One of our good customers had this to say about some Hot Stampers he purchased recently:
Picked up your SHS of “Ziggy” last week–my daughter is 13 and starting to get into Mick Ronson, and I got this to show her what I think is his best work, not just on guitar, but in essentially creating the overall sound for the “Ziggy Stardust” album. What I didn’t expect was how fantastic this album sounds. I’ve had other copies and they sound like I’m wearing a blanket over my head. Alongside my HS copy of “Freak Out” (first record I ever bought from you guys, I think), this has to be the most dramatic improvement over a typical recording I’ve ever heard! Records like this justify Better Records in spades–wow!!
A KILLER copy with Triple Plus (A+++) sound on the first side and solid Double Plus (A++) sound on the second
This copy was doing it all right — bigger, richer, more full-bodied, more present, better bass and the list goes on
Exceptionally quiet vinyl throughout — Mint Minus to Mint Minus Minus
“Lodger is the most accessible of the three Berlin-era records David Bowie made with Brian Eno, simply because there are no instrumentals and there are a handful of concise pop songs. Nevertheless, Lodger is still gnarled and twisted avant pop… It might not stretch the boundaries of rock like Low and Heroes, but it arguably utilizes those ideas in a more effective fashion.” — All Music
White Hot Stampers for Lodger — this wasn’t easy, folks! We’ve been trying to find a great sounding copies of Lodger for years and this is only the second time we’ve ever managed to get a big shootout going, which should tell you just how tough it is to get a killer copy of this album.(more…)
This British pressing has the kind of Tubey Magical Midrange that modern records cannot even 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.(more…)
The sound is rich, spacious and sweet with a HUGE soundstage. Drop the needle on Changes and check out how dynamic it is. Side one is where the most popular material for this album is found (Changes, Life On Mars, Oh! You Pretty Things) so this copy definitely a great way to go on Hunky Dory.
Pressings of this record typically suffer from one major shortcoming: a severe lack of presence in the midrange. Bowie sounds like he has a blanket over his head on 90% of the copies you might run into, import and dometic. I always just kind of expected to hear it that way for the rest of my life. Now I know better. Both sides of this copy show you the Hunky Dory that you always dreamed could exist, must exist, but somehow has proved elusive in the real world.(more…)
Another in our series of Home Audio Exercises with advice on what you should be listening for when critically evaluating your copy (or ours) of the album.
The average RCA copy of this album is bright, grainy and hard to some degree, like most RCA pressings I come across. If you’ve been stuck with an average copy, you’re not going to believe how smooth and sweet the best ones sound.
This is one of my favorite Bowie albums. Nobody seems to care about it anymore. They dismiss it as disco junk, but it actually has some of his best music on it. I especially like the song Win. David Sanborn’s saxophone sounds like it’s coming from 60 feet behind Bowie, a nice effect.
Both sides here are AGAIG — As Good As It Gets, Master Tape Sound. The overall sound is open, spacious, and transparent with lots of DEEP bass. You can easily pick out all the background vocals, and Bowie’s voice sounds just right. The strings have amazing amounts of texture — you can really hear the sound of the rosin on the bow. The highs are silky sweet and the bottom end is punchy and powerful. You won’t believe how superb the cymbal crashes sound — you’re right there in the room with these guys!(more…)
This UK RCA copy is out of this world with Triple Plus (A+++) sound or close to it on both sides
Big space, breathy vocals, grungy guitars and the Tubey Magic is luscious throughout
Pretty darn quiet throughout — Mint Minus to Mint Minus Minus
As it says on the back of the jacket, “Many thanks to our engineer Ken (Scott, one of our favorites).”
Stunning Triple Plus (A+++) sound or close to it on both sides. The sound is rich and full, just the way the Brits like it. The heavy compression that both Bowie and Scott favor works its magic at every turn, adding fatness and richness and lovely harmonics to the guitars and the drums. (more…)
This outstanding copy of Low boasts superb Double Plus (A++) sound from beginning to end
Huge amounts of studio space can be heard on this copy, along with the Tubey Magical richness only the best Brit copies can offer
These British pressings (not originals by the way) play about as quietly as records from the era ever do
5 stars on Allmusic for this groundbreaking album recorded with Eno — “Low is a dense, challenging album that confirmed his place at rock’s cutting edge…”
I’ve said it on the site numerous times: I spent a good portion of the ’70s playing Art Rock records like Taking Tiger Mountain, Siren, Crime Of The Century, Deceptive Bends and scores of others. I remember being blown away when Low came out, and with this shootout we had a blast hearing just how good a killer Hot Stamper pressing can sound on the much more highly-evolved stereo system (equipment, room, set-up, tweaks, electricity, etc.) we have today. (more…)
Excellent sound for Lou Reed’s Glam Rock Classic, Transformer — Double Plus (A++) or BETTER on both sides
Here is an import pressing with the kind of Tubey Magical Midrange that modern records cannot even BEGIN to reproduce
Transformer is an absolute tour de force of ’70s Glam Rock / Classic Rock / Alternative Rock
“… Bowie and Ronson gave their hero a new lease on life — and a solid album in the bargain.” – All Music
Transformer is an absolute tour de force of ’70s Glam Rock / Classic Rock / Alternative Rock. You’ve got Lou Reed teamed up with David Bowie (in the producer’s chair!), Mick Ronson, Herbie Flowers and Klaus Voorman, and on top of that the album was recorded at Trident and mixed by the great Ken Scott.(more…)
You’ll find solid Double Plus (A++) grades on all four sides of this Bowie classic
One of our favorite live recordings – a great overview of Bowie’s career through 1974
1984, Rebel Rebel, Sweet Thing and Rock & Roll With Me come alive in performance
A-List players of the day deliver sonic treats, including multiple horn players, multiple percussionists, all-male chorus background vocals, the searing fuzzed-out guitar leads of Earl Slick, piano and Mellotron by Mike Garson, and the amazing Herbie Flowers on bass
When you listen to an incredible of this Bowie classic, you will have no trouble picturing yourself front row center. And the great thing about a record like this is that you can be in the front row of this very concert whenever you want!
The other top live album is, of course, Waiting For Columbus, and the two have much in common. Most importantly, the songs played live on both albums are consistently better than their studio versions. (This is especially true on the Little Feat album. Little Feat was not a studio band and their live arrangements — with the Tower of Power horns — just murder the studio ones.)(more…)