Record Myths

Is the Original Better? Not on This Album It Ain’t

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.

Crisis? What Crisis?

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This is an older listing that illustrates how We Was Wrong when we thought the best domestic copies were not competitive with the A&M Half-Speed or better British pressings.

We touch on other much-loved themes in this commentary, such as the myth that the original pressing is going to be better than a reissue or later stamper. On this album that is definitely not the case.

TWO AMAZING SIDES, including an A+++ SIDE ONE! It’s not the A&M Half Speed, and it’s not a British pressing either. It’s domestic folks, your standard plain-as-day A&M pressing, and we’re as shocked as you are. Hearing this copy (as well as an amazing Brit; they can be every bit as good, in their own way of course) was a THRILL, a thrill that’s a step up in “thrillingness” over our previous favorite pressing, the Half Speed.
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New Paradigms and Old

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It is our strongly held belief that if your equipment (regardless of cost) or your critical listening skills do not allow you to hear the kinds of sonic differences among pressings we describe, then whether you are just getting started in audio or are a self-identified audio expert writing for the most prestigious magazines and websites, you still have a very long way to go in this hobby.

Purveyors of the old paradigms — original is better, money buys good sound — may eventually find their approach to records and equipment unsatisfactory (when it isn’t just plain wrong), but they will only do so if they start to rely more on empirical findings and less on convenient theories and received wisdom.

A reviewer we all know well is clearly stuck in the Old Paradigm, illustrated perfectly by this comment:

It’s not my pleasure to be so negative but since I have a clean UK original (signed for me by George Martin!) I’ll not be playing this one again. Yes, there are some panning mistakes and whatever else Martin “cleaned up” but really, sometimes it’s best to leave well-enough (and this album was well-enough!) alone.

We can’t imagine how anyone can have a system in this day and age that can obscure the flaws of the original Parlophone pressings of Rubber Soul (or any other Yellow and Black label Parlophone pressing for that matter). MF apparently does (as do some of our customers, truth be told), but we have something very different indeed. One might even consider it the opposite of such a system. Our system is designed to relentlessly and ruthlessly expose the flaws of every record we play. Only the best of the best can survive that level of scrutiny. This commentary addresses this issue in more depth.
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The Byrds Mr. Tambourine Man – What to Listen For

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Mr. Tambourine Man

Another in our series of Home Audio Exercises with advice on what you should be listening for when critically evaluating your copy (or ours) of the album.

Want to hear what the best copies of Mr. Tambourine Man can do? Play Chimes of Freedom, one of the best sounding tracks on side two, if not THE best. Listen to how breathy Jim (later Roger) McGuinn’s vocals are. Byrds records almost never sound like that.

I Knew I’d Want You is another one that sounds amazingly Tubey Magical on the best pressings. (more…)

Is The Pink Label The Hot Ticket?

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.

Stand Up

 

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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.

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Porky Not So Prime Cut

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British Band, British Pressing… Right?

Nope. It’s just another Record Myth.

We had an original British pressing in our shootout, unbeknownst to me as it was playing of course. And guess where it finished: dead last. The most thick, congested, crude, distorted, compressed sound of ALL the copies we played. We love the work of Porky, Pecko, et al. in general, but once again this is a case where a British Band recorded in England sounds best on domestic vinyl. (McCartney on Apple is the same way.)

See all of our Badfinger albums in stock

For this music to work all the elements need to be in balance, with correct timbre for the relatively few instruments that make up the arrangements. Opacity, smear or grit instantly destroy the whole point of having a straightforward production, which is to be able to have all the parts laid out cleanly and clearly. Get the production out of the way and just let the music speak for itself.

The truly Hot Stampers remind you of the kind of basic rock and roll record that really knows how to rock. Back in Black comes instantly to mind. Black Dog off Zep IV. This is the sound you want your Straight Up to have. The title of the album is the key to the sound. No fancy packaging, just the band, Straight Up.

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Jethro Tull – We Broke Through in 2016, Finally

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    • Triple Plus (A+++) on side two and nearly as good on side one – this is one of the best copies to EVER hit the site
    • We haven’t had any copies of this album at all up since 2013, and no White Hot copies since 2008 – it’s that tough to find
    • Guaranteed to MURDER any Pink Label Island original you have ever heard – these are the Hot Stampers
    • Melody Maker thoroughly recommended the album in 1968 for being “full of excitement and emotion” and described the band as a blues ensemble “influenced by jazz music” capable of setting “the audience on fire”. Wikipedia
    • See all of our Jethro Tull albums in stock

Folks, this is the best copy we are going to have on the site for a very long time. It took years and hundreds upon hundreds of dollars to get this shootout going and this killer copy is the result.

Tull Records Are Tough To Cut Right

It’s very common for Jethro Tull records to lack bass or highs, and more often than not they lack both. (Think of your typical copies of Aqualung and Stand Up, for example.) The bass-shy ones tend to be more transparent and open sounding — of course, that’s the sound you get when you take out the bass. (90 plus percent of all the audiophile stereos I’ve ever heard were bass shy, no doubt for precisely that reason: less bass equals more detail, more openness and more transparency. Go to any stereo store or audiophile show and notice how bright the sound is. Ugh.)

Just what good is a British Classic Rock Record that lacks bass? It won’t rock, and if it don’t rock, who needs it? You might as well be playing the CD.

The copies that lack extreme highs are often dull and thick, and usually have a smeary, blurry quality to their sound. When you can’t hear into the music, the music itself quickly becomes boring.

If I had to choose, I would take a copy that’s a little dull on top as long as it still had a meaty, powerful, full-bodied sound over something that’s thin and leaned out. There are many audiophiles who can put up with that sound — I might go so far as to say the vast majority can — but I am not one of them. Small box speakers and screens are not for me. Those systems don’t do a very good job with bands like Jethro Tull, and a stereo that can’t play Tull is not one I would be very likely to own.

Flute

Of course one of the key elements to any Jethro Tull record is the sonic quality of the flute. You want it to be airy and breathy — like a real flute — and some copies will give you that, but keep in mind there are always trade-offs at work on old rock records like this. It’s a full-bodied, rich sounding recording. Make sure your system is playing it that way before you start to focus on the flute, otherwise you are very likely to be led astray.

A Big Speaker Record

Let’s face it, this is a Big Speaker Record. It demands to be played loud. It requires a pair of speakers that can move lots of air below 250 cycles. If you don’t own a speaker that can do that, this record will never really sound the way it should. It will certainly never come to life the way it should.

I’m not saying don’t buy it. Maybe one day you’ll get hold of a pair of big speakers and be able to play this record like a pro. (Considering the price of big speakers today, that’s not very likely unless you win the lottery, but we can always hope.)

We Was Wrong in 2008 About Tull

We listed a White Hot copy of This Was in 2008 on the Island Pink label, and noted at the time:

Be forewarned: this ain’t Stand Up or Aqualung. I don’t think you’ll be using any copy of This Was to demo your stereo, because the recording has its share of problems. That said, this record sounds wonderful from start to finish and will make any fan of this music a VERY happy person. We guarantee you’ve never heard this album sound better, or your money back.

Now we know a couple of things that we didn’t back in 2008.

1). This album is a lot better sounding than we gave it credit for years ago. It’s not perfect by any means but it is much better than the above comments might lead you to believe.

We chanced upon an exceptional sounding copy of the album a couple of years back, and that taught us something new about the record:

2). The Pink Label pressings are not the ideal way to go on this album.

Once we heard the exceptional copy alluded to above, we played it against our best Pink Label copies and it was simply no contest.

The Pink Label original British pressings can be good, but they will never win a shootout up against copies with these stampers (assuming you have more than one copy – any record can have the right stampers and the wrong sound, we hear it all the time).

MORE 2016 BREAKTHROUGHS

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Waltz for Debby Vs. Sunday at the Village Vanguard

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See all of our Bill Evans albums in stock

The best sounding Bill Evans record we have ever played? Probably. it’s safe to say that at the very least it’s as good as any we’ve critically evaluated on our current system.

Waltz for Debby Vs. Sunday at the Village Vanguard

I was never all that impressed with the OJC of this album back in the ’90s when I used to sell it as an in-print record. I loved the OJC of Waltz for Debby, an album that completely smoked the awful Analogue Productions pressing mastered by Doug Sax from 1992. But Sunday? Good, not great.

Of course now my first thought is that I probably had a top quality “stamping” of Waltz for Debby and a somewhat lesser copy of Sunday, but I didn’t know much about stamper variations back then and it would not have occurred to me to buy five or ten copies of both albums and compare them.

In the ensuing years I lost track of the OJC pressing of Sunday at the Village Vanguard — hadn’t played it in more than a decade as a matter of fact, so when one came my way I was shocked to hear how good it sounded. Records sound a lot better than they used to I guess, and that’s the way it should be, Revolutions in Audio and all that.

Of course it quickly turned out that not every copy sounded like the hot one I had played, and bad stampers and bad record stamping ended up being the norm and not the exception.

George Horn and The Original Jazz Classic Series

George Horn was doing brilliant work for Fantasy all through the ’80s. This album is proof that his sound is the right sound for this music.

That was the ’80s. In the ’90s a fellow from Kansas hired a mastering engineer of great renown from the Los Angeles area to improve upon the work that George Horn had done. To my never-ending consternation, most audiophile reviewers, including a rather famous one we’ve mentioned on this site a time or two, thought Sax and the Kansan had succeeded in doing just that. I held at the time and still hold to this day quite the opposite opinion — those remastered records are not only awful sounding, but fundamentally wrong sounding.

Original Vs. Reissue

The original Riverside pressings are the best, right?

Not in our experience. We think that’s just another Record Myth.

Some of you may have discovered that the original Bill Evans records on Riverside are mostly awful sounding — I can’t recall ever hearing one sound better than mediocre — so we are not the least bit worried that this OJC won’t beat the pants off of the original, any reissue you may have, and of course any Heavy Vinyl pressing that has ever been, or ever will be, mastered.

 

McCartney’s Must Own Masterpiece

McCartney

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We have been touting McCartney’s first solo album for more than a decade. Ever read a word about it in an audiophile context elsewhere? Of course you haven’t! The audiophile world doesn’t know and doesn’t care about great albums like this one, but we at Better Records LIVE for albums with sound and music of this caliber. It’s a permanent resident of our Top 100 List for a reason: no other solo album by a Beatle can touch it.

As for surface issues, we wish we could find them quiet, but that is simply not an option, especially considering how dynamic the recording is. We’ve used every trick in the book to try to get copies of this album to play Mint Minus, but it’s not usually in the cards. Maybe I’m Amazed, in particular, seems to be noisy on nine copies out of every ten. If you’re looking for a copy without any surface noise, you’re probably better off tracking down the DCC Gold CD, which is actually quite good.

But no CD is ever going to sound like our record, not now, not ever. This is where I simply can’t understand how the typical audiophile can make the tradeoff for flat, average sound with quiet vinyl — the sound of these Heavy Vinyl reissues that have sprouted up all over the place, each one worse than the last — and the wonderful, but slightly noisy, sound to be found on the best originals.

Of course the obvious answer is that it is simply too much work to find enough original copies to clean and play in order to come across that needle in a haystack: the Hot Stamper pressing.

See all of our Paul McCartney albums in stock

The best tracks here have the quality of LIVE MUSIC in a way that not one out of a hundred rock records do. It sounds like it’s recorded live in the studio, but of course that’s impossible, because Paul plays practically all the instruments himself! It just goes to show how good a multi-track studio recording can sound when done well.

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Original Is Better? Not on Jazz Waltz It Ain’t

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Don’t be put off by the title; these are not some sleepy old-fashioned waltzes. This is swingin’ West Coast jazz at its best. Of course, the arrangements are done in waltz time, but that doesn’t keep them from swingin’.

And the amazingly good sound? Credit Bones Howe, a man who knows Tubey Magic like practically no one else in the world. The Association, The Mamas and the Papas, The Fifth Dimension, and even Tom Waits — all their brilliant recordings are the result of Bones Howe’s estimable talents as producer and engineer.

Original Vs. Reissue

The original Reprise pressing, whether in mono or stereo, has never sounded very good to us. The mono is quite a bit worse than the stereo – no surprise there – but both must be considered poor reflections of the master tape.

We sold one many years ago, describing it this way: “Beautiful Original with decent sound — rich, smooth and sweet.”

Which it was, but from us that’s little more than damning it with faint praise. The Discovery pressing is so much bigger, clearer and livelier it’s almost hard to imagine it and the 1962 Reprise original were both made from the same tape. Something sure went wrong the first time around — I think it’s safe to say at least that much.

Original equals Better? Not for those of us who play records rather than just collect them. Leave the originals for the Jazz Guys. The Hot Stamper reissues are for us Music Loving Audiophiles.

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The Search for Lush Life

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We’ve been searching for years trying to find just what kind of Lush Life pressing — what era, what label, what stampers, mono or stereo, import or domestic — had the potential for good sound.

No, scratch that. We should have said excellent sound. Exceptional sound. We’ve played plenty of copies that sounded pretty good, even very good, but exceptional? That pressing had eluded us — until a few months ago.

Yes, it was only a few months ago, early in 2016 in fact, that we chanced upon the right kind of pressing — the right era, the right label, the right stampers, the right sound. Not just the right sound though. Better sound than we ever thought this album could have.

Previously we had written:

“There are great sounding originals, but they are few and far between…”

We no longer believe that to be true. In fact we believe the opposite of that statement to be true. The original we had on hand — noisy but with reasonably good sound, or so we thought — was an absolute joke next to our best Hot Stamper pressings. Half the size, half the clarity and presence, half the life and energy, half the immediacy, half the studio space. It was simply not remotely competitive with the copies we now know (or at least believe, all knowledge being provisional) to have the best sound.

Are there better originals than the ones we’ve played? No doubt. If you want to spend your day searching for them, more power to you. And if you do find one that impresses you, we are happy to send you one of our Hot Copies to play against it. We are confident that the outcome would be clearly favorable to our pressing. Ten seconds of side one should be enough to convince you that our record is in an entirely different league, a league we had no idea even existed until just this year.

By the way, the mono original we played was by far the worst sound I have ever heard for the album. By far.

Other Pressings

The DCC heavy vinyl pressing is a nice record; I remember liking it back in the day. I’m guessing it’s a bit better than the ’80s OJC, which is typically a bit thin and hard like most OJC pressings, but neither one of them can hold a candle to the record we are offering.

The Trio

One thing that makes this album a very different experience is that side one was recorded as a trio. Hearing Coltrane is such a stark setting lets you really appreciate all the emotion, detail, and texture of his playing. And a copy like this makes that even more possible! The band fills out to five pieces on side two, but the music is every bit as good.

See all of our John Coltrane albums in stock