Records that Sound Best Like This

Dire Straits / Alchemy: Dire Straits Live – How Good Are the Robert Ludwig Pressings?

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The best domestic pressings we heard, the ones cut by Robert Ludwig at Masterdisk, were simply not competitive with the original British LPs.

The evidence is pretty clear that the master tapes stayed in England and that only the British pressings are made from them.

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Foreigner – 4

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  • You’ll find stunning Shootout Winning Triple Plus (A+++) sound on this Radio Rock Classic 
  • This copy had the best energy, the punchiest bass, and biggest, most immediate presentation in our shootout
  • Rockers like Juke Box Hero and Urgent, along with the heartfelt ballad Waiting For A Girl Like You, are guaranteed to sound better than you ever imagined or your money back
  • “In producer Robert John ‘Mutt’ Lange – fresh off his massive success with AC/DC’s Back in Black – guitarist and all-around mastermind Mick Jones found both the catalyst to achieve [a grand slam of a record] and his perfect musical soulmate… All things considered, 4 remains Foreigner’s career peak.”

What’s key to the sound of Foreigner’s records? Obviously, the big one would have to be ENERGY, a subject we have discussed at length here on the site. Next would be punchy ROCK BASS, followed by clear, present vocals.

Those are the big ones, and we are happy to report that this copy had the best Foreigner sound in all three areas. (more…)

Jeff Beck – Truth

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  • Easily – and by a wide margin – the best sounding record Jeff Beck ever made – thanks Ken Scott! (And thank you, CBS, for the exceptionally quiet vinyl)
  • This pressing embodies the Big Rock Sound, the kind we go crazy for here at Better Records
  • Really fun music – it’s a blast to hear Rod Stewart fronting such a heavy rock band
  • AMG 5 Stars “…almost as groundbreaking and influential a record as the first Beatles, Rolling Stones, or Who albums.”

Vintage covers for this album are hard to find in clean shape. Most of them will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you.


This is a SHOCKINGLY good sounding pressing of Truth, Beck’s As-Heavy-As-I-Can-Make-It Rock debut, the kind of record that would define Classic Rock for the next forty plus years.

The soundstage is absolutely HUGE, while the presence and transparency of this copy go way beyond most pressings. Great rock and roll energy too of course — without that you have nothing on this album.

Note how spacious, big, full-bodied and DYNAMIC both sides are. That’s why they’re Super Hot. I am pleased to report that the whomp factor on these sides was nothing short of MASSIVE. With tons of bass these sides have what it takes to make the music ROCK. (more…)

Ella Fitzgerald / Like Someone In Love

  • With two Shootout Winning Triple Plus (A+++) sides, this stereo pressing simply could not be beat
  • Ella’s voice is noticeably breathier, fuller, more relaxed and more musical here than it is onthe other copies we played
  • An album that is beyond difficult to find with decent surfaces and undamaged inner grooves – most copies we get in are just trashed
  • “Most of the songs are veteran standards, Stan Getz’s warm tenor helps out on four tunes, and her voice was so strong and appealing during this era that all of her recordings from the mid- to late ’50s are enjoyable and easily recommended.”

Take it from an Ella fan, you can’t go wrong with this one, assuming you can put up with some ticky vinyl. This is about as quiet as we can find them. Like Someone in Love is five times rarer than Clap Hands, and twice as likely to be noisy.

The sound is rich and full-bodied in the best tradition of a classic vintage jazz vocal album. You could easily demonstrate your stereo with a record this good, but what you would really be demonstrating is music that the listener probably hasn’t heard, and that’s the best reason to demonstrate a stereo!

The space is huge and the sound so rich. The vocals have dramatically less hardness and the orchestra — especially on side two — is not brash for once.

Prodigious amounts of Tubey Magic as well, which is key to the best sounding copies. The sound needs weight, warmth and tubes or you might as well be playing a CD. (more…)

Tony Bennett – I’ve Gotta Be Me

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  • This vintage Columbia 360 label pressing gives Tony the sound he deserves, with Double Plus (A++) grades on both of these early stereo sides
  • Brilliant engineering by Frank Laico, the man who recorded I Left My Heart In San Francisco and Sketches of Spain, among others
  • Tony Bennett was in fine form and still able to sing the hell out of these songs in 1969 – when you hear the quality of his voice on this very album you will perhaps appreciate the toll this century has taken on him
  • Vintage record guys with top quality turntables – like us – get to hear Tony the way he should be heard, with his voice at the peak of its powers

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Bach / Organ Music – Karl Richter

More of the music of J.S. Bach (1685-1750)

Hot Stamper Decca and London Pressings Available Now

  • With two Triple Plus (A+++) shootout winning sides, this copy of Richter’s 1956 recording of Bach Organ Music form simply could not be beat – fairly quiet vinyl too
  • Some audiophiles buy organ records to show off their subwoofers, and records like this can do that, but records this good have musical qualities far beyond simple demonstrations of bass reproduction – with this pressing you can feel the cool air in the hall!
  • With this pressing you can feel the cool air in the hall, something no Telarc or audiophile organ record can offer in our experience
  • We’ve played plenty of them, and it is our opinion that the more modern the recording, the worse it sounds, especially if it’s on an audiophile label — those are the worst!
  • Karl Richter understands this music and makes it come alive in a way I’ve never heard any other musician manage to do – the Decca engineers are of course a big help too

For those of you who think technology marches on — which of course it does in some ways — this 1956 recording (finally released in stereo in 1960) shows that they could capture the authentic sound of the real instrument with the equipment of the day. Maybe they could even capture it better back in those days. I certainly can’t think of a better organ record than this, and musically I don’t think there are too many organists in Richter’s class. (more…)

Arlo Guthrie – Alice’s Restaurant

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  • This superb original stereo pressing boasts outstanding Double Plus (A++) sound or BETTER on both sides of Arlo Guthrie’s classic debut – unusually quiet vinyl too
  • These rare, original Tri-Color Reprise pressings are practically impossible to find with surfaces this quiet, but we found this one, don’t ask me how
  • The 18 minute plus title song sounds wonderful here – natural, Tubey Magical, and tonally correct, as befits any top quality vintage pressing, especially one with Lee Herschberg handling the engineering duties
  • 4 stars: “… provide[s] an insight into his uniformly outstanding — yet astoundingly overlooked — early sides on Warner Bros.”

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Roy Orbison – The All-Time Greatest Hits of Roy Orbison

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Reviews and Commentaries for Roy Orbison

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  • You’ve never heard Roy Orbison sound better than he does here
  • Rich, smooth, sweet, full of ambience, dead on correct tonality – everything that we listen for in a great record is here
  • The phenomenally talented Bill Porter recorded many of Orbison’s classic songs from the early ’60s that are found on this compilation
  • 4 1/2 stars: “… no one conveys pain and longing more sublimely or succinctly than Roy Orbison. But his songs are also masterpieces of production: so technically precise that his deceptively simple tunes and lush melodies flow even more smoothly behind his desperate baritone croon and quivering falsetto.”

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Verdi / Rossini / Overtures and Intermezzos

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  • Off the charts “Triple Triple” (A+++) sound for this classic Decca engineered “Living Stereo” Victrola from 1965 – both sides of this pressing earned our top grade of A+++
  • Listen to how rich the cellos sound — this is Tubey Magical Analog and its most luscious and enchanting.
  • You could easily play one hundred classical albums and not hear this kind of sound!
  • If you have the real Living Stereo pressing (with the cool die-cut cover), let us send you this pressing to compare — who knows, you might like it even better than your Shaded Dog
  • Classic Records did this title back in the ’90s, and it was one of the worst of their sorry releases

This 1959 Decca recording is overflowing with the kind of rich, spacious, Tubey Magical sound that can only be found on vintage vinyl.

On this copy you will find As Good As It Gets sound. It’s so BIG and RICH you will have a hard time believing that it’s a budget reissue from 1965, but that’s precisely what it is.

Ah but it’s a reissue from back in the day when they knew how to cut a record properly, regardless of its retail price.

The rich, textured, rosin-on-the-bow lower strings on this record are to die for. Find me a modern record that sounds like this and I will eat it.

And by “modern record” we hasten to include both modern recordings and modern remasterings of older recordings. NO ONE alive today can make a record that sound even remotely as good as this. To call it a lost art is to understand something that few vinyl-loving audiophiles appear to have grasped since the advent of the Modern Reissue, which is simply this: they can’t begin to compete.

After twenty years of trying and literally hundreds of failed examples the engineers of today have yet to make a record that sounds as powerful and life-like as this London from almost fifty years ago.

Fortunately for the both of us we are not trying to make a record that sounds the way this one does. We’re just trying to find one, and folks, we found the hell out of this one. (more…)

The Tommy Flanagan Trio – On Moodsville

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  • Rich, natural, transparent, spacious and musical throughout – you won’t believe how good this Mellow Jazz Classic from 1960 sounds
  • “Rudy van Gelder captured the exquisite sound in his usual manner by setting up a couple of high-fidelity microphones and letting the players and room speak for themselves. If I close my eyes, I’m in the Village Vanguard listening to him live.”
  • “With bassist Tommy Potter and drummer Roy Haynes giving the pianist fine support, the trio plays such songs as “You Go to My Head,” “Come Sunday” and “Born to Be Blue” quietly and with taste.”

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