When you get a good side one of Goodbye you’ll hear exactly why we are calling it one of the Best Sounding Live Rock Albums of all time.
Goodbye has the Big Rock Sound that we go crazy for here at Better Records. The top copies just plainROCK HARDER than all the others. Yes, they’re bigger. Yes, they have more weight and whomp down low. Yes, they are smoother and more natural up top. But what really sets them apart is the tremendous Energy they contain in their grooves. The music EXPLODES out of the speakers and comes to life on the best copies like practically nothing you have ever heard.(more…)
This copy’s got the kind of tubey analog sound you need for this music — it’s warm, rich, smooth, and pretty much free of the nasty grain that gets in the way on most pressings. There’s good extension up top, and the bottom end is meaty and well-defined.
The lesson we learned is that when the extremes are properly transferred to the vinyl, the middle will take care of itself.
Since the extremes seem to be the hardest thing to get right, at least on this record, that might explain why so many copies don’t really cut the mustard while this one did.
It ended up having more space, ambience, transparency, resolution, dynamic contrasts, vocal presence and freedom from distortion of any copy we played in our recent shootout.(more…)
Two outstanding sides for what gets our vote as John Mayall’s best album – with Double to Triple Plus (A++ to A+++) sound throughout, just shy of our shootout winner
Richer, smooth and livelier than practically any copy we heard, with Tubey Magic and space you won’t believe
The British Decca vinyl on this amazing pressing is about as quiet as we ever expect to find for this album
5 stars on Allmusic: “Bluesbreakers was Eric Clapton’s first fully realized album as a blues guitarist — more than that, it was a seminal blues album of the 1960s, perhaps the best British blues album ever cut, and the best LP ever recorded by John Mayall’s Bluesbreakers.”
This copy is guaranteed to be DRAMATICALLY superior to most British and all domestic pressings, the MoFi Gold CD and every other version that you’ve ever played. This is it folks! They cut this one right. It sounds the way you always wished it would sound.(more…)
With a Shootout Winning Triple Plus (A+++) side one and outstanding Double Plus (A++) sides two, three and four, this copy delivers top quality sound for this famously difficult recording – exceptionally quiet vinyl too!
Some of our favorite Clapton songs are here: Bell Bottom Blues, Tell The Truth, Little Wing, Layla and Have You Ever Loved A Woman?
One of the most difficult albums to find audiophile sound for, but a lot easier for us now that we know what pressings can actually sound good
Clapton’s greatest album: “But what really makes Layla such a powerful record is that Clapton, ignoring the traditions that occasionally painted him into a corner, simply tears through these songs with burning, intense emotion.”
Outstanding sound for all four sides of this classic album. Unless you plan on playing a very big pile of copies you will be hard-pressed to find a copy with sound like this.(more…)
One of our good customers had this to say about some Hot Stampers he purchased recently:
First a short thank you. I was slow in ordering a record I needed for an audiophile’s friend’s birthday this week, and you guys got it to me. There is a personal service aspect of your team that just adds to the quality of the product. As to that…..
This morning I went to my record collection looking for the right one to listen to with morning coffee at the start of a beautiful Friday. I came across the very first Hot Stamper I ever purchased from you. A copy of Carol King’s Tapestry. I remember the nervousness I felt when making that first “investment”…. Have to tell you, it sounds even better today. The dynamic range, the lingering cymbal clash, the clarity of James Taylor’s acoustic guitar…as if I were sitting in that Southern California recording studio all those years ago.
btw…I had a very cool experience last week. My boss is friends with a guy who’s name is Herb Tobin. Herb bought an ocean front house in a small berg north Miami called Golden Beach back in 1982. He bought it from a Miami recording studio that use to be called Criteria, later changing their name to the current The Hits Factory. My boss arranged for us to have lunch with Mr. Tobin on my birthday. By now, you no doubt have guessed the address….461 Ocean Blvd. Not only did Eric Clapton stay there and was so inspired at the turning point in his life that time meant he named the album, and used the image looking back from the beach at the back of the house in 1974 as the album cover. The Eagles also stayed there while recording Hotel California.
We met Mr. Tobin out for lunch and he told me many stories of all the strange, and some unwelcome visitors he has had since 1982. One most welcomed visitor was in the 1990’s he got a call from Clapton’s agent and Eric wanted to bring his wife by and show her the house. They ended up having lunch out on the back patio, where the palm tree is on the album cover. Eric autographed 10 records for Mr. Tobin that day and he had 4 left plus one he had framed. My boss made arrangements with Mr. Tobin in advance and he gave me one….I am having it framed. I have always loved that record, since 74. Not looking for agreement, but I have never been able to warm up to any of the Cream, Derek and the Dominos, etc. and anything after what are for me the 4 best (461; Backless; No Reason to Cry; and There’s One In Every Crowd), is simply not my cup of tea. But 461 for me is not only Clapton’s best work, it is one of my top 10 albums of all time. Something totally authentic about it.
Wanted to share a little with you of the impact all your good work makes.(more…)
With two seriously good Double Plus (A++) sides, this was one of the better copies we played in our recent shootout
Both sides here are clean, clear and super spacious with a punchy bottom end and lots of big rock energy
Exceptionally quiet vinyl throughout with both sides playing Mint Minus to Mint Minus Minus
“The first and last Clapton studio album to feature his all-British band of the early ’80s, it gave considerable prominence to second guitarist Albert Lee and especially to keyboard player/singer Gary Brooker (formerly leader of Procol Harum), and they gave it more of a blues-rock feel than the country-funk brewed up by the Tulsa shuffle crew Clapton had used throughout the 1970s.”
One of the better sounding copies to hit the site in a while – this British original earned Double Plus (A++) grades on both sides
Rich, smooth, clear sound throughout – listen to the grungy guitars on Walk Out In The Rain – that’s the way they should sound all right
Clapton comes to life on the traditional blues Early In The Morning – it also has the best sound on the album
“Backless is a seductive record, if you’re attracted to the interplay of Clapton’s dolorous voice and Marcy Levy’s raspy backup vocals, George Terry’s slide guitar and Glyn Johns’ pristine production.” Rolling Stone
The true test for side two was the second track, the old blues song Early In The Morning. It’s by far the best sounding track on the album, with huge space, rich bass, a fat snare and Tubey Magic to die for. This is the kind of sound that only the likes of Glyn Johns can get down on tape, live in the studio no doubt, and it made it easy to do the shootout for side two. The bigger, the richer, the tubier, the more transparent the better. It’s THE track to demo with. (more…)
Noticing that this title had recently come back into print, and remembering that we used to like the SVLP of Layla, we decided to order a current copy of the album fromSIMPLY VINYL. Soon enough it came in, we played it, and we were pretty shocked to hear that the damn thing sounded just plain AWFUL.
Was I wrong about it before? Only one way to know. I pulled out my old Review Copy from way back when it first came out and sure enough that early pressing sounded dramatically BETTER than the new one. The stampers were completely different of course; someone had remastered it recently and ruined it.
The earlier SVLP pressing, though no award winner by any means, was at least a good record. This new pressing was nothing but a piece of crap. (more…)
The tonal balance is right on the money, but of course, because this is a compilation, it is made from copies of the master tapes, not real master tapes themselves, so it will always have that blurry, smeary, opaque, airless, sub-generation tape quality to the sound (not unlike most of the Heavy Vinyl we audition).