OH BABY! This is the HOTTEST copy of The Captain And Me to ever hit the site, bar none. The sound is nothing short of PHENOMENAL from the first cut to the last. Side two earned our top A+++ grade while side one clocked in just half a plus behind. You can’t even begin to imagine what we’ve gone through trying to find Hot Stampers for this album. Here’s the copy that proves it was all worth it.
We had TWICE tried to shootout this album and gave up both times with little to show for it. The one great sounding, reasonably quiet copy we found had a nasty edge warp that obliterated the first track on both sides. So we knew that great copies of this album must be out there, but where? We had OVER THIRTY COPIES of this record on our shelves and none of them were worth listing. The warped copy sounded so much better than any of the rest, and we felt it was wrong to call even the best of the rest a Hot Stamper.(more…)
This QUIET orange label (!) pressing has surprisingly good sound, some of the best sound we have ever heard for that more-often-than-not dismal second label in fact. It actually beat a few of our black label originals, with more tubey magic and less distortion and harshness than we expect from these later pressings. (more…)
This Columbia 360 label pressing has AMAZING SOUND ON BOTH SIDES and the vinyl is about as quiet as any of these 360 Label pressings can be found!
It took us a long time, but we pulled together enough clean copies for a big shootout, and these two great sides were head and shoulders above the competition. The sound is natural, lifelike and realistic with serious immediacy and plenty of rock and roll energy.(more…)
MASTER TAPE SOUND and QUIET VINYL on BOTH SIDES! If you’re an audiophile who loves classic rock, you just haven’t lived until you’ve heard Magic Man and Crazy On You on a Hot Stamper pressing, and they don’t get ANY hotter than this copy! We play dozens upon dozens of these every year, and based on that experience this Hot Stamper will be virtually unbeatable for EITHER side.(more…)
That bass drum tells you a lot about your deep bass reproduction, but we prize a little something called whomp here at Better Records every bit as much. It’s the WEIGHT and POWER you sense happening down below that translates into whomp factor. (This is the frequency area that screens and small dynamic drivers have the most trouble with. You need to be able to move lots of air under, say, 200 cycles to give the music a sense of real power down below. Few systems I’ve run into over the last thirty years can really pull it off.)
That bass drum tells you a lot about your deep bass reproduction, but we prize a little something called whomp here at Better Records every bit as much. It’s the WEIGHT and POWER you sense happening down below that translates into whomp factor.
Speaking of the song “Why,” I have to confess that it’s my favorite Fleetwood Mac song of all time. Considering how many great songs this band has recorded over the last thirty plus years, that’s really saying something. (“Need Your Love So Bad” off Pious Bird is right up there with it.)(more…)
This vintage pressing gives Tony the sound he deserves, with excellent Double Plus (A++) grades on both of these early stereo sides
Amazing vocal reproduction courtesy of the brilliant engineering of Frank Laico at his favorite studio (and ours), Columbia 30th Street studios
We are not big soundstage guys here at Better Records, but we can’t deny the appeal of the space to be found on a record as good as this
Everything that’s good about Vocal Recordings from the ’50s and ’60s is precisely what’s good about the sound of this record.
The huge studio the music was recorded in is captured faithfully here. The height, width and depth of the staging here are extraordinary. We are not big soundstage guys here at Better Records, but we can’t deny the appeal of the space to be found on a record as good as this.
Transparency and Tubey Magic are key to the sound of the orchestra and you will find both in abundance on these two sides.
Albums such as this live and die by the quality of their vocal reproduction. On this record Mr. Tony Bennett himself will appear to be standing right in your listening room! The space of your stereo room will seem to expand in all directions in order to accommodate them, an illusion of course, but nevertheless a remarkably convincing one.(more…)
This outstanding copy of Lous Rawls’ 1971 release boasts solid Double Plus (A++) sound from first note to last – exceptionally quiet vinyl too
The immediacy of the vocals is striking, putting a living, breathing Lou Rawls right between your speakers
4 stars: “Relying on his deep, rich voice, he sings with confidence everything from the bluesy ‘I’m a King Bee’ and the Beatles cover ‘Got to Get You into My Life’ to Duke Ellington’s jazz ballad ‘Sophisticated Lady’… a representative collection covering the eclectic range of styles in which Rawls has always performed.”
This Original MGM pressing has the kind of Tubey Magical Midrange that modern records rarely even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with Lou, this is the record for you. It’s what vintage all analog recordings are known for — this sound.(more…)
A Big As Life copy with Shootout Winning Triple Plus (A+++) grades or close to them on both sides – I’ve Seen All Good People is mindblowing on this side one
You haven’t begun to hear the power and size of Yes’s brilliant third album until you’ve played one of our Shootout Winning early domestic pressings
A Top 100 Album and the band’s best sounding record if you ask us (although Fragile can sound absolutely amazing too, just not as smooth and rich)
“Organist Tony Kaye, guitarist Steve Howe and bass player Chris Squire play as though of one mind, complementing each other’s work as a knowledgeable band should.”
Sometimes the copy with the best sound is not the copy with the quietest vinyl, as is the case on this side two. The best sounding copy is always going to win the shootout, the condition of its vinyl notwithstanding. If you can tolerate the imperfections of this pressing you are in for some amazing Yes music and sound. If for any reason you are not happy with the sound or condition of the album we are of course happy to take it back for a full refund, including the domestic return postage.
Drop the needle on this bad boy and you will find yourself on a Yes journey the likes of which you have never known. And that’s what I’m in this audiophile game for. The Heavy Vinyl crowd can have their dead-as-a-doornail, wake-me-when-it’s-over pressings that play quietly. I couldn’t sit through one with a gun to my head.
With the amazing Eddie Offord at the board, as well as the best batch of songs ever to appear on a single Yes album, they produced both their sonic and musical masterpiece — good news for audiophiles with Big Speakers who like to play their records loud.
These guys — and by that I mean this particular iteration of the band, the actual players that were involved in the making of this album — came together for the first time and created the sound of Yes on this very album, rather aptly titled when you think about it.(more…)
An outstanding copy of the band’s first greatest hits album with solid Double Plus (A++) sound or close to it from first note to last – exceptionally quiet vinyl too
Both sides here are rockin’ like crazy, with mostly ull-bodied, natural, smooth, tonally correct sound
This surprisingly good sounding greatest hits album is packed with hits, including Born To Be Wild, Magic Carpet Ride, The Pusher, and more
4 stars: “The term heavy metal was rightfully named for this band. Steppenwolf fused traditional rock and R&B with late ’60s contemporary heaviness. “Born to Be Wild,” their signature tune, has aged amazingly well. Aside from the song’s power and performance, its engineering and production is stellar. This goes for most of Steppenwolf’s catalog as well.”
This EARLY heavy cardboard Stereo in Red DG Large Tulips pressing is nothing short of PHENOMENAL on side one. It’s SPACIOUS and three-dimensional that goes beyond practically any classical recording I’ve ever played. I would rank it in the Top One Per Cent for those two qualities. You hear into the soundstage on this record like you will not believe.
The string tone is especially rich and sweet on this side, yet full of texture and that lovely rosiny quality that vintage pressings capture so well. (Sometimes capture so well. Side two here has a slightly smeary quality that hurts it in that area.)(more…)