Music Genres – Commentaries

Another Dirty Little Secret of the Record Biz

More of the Music of Traffic

For our current take on the sound of the various labels and stampers for Mr. Fantasy and The Best of Traffic, please click here.

Let’s talk about hits that are made from dubbed tapes.

The sound of some songs on some greatest hits albums can be better than the sound of those very same songs on the original pressings.

How can that be you ask, dumbfounded by the sheer ridiculousness of such a statement?

Well, dear reader, I’ll tell you. It’s a dirty little secret in the record biz that sometimes the master for the presumptive Hit Single (or singles) is pulled from the album’s final two track master mix tape and used to make the 45 single, the idea being that the single is what people are going to hear on the radio and want to buy. Or, having heard it sound so good on the radio, go out and buy the album.

One way or another, it’s the single that will do the selling of the band’s music. This is clearly the case with Mr. Fantasy on the original Island Pink Label pressing. (Some of the other pink label Island pressings that never win shootouts can be found here.)

A dub is then made of the tape that was used to cut the 45 and spliced back into the album master, so that the single (or singles) is one generation down from the master for the other songs on the side.

This explains why the hit single from so many albums is often the worst sounding song on the album — it’s the one most likely to suffer from bad radio EQ and distorted, smeary, sub-generation sound.

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Listen to Winwood’s Left Hand on “Glad”

Hot Stamper Pressings of the Music of Steve Winwood Available Now

Many years ago, perhaps in 2015, while playing an especially transparent copy of John Barleycorn, we learned something new about the album. Although it was a title I had been playing since it came out all the way back in 1970, apparently things had changed.

This pressing made it clear — really, for the first time — exactly what Winwood was doing with his left hand on the piano during the song Glad.

There are two musical figures that one can focus on: one involving the lower notes, which tend to be blurry, obscured and murky on most pressings, and two, the right-handed higher notes, which are typically much more clear and audible in the mix.

Only the very best copies let us “see” the bass notes of the piano so clearly and correctly. Next time you’re in the mood to compare different pressings of Barleycorn, pay special attention to the lower notes of the piano on Glad. It is our contention, backed by mountains of evidence, that no two copies of the album will get that piano to sound the same. (It will also help if you have large dynamic speakers with which to do the test.)

Lately we have been writing quite a bit about how pianos are good for testing your system, room, tweaks, electricity and all the rest, not to mention turntable setup and adjustment.

  • We like our pianos to sound natural (however one chooses to define the term).
  • We like them to be solidly weighted.
  • We like them to be free of smear, a quality that is rarely mentioned in the audiophile record reviews we read.

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Ramone and Ogerman Work Their Magic

Hot Stamper Pressings of the Music of Antonio Carlos Jobim Available Now

Although I have been a big fan of this album at least since the 90s, it took us years to get around to doing a shootout. We were pleasantly surprised at just how well recorded this album is.

Credit engineer Phil Ramone for correctly capturing the sound of every instrument here: the guitars, piano, flutes, strings, drums, percussion instruments — everything has the natural timbre of the real thing. I used to think this recording erred on the bright side, but not the Hot Stamper copies. They are tonally Right On The Money. (When the balance lacks lower midrange the sound gets lean, which causes the strings to seem brighter than they really are, a not uncommon problem with some of the pressings we played.)

Claus Ogerman

The string arrangements by the phenomenally talented producer/arranger Claus Ogerman surely contribute a great deal to the beauty of this music, and much of its “feel.”. This is the man who made Francis Albert Sinatra & Antonio Carlos Jobim such an original and powerful departure in Sinatra’s body of work. He continued to work with Jobim on a number of follow-up albums, including A Certain Mr. Jobim (1967) and Wave (1967). From 1963-67 he arranged some 60-70 albums for Creed Taylor’s Verve and then went on to work with him extensively at CTI.

And what would “Breezin’” be without Ogerman’s lush strings? Not to be too unkind, but probably just another George Benson album.

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On Heroes, It Took Us Ages to Break the Sound Barrier

Hot Stamper Pressings of the Music of David Bowie Available Now

Because the conventional wisdom turned out to be so wrong.

Our intuition that the British originals of Heroes would sound the best was incorrect.

The experiments we carried out falsified that prediction.

In our world, intuitions have a bad track record, but more than a few audiophiles — many of whom are addicted to sharing their “record knowledge” on audiophile forums and youtube channels — seem unaware of the shortcomings of this approach.

Taking a page from one of the greatest minds of the 20th century, we’ve opted to use a more scientific approach in order to discover the record pressings that have by far the best soundi, and we encourage you to do likewise. 

We pioneered the evidence-based approach to finding the best sounding pressings, and, like all good scientists, we shared it with everyone. Some in the audiophile community have taken it to heart, but most have chosen to put their faith in reviewers, forum posters, common sense and logic.

None of these produce consistently good results, but those who use these methods are loathe to question them and only rarely if ever learn the error of their ways.

Once a decision has been made and a specific pressing acquired — you could call it door number three I suppose — cognitive dissonance and confirmation bias immediately kick in to justify the result, and soon enough the game is over. The prize has been won. It’s as good as it gets. Whatever faults it may have must lie in the recording, not the pressing.

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We Used to Think the 25th Anniversary UK Pressing of Mr. Fantasy Was Pretty Good

Hot Stamper Pressings of the Music of Traffic Available Now

UPDATE 2026

This is an older review. probably from the early 2000s.

It is very unlikely that we would find the sound of this pressing better than passable these days.

The good pressings of Mr. Fantasy are exceptional sounding, something that this reissue is very unlikely to be.

This minty looking Island 25th Anniversary British Import LP has SURPRISINGLY GOOD SOUND! I’d have to say it’s the best sounding record from this series I’ve ever heard. (Note that this is the British version and not the Italian one.)

I can’t vouch for other copies of this record — they may not sound as good as this one — but this one has the bass that’s missing from some of the Pink Label copies and is overall tonally Right On The Money (ROTM), with almost none of the transistory grain that you find on domestic pressings. If you don’t want to spend the big bucks for a Hot Stamper, this is probably the next best way to go.

Most of the older reviews you see on the blog are for records that did not go through the shootout process, the revolutionary approach to finding better sounding pressings we developed in the early 2000s and have since turned into an art as well as a business.

 

We found the records you see in these older listings by cleaning and playing a pressing or two of the album, which we then described and priced based on how good the sound and surfaces were. (For out Hot Stamper listings, the sonic grades and vinyl playgrades are listed separately.)

We were often wrong back in those days, something we have no reason to hide.

Audio equipment and record cleaning technologies have come a long way since those darker days, a subject we discuss here.

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John Coltrane and Johnny Hartman – Nothing Special on Speakers Corner

More of the Music of John Coltrane

UPDATE 2026

This review was probably written in 2004 when the record was released. I had heard good copies of it — not the originals as it turns out! —  and new that the recording was outstanding.

This Heavy Vinyl is not awful, but it is a long way from outstanding. My guess is that the CD would be better.

We were only slightly impressed with both the Speakers Corner pressing of this album and the earlier Impulse Heavy Vinyl edition from the ’90s. In our opinion neither one is worth pursuing.

This could very well be the greatest collaboration between a horn player and a singer in the history of music. I honestly cannot think of another to rank with it. Ella and Louis has the same feel — too giants who work together so sympathetically it’s close to magic, producing definitive performances of enduring standards that have not been equaled in the fifty plus years since they were recorded. And, on the better copies, or should we say the better sides of the better copies, RVG’s sound is stunning.

They Say It’s Wonderful: Hartman and Coltrane, an Appreciation (more…)

We Were Wrong About the Right Mix in 2018

Hot Stamper Pressings of the Music of Neil Young Available Now

In 2018 we described our Shootout Winner this way:

Amazing sound throughout for Neil’s self-titled debut – shootout winning Triple Plus (A+++) sound or close to it on both sides. Both sides are rich, full and Tubey Magical with a big bottom end and excellent resolution.

Surely one of Neil’s toughest to find with top quality sound – and only these early pressings with the original mix have the potential to sound as good as this one does.

Six years later, in 2024, we had acquired enough copies of Neil’s debut to do the shootout again. (Yes, it seems that you may have to wait years for a chance to buy a Hot Stamper pressing of the album from us. However, feel free to use the stamper information provided in the blog listing linked here to help you avoid some of the worst sounding stampers of them all, the earliest ones.

To be clear, some of the later label reissues that come in the second cover are even worse sounding than the first mix stamper pressings that come in the first cover.

(A great deal more on the superior sound of some reissues can be found at the bottom of this listing.)

UPDATE 2024

In our latest shootout, the original mix on multiple copies we played did poorly.

We were wrong and for that we apologize. Please ignore what we wrote about the album below back in 2018. The old mix definitely does not beat the new mix.

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Not My Thing, But Maybe Yours?

Hot Stamper Pressings of the Music of Miles Davis Available Now

The staff may or may not like these kinds of records, but I sure don’t. To be honest, Bitches Brew fits just fine into a section I like to call “albums I can live without.” The world is full of them.

Music is deeply personal. If you don’t feel the need to like what other people like, you and I should get along just fine.

I remember buying this record in high school and having a devil of a time trying to make any sense of it. Columbia records felt the same way and almost refused to release it. I still don’t get the appeal.

I had bought the first two Weather Report albums around the same time and had had a hell of a time with those too. But then  Sweetnighter came out, which was angular but still accessible, and the scales fell from my eyes, the heavens opened up and the music finally started to make sense to me. Soon enough I was a big fan of that album, but never did warm to Bitches Brew I have to say.

This is music for those who want to be challenged. That’s as true today as it was 50+ years ago when the record came out.

I still don’t care for it though. In my defense, allow me to fall back on the wisdom of de gustibus non est disputandum.

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Clarity Has a Price

Hot Stamper Pressings of the Music of Sergio Mendes Available Now

UPDATE 2026

Many years ago we were impressed with the sound of some of the later pressings of Sergio’s albums.

It turns out that we were wrong about those later pressings being better than the early ones, which are the ones we tend to like these days, mostly because our all tube system from the 90s was much darker and dramatically less resolving than the one we use now.

Although we didn’t know it at the time, there was still a long way to go and hundreds of more records to play before we could call our system reasonably accurate. Discovering this cartridge and learning how to tweak it — using the right records — took our playback to a level we had never imagined it could go.

That was about twenty years ago. Before then I was lost as lost could be, something I recognize in my fellow hobbyists, especially the ones who write about records as if it were 1982.

Here is what we liked about the reissues in the 80s and 90s.

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The Glorious Sound of Tubes in 1963

Hot Stamper Pressings of the Music of Thelonious Monk Available Now

UPDATE 2026

In 2018 we put up a killer Hot Stamper pressing of Big Band and Quartet and had a few thoughts about the sound of the best copies we played.

On this record, more than most, the tubes potentially make all the difference. 

Keep in mind that we are referring specifically to 1963 tubes, not the stuff that engineers are using today to make so-called “tube-mastered” records.

Today’s modern records barely hint at the Tubey Magical sound of a record like this, if our experience with hundreds of them is any guide. We, unlike so many of the audiophile reviewers of today, have a very hard time taking any of the new pressings seriously. We think our position is pretty clear, and we have yet to hear more than a stray record or two that would make us want to change our minds.

If you’ve ever heard a pressing that sounds as good as this one, you know there hasn’t been a record manufactured in the last forty years that has this kind of sound.

Right, wrong or otherwise, this sound is simply not part of the modern world we live in.

[Well, not quite, but close.]

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