A List of Albums We’re Obsessed With

Listening in Depth to Heart Like a Wheel

 

Click on the link below to pull up the many reviews and commentaries we’ve written, as well as Hot Stamper copies that are currently available on the site.

Heart Like a Wheel

and click on this link to the

Classic Tracks

entry for the album to read about it in real  depth

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Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your copy of Heart Like a Wheel.

A key test on either side was to listen to all the multi-tracked guitars and see how easy it was to separate each of them out in the mix. Most of the time they are just one big jangly blur. The best copies let you hear how many guitars there are and what each of them is doing.

Pay special attention to Andrew Gold’s Abbey Road-ish guitars heard throughout the album. He is all over this record, playing piano, guitar, percussion and singing in the background. If anybody deserves credit besides Linda for the success of HLAW, it’s Andrew Gold. (more…)

Val Garay Rocks the Sound of JT

Yet another album we are clearly obsessed with

Click on the link below to pull up the many reviews and commentaries we’ve written, as well as Hot Stamper copies that are currently available on the site.

JT

 

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The good copies REALLY ROCK on a song like Honey Don’t Leave L.A. or I Was Only Telling A Lie, yet have lovely, sweet transparency and delicacy on the ballads such as Another Grey Morning or There We Are.

Just turn up the volume and play the opening to Honey Don’t Leave L.A. — this is James Taylor and his super tight studio band at the peak of their powers. Russ Kunkel hits the drum twice, then clicks his sticks together so quickly you can hardly notice it, then goes back to the drums for the rest of the intro. On a superb copy like this one, the subtleties of his performance are clearly on display. (Until copies like this one came along, we had never even noticed that stick trick. Now it’s the high point of the whole intro!)

Sound Equals Music

As audiophiles we all know that sound and music are inseparable. After dropping the needle on a dozen or so copies, all originals by the way, you KNOW when the music is working its magic and when it’s not. As with any pop album there are always some songs that sound better than others, but when you find yourself marvelling at how well-written and well-produced a song is, you know that the sound is doing what it needs to do. It’s communicating the Musical Values of the material.

The most important of all these Musical Values is ENERGY, and boy do the best copies have it!

Val Garay Is The Man

VAL GARAY is the man behind so many of our favorite recordings: James Taylor’s JT (a Top 100 title), Simple Dreams (also a Top 100 title), Andrew Gold, Prisoner In Disguise, etc. They all share his trademark super-punchy, jump-out-the-speakers, rich and smooth ANALOG sound. With BIG drums — can’t forget those. (To be clear, only the best copies share it. Most copies only hint at it.) (more…)

Julie London – Lonely Girl

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

A Knockout recording of female vocal with guitar: Triple Plus (A+++) on the first side, seriously good Double Plus (A++) on the second. Julie is in the room with you – intimate, breathy and Tubey Magical like practically nothing you’ve ever heard. For late night listening this is surely one of the best Sultry Female Vocal recordings ever made – you won’t believe how real the sound is.

After hearing this amazing copy in our shootout we felt that it might be a bit too noisy to list, but another scrub cleaned it up nicely and now it’s about typical for an exceptionally clean copy of the album. No marks play — the noise one hears is mostly just the vinyl of the day.

I bought this very record in 1998. It took me close to twenty years to be able to clean it and play it right! (more…)

Yes – Fragile – An Album We Are Clearly Obsessed With

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FRAGILE is an album we admit to being obsessed with — just look at the number of commentaries we’ve written about it.

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. Below you can find a letter one of our good customers wrote about his Hot Stamper pressing.

Our good customer Franklin wrote us a nice letter to let us us how much he loved his Fragile Hot Stamper. He’s so right: that was one AMAZING sounding record!

Just listened to the Yes album Fragile. FANTASTIC!!!!! I didn’t know Yes LPs could sound like this. Any Yes LPs I’ve ever heard were harsh sounding and after a couple of minutes my ears would start to hurt. Thanks!

Regards,
Franklin

Thanks, Franklin, for your enthusiastic letter. Is this the same famously “compromised” recording that MF complained about while extolling the virtues of the mediocre Analogue Productions LP? Now you and I both know two things: how wrong they are, and how amazing this record can really sound — when you’re lucky enough to have a truly Hot Stamper like the very one you played. (more…)

The Best Sounding Jethro Tull Album Is Thick As a Brick

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Thick As A Brick is surely the BEST SOUNDING ALBUM Jethro Tull ever recorded. Allow us to make the case.

  • The better copies are shockingly dynamic. At about the three minute mark the band joins in the fun and really starts rocking.
  • Set your volume for as loud as your system can play that section. The rest of the music, including the very quietest parts, will then play correctly for all of side one. For side two the same volume setting should be fine.
  • The recording can have exceptionally solid, deep punchy bass (just check out Barrie “Barriemore” Barlow’s drumming, especially his kick and floor toms. The guy is on fire).
  • The midrange is usually transparent and the top end sweet and extended on the better pressings.
  • The recording was made in 1972, so there’s still plenty of Tubey Magic to be heard on the acoustic guitars and flutes.
  • The best copies can be as huge, wide and tall as any rock record you’ve ever heard, with sound that comes jumping out of your speakers right into your listening room.
  • Unlike practically any album recorded during the ’80s or later, the overall tonal balance, as well as the timbre of virtually every instrument in the soundfield is exceedingly correct.

That kind of accuracy practically disappeared from records about thirty years ago, which explains why so many of the LPs we offer as Hot Stampers were produced in the ’70s. That’s when many of the highest fidelity recordings were made. In truth this very record is a superlative example of the sound the best producers, engineers, and studios were able to capture on analog tape during that time.
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Graham Nash – Songs for Beginners – Greatest “Copy” Ever

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A distinguished member of the Better Records Rock Hall of Fame.

WHOA! We’ve paired up two FOUR PLUS sides to create this stunning 2-pack with mindblowing Demo Quality sound for the whole album. These A++++ sides will show you just how amazing it can sound: super full-bodied, rich, warm and natural. 

Please note that we award this very special grade so rarely that we don’t even have a graphic to represent it in our sonic grade box. The scale usually only goes to three pluses, but these two sides went up to four!

This is an incredible recording, and on a copy like this the sound is truly stunning. When you hear Chicago here you will not believe how CINEMATIC the sound is! It’s everything we love about ANALOG, and then some.

Most of the credit must go to the team of recording engineers, led here by the esteemed Bill Halverson, the man behind all of the Crosby Stills Nash and Young albums. Nash was clearly influenced by his work with his gifted bandmates, proving with this album that he can hold his own with the best of the best. Some songs (We Can Change The World, Be Yourself) are grandly scaled productions with the kind of studio polish that would make Supertramp envious. For me, a big speaker guy with a penchant for giving the old volume knob an extra click or two, it just doesn’t get any better than this. (more…)

Crosby Stills & Nash – Suite: Judy Blue Eyes – Critical Listening Exercise

More Crosby, Stills, Nash and Young

More Suite: Judy Blue Eyes

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This commentary from an older Hot Stamper listing for CSN’s debut makes note of some specific qualities in the recording that are a good test for midrange transparency and naturalness.

What’s magical about Crosby, Stills, Nash (& Young)? 

Their voices of course. It’s not a trick question. They revolutionized rock music with their genius for harmony. Any good pressing must sound correct on their voices or it has no value whatsoever. A CSN record with bad midrange — like most of them — is a worthless record.

Suite: Judy Blue Eyes

Listen to the section of the song that starts with Stills’ line Can I tell it like it is, with Nash and Crosby behind him — it’s clearly a generation of tape down from what came before and what comes after. The voices and the acoustic guitars just seem to lose their immediacy for no apparent reason. Wha’ happen?

It’s the mix, folks, and no mastering engineer can fix it. This album is full of parts and pieces of various songs that are occasionally problematical in that way. Recognize them for what they are, a little bump in the road of the recording, no more, no less. On the hot copies the best sounding material will sound amazing, and the lesser sounding material (i.e., the more poorly recorded or mixed bits and pieces) will sound as good as they can sound.

That’s the nature of the beast. It is what it is. The more intensely you listen to a record like this — a true Rock Classic from the ’60s — and we listen very intensely around here when doing these shootouts — the more you will notice these kinds of recording artifacts. It’s what gives them “character”.

It’s also what allows you to play a record like this on a regular basis and still find something new in it after all these years. We’ve made some recent improvements to the stereo and room here at Better Records and I can tell you I heard things in this recording I never knew were there. What could be more fun than that? The music never gets old, and neither does the sound!

The Beatles – Please Please Me – Listening in Depth

More The Beatles

More Please Please Me

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Presenting another entry in our extensive Listening in Depth series, this time for The Beatles’ amazing debut from 1963, Please Please Me.

The first Beatles record is nothing short of amazing. It captures more of the live sound of these four guys playing together as a rock and roll band than any record they ever made afterwards. (Let It Be gets some of that live quality too and makes a great bookend for the group.)

In-Depth Track Commentary

Side One

I Saw Her Standing There

Like any of the boys’ most radio ready singles, this song tends to be a bit bright. If this track sounds at all dull, there’s probably no hope for the rest of this side.

Misery

This track should sound lively and punchy. The best copies have excellent bass definition and superb clarity, allowing you to appreciate how the wonderful bounce of the rhythm section really energizes the song.

Anna (Go to Him)

Does it get any better? This is the real Beatles magic baby!

Chains

Note that the vocals on this track are not as well recorded as they are on the track above. As a rule they’re a bit edgier and not as transparent.

Go back and forth between the two songs a number of times and we think you will hear exactly what we mean. Although this difference is more audible on the better copies, it should still be noticeable on any Hot Stamper pressing.

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Miles Davis – Kind of Blue – Our A++++ Shootout Winner from 2013

More Miles Davis

More Kind of Blue

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A distinguished member of the Better Records Jazz Hall of Fame.

This Shootout Champion and Hall Of Fame pressing has TWO AMAZING SIDES. Side one was so mindblowingly good that we awarded it our extra-special Four Plus (A++++)rating, and side two was almost as good, earning our standard top grade of A+++! This is one of the very best copies we’ve ever heard, and we have literally played more than a HUNDRED copies of this album over just the last five years.

If you want to hear what a top pressing of Kind Of Blue can do on an audiophile system, this baby right here is your ticket to ride. (more…)

The Three – The Three (45 RPM) – Our Four Plus Copy from 2013

More The Three

More The Three (45 RPM)

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A distinguished member of the Better Records Jazz Hall of Fame.

We had six (yes, six!) of these 45 RPM pressings (and five Inner City’s and a couple of Eastwind 33’s — it was a big shootout), and this side one had the most ENERGY of any of them. This is a quality no one seems to be writing about, other than us of course, but what could possibly be more important? On this record, it took the performances of the players to a level beyond all expectations.

More A++++ Hot Stamper Pressings.

Folks, you are looking at the BEST SOUNDING RECORD we have ever played here at Better Records, and the good news for you dear reader, whether you’re a true believer, a skeptic, or fall somewhere in between, is that it can be yours. There was a time when a record like this would go directly into my collection. If I wanted to impress someone, audiophile or otherwise, with the You-Are-There illusion that only Big Speakers in a dedicated room playing a LIVE recording can create, this would be the clear choice, possibly the only choice. There is simply nothing like it on vinyl in my experience. (more…)