A killer vintage copy of this exceptionally well-recorded Stones album from ’69, with superb Double Plus (A++) sound from first note to last
Clear, rich and lively throughout – the Tubey Magic of the best pressings is what has them sounding the way they should
One of a select group of Rolling Stones Must Own records which we prize above all others – Sticky Fingers and Let It Bleed round out the trio
5 stars: “Basic rock & roll was not forgotten, however: ‘Street Fighting Man’… was one of their most innovative singles, and ‘Sympathy for the Devil’… was an image-defining epic.”
Good pressings are certainly not easy to come by — this kind of rich, full-bodied, musical sound is the exception, not the rule. And there’s actual space and extension up top as well, something you certainly don’t hear on most pressings. This is a fantastic album, and excellent sides like these give it the kind of sound it deserves.
Raw Rock & Roll Sound
Of course, Hot Stamper Sound still only gets you what’s on the tape. In this case, it’s some rude, crude, dirty rock & roll. That’s clearly what the Stones were going for here. In terms of audiophile appeal, Tea For The Tillerman this ain’t. Nor does it want to be!
What sets the best copies apart from the pack is a fuller, richer tonal balance, which is achieved mostly by having plenty of bass and lower midrange energy. The copies that are bass shy — most of them, that is to say — tend to bring out more of that midrangy shortcoming.(more…)
One note on how to tell if you have a tonally balanced copy, at least on side two. Maggie May has multi-overdubbed, close-miked mandolins that should have strong midrange presence and an especially extended, harmonically correct top end. As soon as that song ends, a very sweet, smooth guitar opens the next track, Mandolin Wind. The two songs lean towards opposite ends of the tonal balance spectrum, but on a good copy, both of them sound right. One’s a little darker, one’s a little brighter, but they should both be right if your system is tonally balanced. (more…)
Siren is one of our favorite Roxy albums, right up there with the first album and well ahead of the commercially appealing Avalon. After reading a rave review in Rolling Stone of the album back in 1975 I took the plunge, bought a copy at my local Tower Records and instantly fell in love with it. As is my wont, I then proceeded to work my way through their earlier catalog, which was quite an adventure. It takes scores of plays to understand where the band is coming from on the early albums and what it is they’re trying to do. Now I listen to each of the first five releases on a regular basis.
Somehow they never seem to get old, even after more than thirty years.
Of all the Roxy albums (with the exception of Avalon) this is probably the best way “in” to the band’s music. The earlier albums are more raucous, the later ones more rhythmically driven — Siren catches them at their peak, with, as other reviewers have noted, all good songs and no bad ones.(more…)
It’s been years since I last played this album, and I’m happy, ecstatic even, to report that it sounds far better than I remember it sounding. In the old days I recall it as somewhat dry, flat and transistory. Now it’s BIG and BOLD, revealing a band that’s on fire in the studio.
This White Hot side two had by far the most energy of any side we played, showing us just what a monster rocker this album can be when it’s mastered and pressed right. The reviews were mixed when the album was released in 1978 but time has been kind to it — after hearing the killer copies I would rank it up at the top with the best of Ferry’s and Roxy’s work.
The first three tracks are uptempo barn burners sure to get you out of any funk you may find yourself in, day or night.(more…)
The best sounding side ones were rarely as good as the best sounding side twos.
Even the good side ones tended to have a trace of harmonic distortion and compression that is simply nowhere to be found on the good side twos. How and why this is we have no idea. Since every copy had the same sonic issues we discounted it in our grading. Only the better copies bring the hits on side one to life and give them the size and power we know they can have. (more…)
With two outstanding Double Plus (A++) sides, this copy ROCKS from start to finish; fairly quiet vinyl too!
Love In Vain on a copy like this is one of the best sounding Rolling Stones songs of all time
The acoustic guitar sound and the rich whomp of the snare proves that Glyn Johns is one of the Greatest Engineers who ever lived
Top 100, 5 stars on Allmusic – Jason McNeil of PopMatters wrote that Beggars Banquet and Let It Bleed are, “the two greatest albums the band’s (or anyone’s) ever made.”
This is, IMHO, the second or third best record the Stones ever made. (Sticky Fingers is Number One, and either this or Beggar’s Banquet comes in a strong second.) With this pressing we can now hear the power and the beauty of this superb recording.
Love In Vain on a copy like this is one of the best sounding Rolling Stones songs of all time. In previous listings I’ve mentioned how good this song sounds — thanks to Glyn Johns, of course — but on these amazing Hot Stamper copies it is OUT OF THIS WORLD.
Love In Vain!
This is our favorite test track for side one. The first minute or so clues you into to everything that’s happening in the sound. Listen for the amazing immediacy, transparency and sweetly extended harmonics of the guitar in the left channel. Next, when Watts starts slapping that big fat snare in the right channel, it should sound so real you could reach out and touch it.
If you’re like me, that Tubey magical acoustic guitar sound and the rich whomp of the snare should be all the evidence you need that Glyn Johns is one of the Five Best Rock Engineers who ever lived. Ken Scott, Stephen Barncard, Alan Parsons and a few others are right up there with him of course. We audiophiles are very lucky to have had guys like those around when the Stones were at their writing and performing peak.(more…)
You’ll find excellent Double Plus (A++) sound on both sides of this classic Ferry album from 1985
This copy was super big, full and lively with plenty of presence and bottom end weight
On this record, bigger bass and punchier drums make all the difference in the world
“Instead of ragged rock explosions, emotional extremes, and all that made his ’70s work so compelling in and out of Roxy, Ferry here is the suave, debonair if secretly moody and melancholic lover, with music to match…”
Excellent sound and quiet vinyl on both sides! If you’ve spent any time with this album, you will be blown away by how great both sides of this copy sound.
Key Listening Test
The song Valentine, the second track on side two, is a key test for that side. Note how processed Ferry’s vocals are; on the best copies they will sound somewhat bright. The test is the background singers; they should sound tonally correct and silky sweet. If Ferry sounds correct, they will sound dull, and so will the rest of the side. That processed sound on his vocal is on the tape. Trying to “fix” it will ruin everything.(more…)
Wonderfully rich and smooth throughout – both sides earned Double Plus (A++) grades for their crazy good Tubey Magical sound
Clean, clear and dynamic, this copy has huge amounts of bass and tremendous space around the guitars and voices
Play this pressing against the average copy for a good laugh – the differences will be anything but subtle
An outstanding Glyn Johns recording (with TAS List credentials) that is nothing less than jaw-dropping on a copy as good as this one
This early pressing has the kind of Tubey Magical Midrange that modern records cannot 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 the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.(more…)
I’m embarrassed to say we used to like the Rhino Heavy Vinyl version, and in our defense let me tell you why: it was (for the most part) tonally correct, fairly low distortion, and had tight punchy bass.
Boy, was we wrong. Now it sounds positively CRUDE and UNPLEASANT next to the real thing — if by “the real thing” you mean an honest to goodness Hot Stamper copy. The average copy of this record is aggressive and unpleasant. The British pressings are mud. You either have to work very hard to find a good one (which means buying, cleaning and playing lots and lots of them), or you have to luck into a good one by accident.