Hot Stamper Pressings of the Music of Cat Stevens Available Now
Just ran across the following in an old listing. We’re nothing if not consistent here at Better Records!
“And if you are ever tempted to pick up one of those recently remastered versions on heavy vinyl, don’t do it. There is simply no one alive today making records that sound like these good originals. Not to these ears anyway. We may choose to indulge ourselves in the audacity of hope, but reality has to set in sooner or later. After thirty years of trying, the modern mastering engineers of the world have nothing to show for their efforts but a ever-growing pile of failures. The time to call it quits has come and gone. Let’s face facts: when it comes to Teaser and the Firecat, it’s the Real Thing or nothing.”
If you’re looking for an amazing Demo Quality rock recording, you’ve come to the right place.
If you want a timeless classic rock record, it’s here too.
They just don’t know how to make them like this anymore. Those of you waiting for audiophile vinyl reissues with the kind of magic found on these originals will be in your graves long before it ever comes to pass.
Analogue Productions tried and failed — more than once — to produce a good sounding Heavy Vinyl pressing of Tea for the Tillerman.
You can be sure of one thing: there is little chance they would have better luck with Teaser and the Firecat.
Changes IV
On this song there is a tremendous amount of energy in the grooves. On a copy I had a while back it sounded good to start with, but an intense cleaning regimen made it sound so alive I could hardly believe my ears. Listen to it VERY LOUD (as it was meant to be played) and then notice how quiet the next solo guitar intro is, with lots of space between the notes. Never heard it like that before. That’s when audio is FUN.
It’s always a roller coaster ride around here, as one day the system is cooking, and the next it ain’t, and nobody knows why. But the night that Teaser sounded great is one I will remember for a long time. Those big bass drum thwacks and that high hat being slapped to the point of abuse way out in front of the mix just blew my mind.
Tuesday’s Dead
There is a good-sized group of singers behind Cat Stevens that back him up when he says “whoa” right before the line “Where do you go?”. What often separates the best copies from the also-rans is how clearly those singers can be heard, assuming the tonal balance is correct and there’s plenty of energy in the performances.
The most transparent copies make it easy to appreciate the enthusiasm of the individual singers; they’re practically shouting.
For twenty years Tuesday’s Dead has been one of my favorite tracks for demonstrating what The Big Speaker Sound is all about. Now I think I better understand why. Big speakers are the only way to reproduce the physical size and tremendous energy of the congas (and other drums of course) that play such a big part in driving the rhythmic energy of the song.
In my experience no six inch woofer — or seven, or eight, or ten even — gets the sound of the conga right, from bottom to top, drum to skin. No screen can do it either. It’s simply a sound that large dynamic drivers reproduce well and other speaker designs do not reproduce so well.
Since this is one of my favorite records of all time, a true Desert Island Disc, I would never want to be without a pair of big speakers to play it, because those are the kinds of speakers that play it well.
More of the Music of James Taylor
