TWO SUPERB SIDES on this Killer White Hot Stamper pressing of Brian Eno’s MASTERPIECE — one of my All Time Favorite Albums, a real Demo Disc of twisted pop. This British Sunray original pressing takes the sound to a level BEYOND all others. This copy has deep, punchy bass that exceeded my wildest expectations, energy like I couldn’t believe, and a wonderful smoothness that you just don’t get on most copies. (more…)
A killer copy hasn’t hit the site in a while, but here’s one with nearly Triple Plus (A++ to A+++) Demo Disc sound on both sides
Boogie Woogie Waltz was one of the most mindblowing tracks found on any album from 1973
The sound is huge, spacious, lively, transparent and punchy – this is jazz fusion that really rocks
” It is the groove that rules this mesmerizing album, leading off with the irresistible 3/4 marathon deceptively tagged as the “Boogie Woogie Waltz” and proceeding through a variety of Latin-grounded hip-shakers.” 4 stars
The top end is fully extended here in a way that most copies barely hints at, and the overall sound is amazingly transparent and three-dimensional. The brass is full and rich, the percussion lively and present, and the bass is weighty and defined. All the stuff we look for on a Classic Weather Report album is here.
Note especially that the energy is excellent, and both sides are also very high-rez; the echo trails from all the studio reverb go on for days.
Better Than Heavy Weather?
This is our favorite Weather Report album here at Better Records. Heavy Weather is arguably a more ambitious and more accomplished piece of work. But Sweetnighter is so original and rhythmically compelling that we find ourselves enjoying it more. I don’t know of any other album on the planet like it. We only know of two Must-Own Weather Report albums, this one and Heavy Weather. They both belong in your collection if you’re a fan of jazz fusion.(more…)
When you sit down to play ten or twelve copies of an album, one right after the other, patterns in the sound are going to emerge from that experience, patterns which would be very likely to pass unnoticed when playing one copy against another or two over the course of the twenty or thirty minutes it would take to do it.
In the case of this album, the pattern we perceived was simply this: About one or two out of that dozen or so will have punchy, solid, rich, deep bass. (There is a huge amount of bass on the recording so recognizing those special copies is not the least bit difficult if you have a full-range speaker and a properly treated room.) (more…)
For those of you who still cling to the idea that the originals are better, this record will set you straight.
Yes, we can all agree that Rudy Van Gelder recorded it, brilliantly as a matter of fact. Shouldn’t he be the most natural choice to transfer the tape to disc, knowing, as we must assume he does, exactly what to fix and what to leave alone in the mix?
Maybe he should be; it’s a point worth arguing.
But ideas such as this are only of value once they have been tested empirically and found to be true.(more…)
Another in our series of Home Audio Exercises with specific advice on What to Listen For (WTLF) on PPM.
The Beatles’ first album is overflowing with sonic qualities prized by audiophiles and music lovers alike: Tubey Magic, energy, immediacy, richness, breathy vocals; in short, all the stuff you will never hear — or not hear to the same extent — on anything but the best vintage analog vinyl LPs. (more…)
Kiln House is one of the all-time great Fleetwood Mac albums. It’s the first album they recorded after Peter Green left. With Green gone Jeremy Spencer’s influence came to the fore. Apparently he was quite a fan of Buddy Holly. His songs are excellent: straightforward and unerringly melodic.
The co-leader for Kiln House is Danny Kirwan, and he rocks the hell out of this album. Three of the best songs Fleetwood Mac ever did, regardless of incarnation, are here: Tell Me All The Things You Do, Station Man and Jewel Eyed Judy, all written by Kirwan (with the help of others). His guitar work on these three songs is blistering.
Any Fleetwood Mac greatest hits collection would be a joke without these tracks. Of course they are consistently missing from all such compilations, at least the ones with which I am familiar. The sad fact is that few people miss them because few people have ever heard them.
The closest thing I can think of to the kind of music the new Mac plays is moody rock of the middle-period Beatles. Kiln House is similar to Beatles ’65 in its dual concerns with vintage rock ‘n’ roll and muted, romantic pieces.Jeremy Spencer took care of the former area, while Danny Kirwan extended the style best represented by McCartney’s “I’ll Follow the Sun.”
It’s an album we admit to being just a bit obsessed with. We love the album and we hope you do too. If you have some time on your hands — maybe a bit too much time on your hands — please feel free to check out our commentaries.
Folks, your Hot Stamper collection is just not complete without a knockout copy of After The Gold Rush; that’s why we’ve named it a Better Records All Time Top 100 title. We built our reputation on finding records that sound like this, because who else can find a copy of this album that delivers so much magic? When you drop the needle on any track on side two, you’ll know exactly why we are able to charge these kind of prices for a record like this — because on the right system, it’ll sound like a million bucks!(more…)
Well, it certainly can be, but sometimes it isn’t, and failing to appreciate that possibility is a classic case of misundertanding a crucially important fact or two about records. Audiophile analog devotees would do well to keep these facts in mind, especially considering the prices original British pressings are fetching these days.
Simply put: Since no two records sound alike, it follow that the right label doesn’t guarantee the right sound. A recent shootout illustrated both of these truths.
Here’s the story of my first encounter with a Hot Stamper Zep II.
I had a friend who had come into possession of a White Label Demo pressing of the second album and wanted to trade it in to me for the Mobile Fidelity pressing that I had played for him once or twice over the years, and which we both thought was The King on that album.
To my shock and dismay, his stupid American copy KILLED the MoFi. It TROUNCED it in every way. The bass was deeper and punchier. Everything was more dynamic. The vocals were more natural and correct sounding. The highs were sweeter and more extended. The whole pressing was just full of life in a way that the Mobile Fidelity wasn’t. (more…)