- An outstanding copy of this wonderful live album, with solid Double Plus (A++) sound from start to finish
- This copy is full-bodied and natural, with a nicely extended top end, plenty of space around the instruments, and relatively few of the problems that plague many of the pressings we played
- “Allison was one of the finest songwriters in blues of the 20th and early 21st centuries.” – All Music Bio
To our surprise we discovered that some of the stampers for some of the sides on some of the British import pressings are actually sourced from a well known American cutting house. When those sides did poorly in the shootout, naturally we wanted to know more about them in order to avoid buying any more pressings with those markings.
We had no idea the British would “import” the metalwork from here, but they did, and the results were not good, at least not for us audiophiles. I hope it goes without saying that we will not be selling any versions of the album that are not cut in England.
This is what you learn when you have lots of copies of the same album and play them against each other.
We constantly Experiment with Different Record Pressings this way and we recommend you do the same.
Carry out as many experiments as you can find time for. The quality of your collection — at least the sonic quality of your collection — will improve immensely.
Some were dull, some were spitty, many were smeared, and far too many were gritty.
The later pressings didn’t solve any of these problems. In fact, none of the Red Label copies we’ve ever played sounded good enough on either side to merit a Hot Stamper grade. If you want good sound for this album, 360 stereo pressings seem to be the only way to go. The mono pressings we played were painfully bad.
Stick with stereo on this album. The Mono pressings — at least the ones we’ve played — aren’t worth anybody’s time (scratch that: any audiophile’s time).
- With Shootout Winning Triple Plus (A+++) sound or very close to it throughout we guarantee you’ve never heard the 14 tracks of A Hard Day’s Night sound remotely as good as they do here – exceptionally quiet vinyl too
- Both sides are big, spacious and absolutely jumping out of the speakers, with relatively rich, smooth sound
- This one gets the heart of the music right – the lad’s voices – and that’s what makes The Beatles FUN to listen to
- 5 stars: “Decades after its original release, its punchy blend of propulsive rhythms, jangly guitars, and infectious, singalong melodies is remarkably fresh.”
Drop the needle on any song on either side to see why we went crazy over this one. The emotional quality of the boys’ performances really comes through on this copy. They aren’t just singing — they’re really BELTIN’ it out. Can you imagine what that sounds like on the title track? We didn’t have to imagine it, WE HEARD IT! (more…)
- The sound here is richer, with much less transistory grain, and more of the All Important Tubey Magic than most other copies we played
- Some of Bryan Ferry’s strongest and most consistent songwriting – Love Is The Drug, End of the Line, Sentimental Fool and more
- 5 stars: “Abandoning the intoxicating blend of art rock and glam-pop that distinguished Stranded and Country Life, Roxy Music concentrates on Bryan Ferry’s suave, charming crooner persona for the elegantly modern Siren.”
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. Even after more than thirty years the band’s music never seems to get old. That seems to be true of a lot of the records from the era that we offer on our site. Otherwise, how could we charge so much money for them?
Imports? Not So Fast
The British and German copies of Siren are clearly made from dubbed tapes and sound smeary, small and lifeless.
To be fair, Siren has never impressed us as an exceptionally good sounding recording. Like other middle period Roxy, records such as Country Life and Manifesto (the albums just before and after), it simply does not have Demo Disc analog sound the way For Your Pleasure, Stranded or the eponymous first album do (the latter two being the best sounding in their catalog).
One would be tempted to assume that the import pressings of Siren would be better sounding, the way the imports of the first four Roxy albums are clearly better sounding. There has never been a domestic Hot Stamper pressing of any of those titles and, since we never buy them or play them, there probably never will be.
But in the case of Siren it’s the imports that are made from dubs. It may be a British band, recorded in British studios with a British producer, but the British pressed LPs are clearly made from sub-generation tapes, whereas the domestic copies sound like they’re made from the real masters.
Go Figure. And another thing: when it comes to records, never assume anything.
The typical domestic pressing is flat, bass-shy and opaque, sounding more like compressed cardboard than analog vinyl. Unsurprisingly, the CD, whether imported or produced domestically, is clean and clear and tonally correct but lacks the warmth and richness of the better vinyl pressings. (more…)
As of 2021, this album sounds better to us this way:
If you are interested, click on the link below for:
This is the Stones at their most experimental, so there are plenty of strange effects and trippy arrangements. Only the best copies manage to make sense of it, but when you find one this music is a lot of fun.
Not only is it hard to find great copies of this album, it’s hard to play them when you do find them. You’re going to need a hi-res, super low distortion front end to play this properly, but if you’ve got the goods this is one hot record! Play this with a budget cart / table / arm and you’ll hear very little of the magic that we heard.
This is some crazy music! If you’re looking for the raging bluesy rock of Sticky Fingers and Let It Bleed, you’ll find some of that here but also a lot of psychedelic madness. You get some great rockers though — Citadel, 2000 Man, and 2000 Light Years From Home to name a few. She’s A Rainbow is the poppiest song here, and on this copy it sounds WONDERFUL.
Without a doubt, no Rolling Stones album – and, indeed, very few rock albums from any era – split critical opinion as much as the Rolling Stones’ psychedelic outing. Many dismiss the record as sub-Sgt. Pepper posturing; others confess, if only in private, to a fascination with the album’s inventive arrangements, which incorporated some African rhythms, Mellotrons, and full orchestration. Never before or since did the Stones take so many chances in the studio. […]
In 1968, the Stones would go back to the basics, and never wander down these paths again, making this all the more of a fascinating anomaly in the group’s discography.
Sing This All Together
In Another Land
Sing This All Together (See What Happens)
She’s a Rainbow
2000 Light Years from Home
On With the Show
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.
Nope. We think it’s just another Record Myth.
Back in 2005 we compared the MFSL pressing of Help to a British Parlophone LP and were — mistakenly, as you may have already surmised — impressed by the MoFi.
Mobile Fidelity did a GREAT JOB with Help!. Help! is a famously dull sounding record. I don’t know of a single original pressing that has the top end mastered properly. Mobile Fidelity restored the highs that are missing from most copies.
The source of the error in our commentary above is in this sentence, see if you can spot it:
I don’t know of a single original pressing that has the top end mastered properly.
Did you figure it out? If you’ve spent much time on our site of course you did.
Is that the standard?
Who said so? Where is it written?
Cut It Right
The domestic original Capitol pressings are awful and the original British import pressings of Help NEVER have any real top end. The Yellow and Black Parlophone pressings have many wonderful qualities, Tubey Magic for days being one of the most pleasurable, but frequency extension up top is not among them. Neither is tight, articulate bass. The old tube cutting systems just didn’t have what it takes to cut the highs and lows well.
The middle may be glorious, but the rest of the frequency spectrum is a mess.
Stop the Presses
In 2021 we found an exception to that rule.
And here is the one record we have always preferred on the Yellow and Black label.
We have added some moderately helpful Title Specific advice at the bottom of the listing for those of you want to find your own Hot Stamper pressing.
This is the perfect example of everything we look for in a recording here at Better Records: it’s dynamic, present, transparent, rich, full-bodied, super low-distortion, sweet — good copies of this record have exactly what we need to make us audiophiles forget what our stereos are doing and focus instead on what the musicians are doing.
For those of you who aren’t familiar with the album, Pink Floyd managed to record one of the most amazing sounding records in the history of rock music. The song Wish You Were Here starts out with radio noise and other sound effects, then suddenly an acoustic guitar appears, floating in the middle of your living room between the speakers, clear as a bell and as real as you have ever heard. It’s obviously an “effect,” but for us audiophiles it’s pure ear candy.
The Seventies – What a Decade!
Tubey Magical Acoustic Guitar reproduction is superb on the better copies of this recording. Simply phenomenal amounts of Tubey Magic can be heard on every strum, along with richness, body and harmonic coherency that have all but disappeared from modern recordings (and especially from modern remasterings).
This is some of the best High-Production-Value rock music of the ’60s and ’70s. The amount of effort that went into the recording of this album is comparable to that expended by the engineers and producers of bands like Supertramp, The Who, Jethro Tull, Ambrosia, Yes and far too many others to list. It seems that no effort or cost was spared in making the home listening experience as compelling as the recording technology of the day permitted.
Big Production Tubey Magical British Prog Rock just doesn’t get much better than Wish You Were Here.
A Big Speaker Record
Let’s face it, this is a BIG SPEAKER recording. It requires a pair of speakers that can move air with authority below 250 cycles and play at loud levels. If you don’t own speakers that can do that, this record will never really sound the way it should.
It demands to be played LOUD. It simply cannot come to life the way the producers, engineers and artists involved intended if you play it at moderate levels.
This is also the kind of recording that caused me to pursue Big Systems driving Big Dynamic Speakers. You need a lot of piston area to bring the dynamics of this recording to life, and to get the size of all the instruments to match their real life counterparts.
For that you need big speakers in big cabinets, the kind I’ve been listening to for more than forty years. (My last small speaker was given the boot around 1974 or so.) To tell you the truth, the Big Sound is the only sound that I can enjoy. Anything less is just not for me.
Size and Space
One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.
Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.
We often have to go back and downgrade the copies that we were initially impressed with in light of such a standout pressing. Who knew the recording could be that huge, spacious and three dimensional? We sure didn’t, not until we played the copy that had those qualities, and that copy might have been number 8 or 9 in the rotation.
Think about it: if you had only seven copies, you might not have ever gotten to hear a copy that sounded that open and clear. And how many even dedicated audiophiles would have more than one of two clean British original copies with which to do a shootout? These records are expensive and hard to come by in good shape. Believe us, we know whereof we speak when it comes to getting hold of original pressings of Classic Rock albums.
One further point needs to be made: most of the time these very special pressings just plain rock harder. When you hear a copy do what this copy can, it’s an entirely different – and dare I say unforgettable — listening experience. (more…)
Want to find your own shootout winner? Scroll to the bottom to see our advice on doing just that.
- This outstanding pressing boasts solid Double Plus (A++) sound from start to finish
- Here is the in-the-room performance intimacy that will surely bring Doc’s music to life in a way you’ve never heard before
- If you own the veiled, opaque, recessed, ambience-challenged Cisco remaster, you are in for a treat – our Hot Stamper is none of those things!
- “[H]is most affecting folk-style record, with unexpectedly warm vocals matched to the quiet virtuosity of his playing. [The album] features Watson performing lively, achingly beautiful renditions of popular folk standards. All are played with very imposing dexterity by Watson, joined by his son Merle and Russ Savakus on upright bass.
This vintage Vanguard stereo pressing has the kind of Tubey Magical Midrange that modern records rarely begin to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back.
Having done this for so long, we understand and appreciate that rich, full, solid, tubey sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.). (more…)