- 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
- Huge, spacious and detailed, with the Tubey Magic of a fresh tape, this is the way to hear Sgt. Pepper in all its analog glory, not remixed and not remastered
- Most pressings – especially the new ones – have nothing approaching the Tubey Magic, space and energy of this LP
- A Better Records Top 100 – “It’s possible to argue that there are better Beatles albums, yet no album is as historically important as this.”
The sound here is so big and rich, so clear and transparent, that we would be very surprised, shocked even, if you’ve ever imagined that Sgt. Pepper could sound this powerful and REAL. (more…)
- This killer pressing of Ray Charles and Milt Jackson’s 1958 collaboration boasts Double Plus (A++) sound from start to finish – fairly quiet vinyl for this title too
- Full-bodied, warm and natural with plenty of space around all of the players, this is the sound of vintage analog – accept no substitutes
- Kenny Burrell lends his innovative guitar stylings to this soulful jazz collaboration
- 4 1/2 stars: “With Oscar Pettiford, Connie Kay, and Kenny Burrell in the various lineups, this is bluesy jazz in a laid-back manner; it surprised many hardcore R&B fans when these albums were originally issued.”
This wonderful pressing has superb sound throughout! It’s EXTREMELY rare to find a stereo copy of this title in anything but beat condition. (more…)
- This original Six Eye boasts superb Triple Plus (A+++) sound on side one – this is As Good As It Gets, folks, and that’s very good indeed
- Full-bodied and warm, exactly the way you want your vintage analog to sound
- The piano is surprisingly real here, solid and dynamic
- Classic Records remastered this title in the 2000s, as has Speakers Corner, but if you think either one of those pressings can hold a candle to the real thing from 1960, let us send you this record and disabuse you of that notion
- 4 stars: “One of Ellington’s rarer studio sessions… Ellington’s solo abilities were always a bit underrated due to his brilliance in other areas, but this set shows just how modern he remained through the years as a player.”
We sold this copy last night (10/10), immediately after one had sold in an auction on ebay for $787, a price almost two hundred dollars more than what we were asking. Note that our copy was cleaned and auditioned and found to be both phenomenally good sounding and reasonably quiet. None of these things could be said of the record on ebay of course, but apparently the word is out that this is an amazing recording and the bidding reflected that fact. I have never seen one go for anything like this kind of dough. Now that they do — there were four bidders about $550 — you should not expect to see a Hot Stamper pressing of the album show up on our site again unless we get very lucky locally, and that is highly unlikely. Here is the link to the auction, which will only be up for about 2 weeks.
- Unbelievable Shootout Winning Demo Disc quality sound throughout — Triple Plus (A+++) on both sides and vinyl that is as quiet as any that can be found from this era
- This is a spectacular recording, and one of the Greatest Violin Showpiece Albums of All Time
- It is certainly a record that belongs in every right-thinking audiophile’s collection. If you’re on our site and taking the time to read this, that probably means you.
- Ruggiero Ricci is superb throughout – we know of no better performances of this works than those found on this very record
- Some old record collectors (like me) say classical recording quality ain’t what it used to be – here’s all the proof anyone with two working ears and top quality audiophile equipment needs to make the case
Ricci’s playing of the Bizet-Sarasate Carmen Fantasie is OUT OF THIS WORLD. There is no greater performance on record in my opinion, and few works that have as much Audiophile Appeal. (more…)
The legendary Ansermet recording from 1960 shown above is the best sounding Beethoven 9th we have ever had the pleasure to audition here at Better Records.
Ansermet’s performance is clearly definitive to my ear as well. The gorgeous hall the Suisse Romande recorded in was possibly the best recording venue of its day, possibly of all time; more amazing sounding recordings were made there than any other hall we know of.
Both sides are big, rich and clear, and both were showing us pretty much everything that’s good about a vintage symphonic recording.
To get the chorus to play cleanly right to the very end is difficult for any vinyl pressing and this one is no exception. The chorus should play mostly without distortion or congestion even in the loudest parts, but we can’t say there won’t be a trace of one or both. (more…)
Exceptionally lovely All Tube sound from 1958, with a huge, rich orchestra conducted by our man, Marty Paich. Grammy Award for Best Improvised Jazz Solo – these were the days when Ella was on top of the world.
When you are lucky enough to find a album that sounds as good as this one, full of standards from the Great American Songbook, you cannot help but recognize that this era for Ella will never be equaled, by her or anyone else.
The recording is outstanding, with huge amounts of space and the kind of midrange richness that might just take your breath away.
Skip the Mono
Like other albums from the ’50s, this one is much more common in mono than stereo, and, somewhat surprisingly, actually has two more songs per side. We found the sound of the mono pressings we played seriously wanting, with way too much compressor distortion when Marty Paich’s band gets going — or should we say tries to get going, because the constricted sound won’t let the band open up and swing the way it wants to.
We’re glad to say that this is a problem the best stereo copies did not have. The mono can be rich and full-bodied; on a mid-fi system it would probably sound just fine, because mid-fi stereos are rarely any good at projecting huge, three-dimensional, life-size images of a musical group this large.
On today’s modern stereos it leaves a lot to be desired, and for that reason, we say Skip the Mono.
- Our Shootout Winning stereo copy with Triple Plus (A+++) sound on both sides – this is As Good As It Gets, folks!
- Not the quietest copy we’ve ever played – Mint Minus Minus to EX++ – but clearly the best sounding
- Fitzgerald’s performance on this album won her the Award for Best Vocal Performance, her 7th Grammy (!)
- “The singer has rarely sounded better than during this period. Fitzgerald sticks mostly to familiar standards and is particularly memorable on “Don’t Be That Way,” “What Am I Here For,” “I’m Gonna Go Fishin’,” and “I Won’t Dance.”
Take it from an Ella fan, you can’t go wrong with this one, assuming you can put up with some light crackle underneath the music. The record itself looks exceptionally clean and well-cared for, but it clearly does not play as quietly as we would have hoped.
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! The space is HUGE and the sound so rich.
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…)
- Outstanding sound for this original Colgems stereo pressing, with both sides earning Double Plus (A++) sonic grades or close to them
- Surprisingly quiet for an original Stereo Colgems pressing – not many survived in this kind of audiophile playing condition
- We guarantee there is dramatically more richness, fullness, vocal presence, and performance energy on this copy than others you’ve heard, and that’s especially true if you made the mistake of buying whatever Heavy Vinyl pressing is currently on the market
- 4 stars: “The record wasn’t only a commercial juggernaut, it also stands as one of the great debuts of all time, and while the record and the group have faced criticism from rock purists through the ages, it stands the test of time perfectly well, sounding as alive and as much fun 40 years later.”
- Ella’s first album to come out after Clap Hands finally makes its Hot Stamper debut, with outstanding Double Plus (A++) sound on both sides
- What took us by surprise was how rich and sweet this original Verve was – so many of Ella’s early albums don’t have the smooth, natural vocals of this pressing
- We absolutely love the swinging R&B organ Bill Doggett brought to these big band sessions, all backing an exceptionally well recorded First Lady of Song
- “Ella Fitzgerald is in the spotlight throughout, mostly singing swing-era songs along with a couple of newer pieces… [her] voice was in its prime, and the charts are excellent.”
This copy is about as quiet as any domestic original Verve stereo pressing can be found. The monos of this title — which naturally are five times more common — have that hard, honky sound that so many mono cuttings made from Ella’s stereo recordings are cursed with.
Clap Hands is a notable exception to that rule, and of course any of her albums recorded in mono sound best in mono, when cut right and pressed right.
1962 was a great year for Ella. She released this album early in the year and followed it up with the Grammy winning Ella Swings Brightly with Nelson. Later in the same year Verve released Ella Swings Gently with Nelson, and it’s interesting to note that all three of these classic albums were recorded late in 1961. The woman could do no wrong!
We would have to wait for her first release of 1963, Ella Sings Broadway, before she put out a clunker. But who’s fault is that? The music is fine, it’s the recording that’s bad (as far as we can tell; we have yet to hear one sound good). (more…)