This listing reflects our thinking about the album circa 2009.
As you can imagine, a lot has changed since then.
TWO KILLER SIDES ON THIS ROCKIN’ LATE ’70s CLASSIC! I am not at all ashamed to say that we LOVE this album here at Better Records, and a copy like this will certainly help show you why. Side one has incredible A+++ Master Tape Sound and side two is just a plus behind. Drop the needle on Gone Hollywood or The Logical Song to hear how powerful this music can sound when you have the right pressing.
The average copy of this record is grainy, thin, shrill and aggressive sounding. When you get a Hot Stamper like this one the highs are sweet and silky. This is a bright recording, so if the highs aren’t correct, it pretty much ruins the record.
A Big & Bold Breakfast
Side one is ALIVE! It has BIG, PUNCHY sound that will fill up your living room and then some. It’s exceptionally transparent with superb clarity and lots of extension on the top end. The vocals sounds AMAZING — natural and correct with lots of texture. It’s a high-definition, high-resolution side one cut just right with super low distortion — you can really appreciate every last detail of this recording. The saxophone on The Logical Song sounds amazing. On a great copy like this one, it really brings to mind the big, ballsy sax solo on Pink Floyd’s Money. We rate this side one an A+++ — that’s Master Tape Sound, folks, As Good As It Gets.
Side two is nearly as amazing with a BIG punchy bottom end and wonderful clarity. Take The Long Way home sounds particularly good, with lots of extension up top and tons of energy. The A+++ side one opens up just a bit more, but other than that I don’t think you’ll find this side doing too much wrong.
The MoFi of this album is a nightmare, of course. It is TOO BRIGHT. The last thing in the world this album needs is brightening.
[We played a copy recently that was too smooth. Go figure!]
The Simply Vinyl copy is a bit smooth, but very enjoyable, and preferable to the MoFi. But you can’t beat the real thing, and this is it.
On another note, do not assume that Brit copies are the best on Supertramp. Like all records, some are good and some aren’t. I’ve bought a lot of Brit copies of Crisis? What Crisis? over the years, and when I finally found the time to sit down to listen to them against my old favorite version, the A&M Half Speed (!), they mostly sucked — too bright, dull, sour — you name the flaw, every one of them had at least one unacceptable quality. Not a single winner in the bunch, ouch.
Brit pressings of Crime of the Century are a mixed bag as well; even the best stampers do not guarantee good sound, as the same A5/B6 original copy I have in my collection sounds bad on at least one side on two other copies I found, and those are not easy records to find! Imagine my disappointment. I practically cried when I played those copies and heard the mediocre sound. (more…)