- An outstanding pressing of Summer Breeze with Double Plus (A++) sound or close to it from start to finish, and exceptionally quiet vinyl too – some of the quietest we have ever found
- With tons of Tubey Magical richness in the midrange (particularly on side two) – the kind that was still abundant on analog tape in 1972 – this is a wonderful sounding album of folk pop
- 4 1/2 stars: “Summer Breeze offered an unusually ambitious array of music within a soft rock context – most artists tried to avoid weighty subjects in such surroundings… the most highly regarded of all of Seals & Crofts’ albums.” (more…)
- This vintage Contemporary pressing is close to the best we have ever heard, with stunning Nearly Master Tape sound from start to finish, just shy of our Shootout Winner – fairly quiet vinyl too
- Both of these sides are amazingly Tubey Magical, yet incredibly clean and clear — something you can’t get from the tube-mastered originals
- Helen’s voice is PERFECTION — breathy, full, and sweet; and the orchestra sounds JUST RIGHT — just listen to the nice bite of the brass
- 5 stars: “One of the high points of Helen Humes’ career, this Contemporary set features superior songs, superb backup, and very suitable and swinging arrangements by Marty Paich. Humes’ versions of ‘If I Could Be With You,’ ‘You’re Driving Me Crazy,’ and ‘Million Dollar Secret,’ in particular, are definitive… This classic release is essential and shows just how appealing a singer Helen Humes could be.”
This vintage Contemporary pressing has the kind of Tubey Magical Midrange that modern records can barely 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.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What The Best Sides Of Songs I Like To Sing! Have To Offer Is Not Hard To Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1961
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Later Pressings Have The Real Sound
We prefer later pressings of this album to the Black Label originals, which sound tube mastered and have a bit of echo added to them. The later pressings offer superior clarity and resolution. I wouldn’t say one is necessarily better than the other, but this seems to be the more accurate reproduction of what happened in the recording session, and I know this is the one I would rather listen to.
Without a doubt it’s one of my all time favorite jazz albums. The amazing Marty Paich (Art Pepper Plus Eleven) did the arrangements for this group of top musicians, which includes Art Pepper, Ben Webster, Barney Kessel, Shelly Manne, Jack Sheldon and Leroy Vinnegar, just to name the ones whose work I know well. Does it get any better?
What’s especially remarkable about this album is the quality of Paul Buckmaster‘s string arrangements. I don’t know of another pop record that uses strings better or has better string tone and texture. Strings are all over this record, not only adding uniquely interesting qualities to the backgrounds of the arrangements but actually taking the foreground on some of the songs, most notably Sixty Years On.
When the strings give in to a lovely Spanish guitar in the left channel (which sounds like a harp!) just before Elton starts singing, the effect is positively glorious. It’s the nexus where amazing Tubey Magical sound meets the best in popular music suffused with brilliant orchestral instrumentation. Who did it better than The Beatles and Elton John? They stand alone.
Correct string tone and texture are key to the best-sounding copies. The arrangements are often subtle, so only the most transparent copies can provide a window into the backgrounds of the songs that reproduce the texture of the strings.
Without extension on the top, the strings can sound shrill and hard, a common problem with many pressings and one that positively ruins any chance of musical involvement.
Without a good solid bottom end the rockers (“Take Me to the Pilot”) don’t work either of course, but you can even hear problems in the lower strings when the bass is lightweight.
String tone on a pop record is a tough nut to crack, even more so on a record like this where the strings play such a prominent role. It’s the rare copy that allows you to forget the recording and lets you just enjoy the music.
For that you really need a Hot Stamper.
These Are Some of the Qualities We’re Listening For in Our Shootouts for Elton’s Eponymous Second Album
There are probably closer to a dozen, but some of the more important ones would be:
There are three amazing-sounding Elton John records on our Top 100 list, one of them engineered by the estimable Robin Geoffrey Cable, Trident Studios’ house engineer in 1972. His work on this album and Tumbleweed Connection marks him as one of the All-Time Greats in my book. Madman Across the Water, the album to follow, seems to be a more difficult recording to master properly. That said, the best copies — we call them White Hot Stampers – are very nearly as good sounding as the two titles mentioned above.
*The others are, in order of quality: Tumbleweed Connection (#1), Honky Chateau (#2), Goodbye Yellow Brick Road (#3) and Madman Across the Water (#5).
- An original Reprise stereo pressing with a STUNNING Shootout Winning Triple Plus (A+++) side two mated to an excellent Double Plus (A++) side one – exceptionally quiet vinyl too
- Sinatra is both natural and present – he actually sounds like he is standing on the same stage as Ellington’s band
- The highs are extended and silky sweet, the bass is tight and punchy – this copy gives you more life and energy than most by a long shot
- “Recorded on Sinatra’s birthday in 1967, this collaboration between America’s most popular singing icon and pre-eminent jazz composer still endures as one of Sinatra’s most enjoyable Reprise-era albums.” – Amazon
- If you’re a fan of either of these two fine gentlemen, this early pressing from 1967 surely belong in your collection
- The complete list of titles from 1967 that we’ve reviewed to date can be found here.
Recorded one year after the remarkable Sinatra-Jobim record that we treasure here at Better Records, Sinatra takes the opportunity to work with one of the greatest bandleaders in the history of jazz, the Duke himself. We had good luck with the stereo originals on the lovely Blue and Green Reprise labels — they can be as big, rich and warm as Sinatra’s legendary Capitol recordings when you find the right pressing, and that’s really saying something.
You Are There
The presence and immediacy here are really something. Turn it up and Frank is right between your speakers, putting on the performance of a lifetime.
The sound is big, open, rich and full. The highs are extended and silky sweet. The bass is tight and punchy. And this copy gives you more life and energy than most by a long shot. Very few Sinatra records offer the kind of realistic, lifelike sound you get from this pressing.
He’s no longer a recording — he’s a living, breathing person. We call that “the breath of life,” and this record has it in spades. His voice is so rich, sweet, and free of any artificiality, you immediately find yourself lost in the music, because there’s no “sound” to distract you. (more…)
- Insanely good sound on both sides of this original Columbia Six-Eye pressing with each earning Shootout Winning Triple Plus (A+++) grades
- Both sides are full of that old-school Columbia jazz Tubey Magic – the brass is full-bodied with lots of air, the bass is surprisingly well-defined, the top end is extended and sweet, and the soundfield is HUGE and three-dimensional
- 5 stars: “It was Evans’ intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both… No observation or collection of American jazz can be deemed complete without this recording.”
- Teo Macero was the producer, Fred Plaut the engineer for these sessions in Columbia’s glorious sounding 30th Street Studio.
- It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording.
- If you’re a fan of the marvelous collaborations of Davis and Evans circa 1959, and what audiophile wouldn’t be?, this album belongs in your collection
- The complete list of titles from 1959 that we’ve reviewed to date can be found here.
- An excellent pressing of Look Around with Double Plus (A++) sound from start to finish
- We go CRAZY for the breathy multi-tracked female vocals and the layers of harmonies, the brilliant percussion, as well as the piano work and arrangements of Sergio himself
- “The Look of Love” and “With a Little Help from My Friends” are the epitome of Bossa Nova Magic on this exceptional pressing
- 4 1/2 stars: “Sergio Mendes took a deep breath, expanded his sound to include strings lavishly arranged by the young Dave Grusin and Dick Hazard, went further into Brazil, and out came a gorgeous record of Brasil ’66 at the peak of its form.”
- If you’re a fan of Sergio and crew, this early pressing from 1967 surely belong in your collection
- The complete list of titles from 1967 that we’ve reviewed to date can be found here.
As you may have noticed, we here at Better Records are HUGE Sergio Mendes fans. Nowhere else in the world of music can you find the wonderfully diverse thrills that this group offers. We go CRAZY for the girls’ breathy multi-tracked vocals and the layers and layers of harmonies, the brilliant percussion, and, let us never forget, the crucially important, always tasteful keyboards and arrangements of Sergio himself.
Most copies of Look Around are grainy, shrill, thin, veiled, smeary and full of compressor distortion in the loudest parts. Clearly, this is not a recipe for audiophile listening pleasure.
Our Hot Stamper pressings are the ones that are as far from that kind of sound as we can find them. We’re looking for the records that have none of those bad qualities. I’m happy to report that we have managed to find some awfully good sounding copies for our Hot Stamper customers. (more…)
- This is an original UK pressing with superb sound — it’s a Must Own album for all right thinking audiophile record lovers, not just Elton John fans
- No modern record has ever sounded like this – these sides are HUGE, with sound that positively jumps out of the speakers
- Some of the most remarkable string arrangements (and Tubey Magical string sound) ever recorded for a pop album
- 4 1/2 stars: “Even with the strings and choirs that dominate the sound of the album, John manages to rock out on a fair share of the record. …Elton John remains one of his best records.”
Folks, if you’re looking for Classic Popular Music that still appeals to sophisticated adults fifty-plus years after it came out, this is the album for you. It’s one of the four Classic Elton John records (five if you count GYBR) that belong in every right-thinking audiophile’s collection.
(The others are, in order of quality: #1) Tumbleweed Connection, #2) Honky Chateau, #3) Goodbye Yellow Brick Road , and #4) Madman Across the Water.)
It’s full of analog Tubey Magic — the richness, sweetness, and warmth are nothing short of stunning. The transparency, clarity, texture, dynamics, energy, spaciousness, and three-dimensionality of this recording are really something to be heard.
The piano has real weight, the vocals are breathy and full, and the string tone is some of the best we have ever heard on a pop album.
Drop the needle on Border Song. When it hits the big “Holy Moses” chorus, you can pick out and follow all the different voices. What sounds like a harp on Sixty Years On is actually a Spanish Guitar. Whatever it is, it’s positively sublime on the best pressings.
- With two seriously good Double Plus (A++) sides, this copy is guaranteed to blow the doors off any other Fool on the Hill you’ve heard
- Sergio’s unique rearrangement of two songs in particular here make this a Must Own album: Scarborough Fair and title trackl
- Top engineers for A&M, Henry Lewy and Larry Levine, capture the natural, breathy intimacy in the voices of these wonderful female leads – Lani Hall, Karen Philipp and Gracinha Leporace
- 4 1/2 Stars: “Even though he had become thoroughly embedded in the consciousness of mainstream America, Mendes still managed to have it three ways, exposing first-class tunes from little-known Brazilian talent, garnering commercial hits, and also making some fine records.”
- If you’re a fan of Sergio and the band, this early pressing from 1968 belongs in your collection.
- The complete list of titles from 1968 that we’ve reviewed to date can be found here.
Two songs in particular make this a Must Own album: Scarborough Fair and The Fool On The Hill. Both of them are given wonderfully original treatments. These songs hold their own against the originals, and that’s saying something.
Sergio took on many of the heavyweights of his day, and most of the time he succeeded in producing a uniquely satisfying version of well-known material. Superb original tracks by The Beatles, Simon and Garfunkel, Buffalo Springfield, Joni Mitchell and others were given the Sergio Mendes latin pop treatment and came out much the better for it.
This vintage A&M pressing has the kind of Tubey Magical Midrange that modern records can barely 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.
- Breezin’ finally returns to the site with Shootout Winning Triple Plus (A+++) sound or very close to it throughout
- Tubey Magical richness and plenty of note-like bass are two of the important qualities that separate the winners from the also-rans, but smooth, grain-free, present vocals for Masquerade are a big part of the best pressings too, so make that three important qualities
- This copy will blow the doors off your old copy or any MoFi pressing — guaranteed!
- It’s got all the elements this smooth masterpiece needs to come to life today, almost 40 years later if you can believe it
- There’s tons of energy, strong presence, excellent bass and a huge soundfield with real depth
- You hear right into the music, something that is only possible on the most transparent copies
- If like us you’re a fan of Jazz Guitar, this is a killer album from 1976 that belongs in your collection.
- The complete list of titles from 1976 that we’ve reviewed to date can be found here.
This album features the huge hit “This Masquerade” and lots of other strong material as well. Benson is at the top of his game, with blazing guitar lines accompanied by his scat vocals at many times. No one else ever did music like this so well again, in our humble opinion.
Back in the early ’70s this was actually the album that first introduced me to honest-to-goodness “audiophile” sound.
I was at my local stereo store listening to speakers one day, and the salesman made a comment that the speakers we were listening to (the old Infinity Monitors with the Walsh tweeter) sounded “boxy.” I confessed to him that I didn’t actually know what that meant or what it would sound like if it weren’t boxy.
So he hooked up a pair of Dahlquist DQ-10s and put Sinatra at the Sands on. I was amazed at how the sound just floated in the room, free from the speakers, presenting an image that was as wide and deep as the showroom we were in. That speaker may have many flaws, but boxiness is definitely not one of them.
This description is pretty close to what I thought I heard all those years ago
The presence and immediacy here are staggering. Turn it up and Frank is right between your speakers, putting on the performance of a lifetime. Very few records out there offer the kind of realistic, lifelike sound you get from this pressing.
This vintage stereo LP also has the MIDRANGE MAGIC that’s missing from the later reissues. As good as some of them can be, this one is dramatically more real sounding. It gives you the sense that Frank Sinatra is right in front of you.
He’s no longer a recording — he’s a living, breathing person. We call that “the breath of life,” and this record has it in spades. His voice is so rich, sweet, and free of any artificiality, you immediately find yourself lost in the music, because there’s no “sound” to distract you.
Or so I thought at the time.