Focus-R/P/S

Here you will find rock, pop, soul, etc. albums we think we know well, having cleaned and played them by the score over the course of many decades.

There are currently 160 or so entries, but the number could easily exceed 1000 considering how many records we play every week in our shootouts.

The Yes Album – What a Recording!

Hot Stamper Pressings of the Music of Yes Available Now

At its best, this album is a Big Speaker Prog-Rock opus with tremendous power and dynamic range, but it takes a special pressing to really bring the album to life. 

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.

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!

Drop the needle on a top copy 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 are typically cheap to buy and tend to play quietly.  Here’s one I couldn’t sit through with a gun to my head.

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, ELP, The Who, Jethro Tull, Ambrosia, Pink Floyd 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. Tubey Magical British Prog Rock just doesn’t get any better.

Obsession

Yes, we admit to being obsessed with The Yes Album.

It is our belief that to reach the most advanced levels of audio,you have to do two things:

  1. You must become obsessed with getting your favorite albums to sound their best, and,
  2. You must then turn your obsession into concrete action.

What kind of action?

Finding better sounding pressings and improving your stereo and room.

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Detail on Crosby, Stills and Nash – Holy Grail or Audio Trap?

Hot Stamper Pressings of the Music of Crosby, Stills, Nash and (Sometimes) Young

Detail may be the Holy Grail to some audiophiles, but listening for the details in a recording can be a trap we too easily fall into unless we are on our guard.

Tonal balance is the key.

Without correct tonal balance, no judgments about the details of the recording have any real value. 

A case in point: As good as the Classic Heavy Vinyl pressing is, the guitar at the opening of Helplessly Hoping tells you everything you need to know about what’s missing. The guitar on the better Hot Stamper domestic copies has a transparency and harmonic integrity that cannot be found on Classic’s version.

The Classic Records pressing gets the tonal balance right, but their guitar lacks the subtlety and harmonic resolution of the real thing.

I’m laboring here to avoid the word “detail,” since many audiophiles like bright, phony sounding records because of all their wonderful detail. Patricia Barber’s albums come to mind, along with scores of audiophile pressings. 

The MoFi guys and the CD guys are constantly falling into the trap of being impressed by the phony detail in some recordings.

The solution is to get the sound tonally balanced first, then see how much detail you have left.

Detail is not the end-all and be-all of audio. Those who think it is have systems that are sure to fall apart at louder levels. If the sound of your system on your best pressings doesn’t get better as it gets louder, you are failing one of the most important tests in all of audio, the turn up your volume test.

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On Brighter Days, The Best Pressings Have Choruses that Really Soar

Hot Stamper Pressings with Big, Clear and Lively Choruses Available Now

A recent White Hot Stamper pressing of L&M’s fourth release demonstrated pretty convincingly just what an amazing Demo Disc this album can be.

At about the 1:15 mark (and again at 3:10), the song’s chorus is a great test for weight, resolution, dynamic energy, and freedom from strain in the loudest parts.

When the whole band is really belting it out, the shortcomings of any copy will be exposed, assuming you are playing the album at good loud levels on big dynamic speakers.

It was a key test every pressing had to pass. That’s what makes it a good test disc.

When the music gets loud you want it to get better, with more size, energy and, especially, emotional power, just the way that song would be heard in concert.

Any strain or congestion in the choruses we hear in our shootout results in the pressing being downgraded substantially.

Hot Stampers are all about the life of the music, and when this music gets lively, it needs to be clear and clean.

This is of course one of the biggest issues we have with Heavy Vinyl.

Heavy Vinyl almost never gets up and almost never gets going the way vintage records do.

“Lifelss and boring” are the adjectives we most commonly use to describe those we audition, and who wants to listen to lifeless, boring records?

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On Trust, the Bass Is (Almost) All

Hot Stamper Pressings of Elvis’s Albums Available Now

Notes from a Hot Stamper shootout we did quite a while back.

There’s a TON of low-end on this record. Regrettably, most copies suffer from either a lack of bass or a lack of bass definition. I can’t tell you how much you’re missing when the bass isn’t right on this album. (Or if you have the typical bass-shy audiophile speaker, yuck.) 

It’s without a doubt THE SINGLE MOST IMPORTANT ASPECT of the sound on this album. When the bass is right, everything falls into place, and the music comes powerfully to life. When the bass is lacking or ill-defined, the music seems labored; the moment-to-moment rhythmic changes in the songs blur together, and the band just doesn’t swing the way it’s supposed to.

On the best pressings, you get the full-on bottom end WHOMP you paid for, with no loss in control. You can clearly follow Bruce Thomas’s bass lines throughout the songs, a real treat for any music lover. (He and Elvis don’t get along, hence the end of the Attractions as his backing band. I guess we should be thankful for the nine albums on which they were together; many of them are Desert Island Discs for me.)

Not only that, but the drums have real body and resonance, a far cry from the wimpy cardboard drum sound you’ll hear on most copies.

Hey, these are The Attractions: the pro’s pros. You can’t ask for better, and as expected they deliver big time on this album. But the mastering and pressing problems of most British copies typically make them sound half-hearted and uninspired, which is certainly nothing like what they sound like on the master tape. On the master tape, they play GREAT. You need a very special copy of the LP to hear them play that way, and that’s all there is to it. 

The better the pressing, the better the band.

A Must Own Title

This, along with My Aim Is True and Armed Forces, is as good as it gets for Elvis on LP.

All three are absolute Must Owns that belong in any serious rock collection. This is that rare breed of music that never sounds dated (especially considering the era in which it was produced). Music with real depth such as this only gets better with the passage of time. The more you play it, the more you appreciate it, and love it.

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This Is Why We Love Hippie Folk Rock from the 60s and 70s

Hot Stamper Pressings of Hippie Folk Rock Albums Available Now

This has long been one of our favorite Hippie Folk Rock albums here at Better Records.

If you like Crosby, Stills and Nash’s first album or Rubber Soul — and who doesn’t love those two albums? — you should much to like on Down in L.A.

Here is how we described our most recent shootout winner:

These are just a few of the things we had to say about this amazing copy in our notes: “fully extended from top to bottom”…”vox and guitar jumping out of the speakers”…”big and tubey and weighty”…”HTF [hard to fault]” (side one)…”serious bass and energy”…:”rich and 3D and lively.”

Both of these sides have the smooth sweet analog sound we were listening for – they’re rich and tubey, with clarity and freedom from smear that make it the best of both worlds.

The notes for the top copy from our most recent shootout can be seen below. It us six years to get this shootout going, but the best copies we played were so impressive that they made all the time and money it took to pull it off worth the effort.

Side one was HTF – Hard To Fault.

Brewer and Shipley’s first and only release for A&M has long been a Desert Island Disc in my world. I consider it one of the top debuts of all time, although it’s doubtful many will agree with me about that since I have yet to meet anyone who has ever even heard of this album, let alone felt as passionate as I do about it.

To me this is a classic of Folk Rock, along the lines of The Grateful Dead circa American Beauty, surely a touchstone for the genre.

It’s overflowing with carefully-crafted (B and S apparently were obsessive perfectionists in the studio) inspired material and beautifully harmonized voices backed by (mostly) acoustic guitars.

The Beatles pulled it off masterfully on Help and Rubber Soul.

All three are built on the same folk pop sensibilities. Tarkio, album number three, is clearly the duo’s Masterpiece, but this record comes next in my book, followed by Weeds, their second album and first for Kama Sutra. After Tarkio it’s all downhill.

“Of all the many folkys to make a transition to electric folk-rock in the 1960s, Brewer & Shipley retained more of the wholesome, strident qualities of early-60s folk revival harmonizing than almost anyone.”

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Gorilla – A Soft Rock Favorite from 1975

Hot Stamper Pressings of the Music of James Taylor Available Now

This is soft rock at its best, primarily made up of love songs, and helped immensely by the harmonically-gifted backing vocals of Graham Nash and David Crosby.

Rolling Stone notes that “With Gorilla, Taylor is well on his way to staking out new ground. What he’s hit upon is the unlikely mating of his familiar low-keyed, acoustic guitar-dominated style with L.A. harmony rock and the sweet, sexy school of rhythm and blues.”

If you are not a fan of the mellow James Taylor, this is not the album for you.

I happen to be just such a fan. Taylor’s sixth album contains consistently engaging, well-produced, well-written, memorable, singable (or hummable) songs that hold up to this day.

After enjoying it for more than 45 years I can honestly say now it actually sounds good. The recording finally makes sense, now that I have the stereo that can play it and the cleaning system that could get the record truly clean. And it only took 35 years — nice!

At Better Records that’s what we’re talking about when we talk about progress. Make no mistake, it is very REAL. When we take a recording that, on copy after copy, never sounded much better than passable, and actually get it to sound musical and involving, that’s not an illusion. It’s the result of the countless revolutions in audio that we’ve participated in. Without the hundreds of changes we’ve made to our stereo, room and cleaning systems, old records would just sound like old records.

The average copy is so flat, lifeless and hard sounding that you might just wonder if there isn’t something wrong with your stereo when the needle hits the Gorilla groove. Most copies are awful, and the same goes for the albums that came before it and after it, Walking Man and In the Pocket, respectively.

This record does not sound like just any old record, not the best copies anyway.

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Find a Copy with Drums that Punch Through the Mix on Fleetwood Mac’s Greatest Hits

Hot Stamper Pressings of the Music of Fleetwood Mac Available Now

Many pressings are compressed, murky, veiled and recessed. To find one that is transparent, clear, present and punchy is no mean feat.

Proper cleaning is essential. The early Orange label CBS pressings (the only ones that have the potential to win shootouts) too often just sound like old records until they have been properly cleaned.

There are two tracks to play to hear how well the drums punch through the mix.

Mick Fleetwood is banging the hell out of his toms on Black Magic Woman. If it doesn’t sound like he’s really pounding away, you need a better copy.

Or a better stereo; one must always be open to the possibility that the system may not be up to reproducing the punchiness of the drums.

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The Beatles – Looking Back on Our First Abbey Road Shootout

Hot Stamper Pressings of the Music of The Beatles Available Now

This review is a window into our limited understanding of Abbey Road on vinyl in 2007.

Let’s just say we have learned a lot about the album since then, mostly through better playback and cleaning, but also because we’ve played roughly one hundred more pressings since then, having done shootouts for the album by the dozens.

These regularly-held shootouts are the only thing that has taught us what we think we know.

Looking back, 2007 seems to have been a milestone year for us here at Better Records, although we certainly did not know that at the time.

Later that same year we swore off Heavy Vinyl (prompted by the mediocre sound of the Rhino pressing of Blue) and committed ourselves to doing record shootouts of vintage pressings full time.

Much of the review you see below indicates we had a much more limited understanding of Abbey Road than we do now, but we obviously have no problem admitting to it, a subject we discussed in some detail here.

Live and learn is our motto, and progress in audio is a feature, not a bug, of record collecting at the most advanced levels. (“Advanced” is a code word for having little to no interest in any remastered pressing marketed to the audiophile community. If you want to avoid the worst of them, we are happy to help you do that.)

Our Review from 2007

This Minty Apple British Import pressing has MASTER TAPE SOUND ON SIDE ONE! We just finished a big Abbey Road shootout (1/16/07) and this side one was IN A LEAGUE OF ITS OWN!

This is the first Hot Stamper Abbey Road we’ve ever listed … and there’s a good reason for that. It’s practically impossible to find a properly mastered copy. For whatever reasons — probably because this recording is so complicated and required so many tracks — Abbey Road is the toughest nut to crack in the Beatles’ catalog.

This copy is actually my personal Ref Copy, which I have had in my collection for many years. Surprisingly, while doing this shootout we discovered that it doesn’t have the ultimate side two, which is the side I really liked on this copy. It still merits an A+ for side two, but it’s interesting that one of the things that we often discover in these shootouts is copies that exceed our expectations and set entirely new standards for albums we’ve been listening to critically for decades.

This copy turned out to have the Ultimate Side One — A+++. No other copy came close; it’s two full grades above the next best pressing.

Frankly, up to now we’ve been afraid to take on Abbey Road. With recent improvements to the stereo, and knowing that I had at least one superb sounding copy, now was the time. Out of all the imports I’ve been collecting over the last dozen years or so, only three or four copies really qualified as having Hot Stampers.

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Listening in Depth to Famous Blue Raincoat

Hot Stamper Pressings of the Music of Leonard Cohen Available Now

I’m a huge fan of this FBR. It’s the only album Jennifer Warnes ever made that I would consider a Must Own recording or a Desert Island Disc. Without question this is her Masterpiece.

Key Test for Side One

Listen to the snare drum on Bird on a Wire. On most copies it sound thin and bright, not very much like a real snare. Let’s face it: most copies of this record are thin and bright, and that’s just not our sound here at Better Records. If the snare on Bird sounds solid and meaty, at the very least you have a copy that is probably not too bright, and on this album that puts it well ahead of the pack.

While you’re listening for the sound of that snare, notice the amazing drum work of Vinnie Colaiuta, session drummer extraordinaire. The guy’s work on this track — especially with the high hat — is genius.

Key Test for Side Two

Listen to the sound of the piano on Song of Bernadette. If it’s rich and full-bodied with the weight of a real piano, you might just have yourself a winner. At the very least you won’t have to suffer through the anemically thin sound of the average copy.

Side One

First We Take Manhattan

Don’t expect this song to be tonally correct. It runs the gamut from bright to too bright to excrutiatingly bright. Steve Hoffman told me that he took out something like 6 DB at 6K when he mastered it for a compilation he made, and I’m guessing that that’s the minimum that would need to come out. It’s made to be a hit single, and like so many hit single wannabes, it’s mixed brighter than we audiophiles might like.

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Key Sonic Elements for My Life In The Bush Of Ghosts

Hot Stamper Pressings of the Music of Talking Heads Available Now

If you like Remain in Light as much as we do here at Better Records, you will surely have a blast with this record.

I’ve been a big fan of the album since the day it came out.

As a bonus, it’s a much better recording than Remain in Light — sweet and spacious, not hard and brittle the way that can album can be, especially on the first track.

Rick Wright of Pink Floyd noted that the album “knocked me sideways when I first heard it – full of drum loops, samples and soundscapes. The way the sounds were mixed in was so fresh, it was amazing.”

Four, Maybe Five Key Elements

Here is a comprehensive breakdown of what we were listening for when evaluating My Life in the Bush of Ghosts.

Clarity and Presence

Many copies are veiled in the midrange, partly because they may have shortcomings up top, but also because they suffer from blurry, smeary mids and upper mids. Dull, dead sounding pressings can’t begin to communicate the musical values in this excellent recording.

With a real Hot Stamper the sound is totally involving. There is breath in the voices, the picking of the strings on the guitars — these things allow us to suspend our disbelief, to forget it’s a recording we’re listening to and not living, breathing musicians.

Top End Extension

Most copies of this album have no extreme highs, which causes instrumental harmonics to sound blunted and dull. Without extreme highs the percussion can’t extend up and away from the other elements. Consequently these elements end up fighting for space in the midrange and getting lost in the mix.

Transparency

Although this quality is related to the above two, it’s not as important overall as the one below, but it sure is nice to have. When you can really “see” into the mix, it’s much easier to pick out each and every instrument in order to gain more insight into the way the songs were arranged and recorded.

Seeing into the mix is a way of seeing into the mind of the artist. To hear the hottest copies is to appreciate even more the talents of all the musicians and producers involved, not to mention the engineers.

This is an area where Heavy Vinyl fails completely more often than not. Modern remastered records are just so damn opaque. That sound drives us to distraction, when it doesn’t bore us to tears.

Bass

No rock or pop record without good bass can qualify as a top quality Hot Stamper. How could it? It’s the rhythmic foundation of the music, and who wants a pop record that lacks rhythm?

Want to find your own killer copy?

Consider taking our moderately helpful advice concerning the pressings that tend to win our shootouts.

As of 2024, shootouts for this album should be carried out:

Nothing else will do for a big, dynamic, powerful recording such as this.

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