinyl too
  • Spacious, rich and dynamic, with big bass and tremendous energy – these are just some of the things we love about Eddie Offord‘s engineering work on this band’s albums
  • Analog at its Tubey Magical finest – you’ll never play a CD (or any other digitally sourced material) that sounds as good as this record as long as you live
  • “Lucky Man” and “Take A Pebble” on this copy have Demo Disc quality sound like you won’t believe
  • 4 1/2 stars: “Lively, ambitious, almost entirely successful debut album… [which] showcased the group at its least pretentious and most musicianly …there isn’t much excess, and there is a lot of impressive musicianship here.”

If you’ve got the system to play this one loud enough, with the low-end weight and energy it requires, you are in for a treat. The organ that opens side two will rattle the foundation of your house if you’re not careful. This music really needs that kind of megawatt reproduction to make sense. This is bombastic prog that wants desperately to rock your world. At moderate levels, it just sounds overblown and silly. At loud levels, it actually will rock your world.

Near The Top Of The List

Without a doubt this record belongs in the Top Rock section. I’d even say it belongs in the Top Ten. It is one of the most dynamic and powerful rock recordings ever made. The organ on this album is wall to wall and floor to ceiling. The quiet interlude during “Take A Pebble” is about as quiet as any popular recording can ever be — the guitar is right at the noise floor. It’s amazing! (Which explains why so many domestic copies have groove damage. The record is just too hard to play for the average turntable. Hell, it’s hard to play with an audiophile turntable.)

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