Top Artists – Jethro Tull

Audiophile Wire Testing with Jethro Tull and His Friend Aqualung

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… who seems to have a rather nasty bronchial condition…

Another in our series of Home Audio Exercises.

Like Heart’s Little Queen album, Aqualung presents us with a Demo Disc / Test Disc that really puts a stereo through its paces, assuming it’s the kind of stereo that’s designed to play an album like Aqualung.

Not many audiophile systems I’ve run across over the years were capable of reproducing the Big Rock Sound this album requires, but perhaps you have one and would like to use the album to test some of your tweaks and components. I used it to show me how bad sounding some of the audiophile wire I was testing really was.

Here’s what I wrote:

A quick note about some wire testing I was doing a while back. My favorite wire testing record at the time (2007)? None other than Aqualung!

Part One

Here’s why: Big Whomp Factor. Take the whomp out of Aqualung and the music simply doesn’t work, at all. To rock you need whomp, and much of Aqualung wants to rock.
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Jethro Tull – Stand Up – Our White Hot Shootout Winner for 2018


Our White Hot Shootout Winner for 2018

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  • A stunning Island Pink Label Import LP with Triple Plus (A+++) sound or very close to it on both sides
  • This is a True Tull Classic, and a VERY tough record to come by with this kind of sound
  • Both British sides give you richness, Tubey Magic, clarity and resolution few copies can touch – and what’s more, IT ROCKS
  • Their best album? It gets my vote, and this copy will really make the case if you turn it up good and loud

See all our Jethro Tull albums in stock

We just finished a big shootout for Stand Up with a variety of Brit pressings and a few domestics (which most of the time are awful but occasionally you run across one that’s pretty good on one side or another).

The following are some older notes that apply to the album in general.   (more…)

Ranking the Most Tubey Magical Rock Recordings

A Space in Time

 

This is some of the best High-Production-Value rock music of the ’70s. 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, Yes, Jethro Tull, Ambrosia, Pink Floyd and 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. (Of course, as it turns out, recording technology only got worse as the decade wore on, and during the ’80s the sound of most records went off a cliff.)

Big Production British Rock & Roll just doesn’t get much better than A Space in Time.
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Robin Black’s Two Engineering Masterpieces

More on THICK AS A BRICK

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Thick As A Brick is quite possibly the BEST SOUNDING ALBUM Jethro Tull ever made. It’s dynamic; has really solid, deep punchy bass; transparency and sweetness in the midrange; tubey-magical acoustic guitars and flutes; in other words, the record has EVERYTHING that we go crazy for here at Better Records. I can guarantee you there is no CD on the planet that could ever do this recording justice. The Hot Stamper pressings have a kind of MAGIC that just can’t be captured on one of them there silvery discs.

We play quite a few original British and domestic copies of this record when we do these shootouts and let me tell you, the sound and the music are so good I can’t get enough of it. Until about 2007 this was the undiscovered gem (by me, anyway) in the Tull catalog. The pressings I had heard up until then were nothing special, and of course the average pressing of this album is exactly that: no great shakes. But with the advent of better record cleaning fluids and much better tables, phono stages and the like, some copies of Thick As A Brick have shown themselves to be AMAZINGLY GOOD SOUNDING. Even the All Music Guide could hear how well-engineered it was.

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Is The Pink Label The Hot Ticket?

Yet another album we are clearly obsessed with

Click on the link below to pull up the many reviews and commentaries we’ve written, as well as Hot Stamper copies that are currently available on the site.

Stand Up

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Well, it certainly can be, but sometimes it isn’t, and failing to appreciate that possibility is a classic case of misundertanding a crucially important fact or two about records. Audiophile analog devotees would do well to keep these facts in mind, especially considering the prices original British pressings are fetching these days.

Simply put: Since no two records sound alike, it follow that the right label doesn’t guarantee the right sound. A recent shootout illustrated both of these truths.

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Jethro Tull – We Broke Through in 2016, Finally

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    • Triple Plus (A+++) on side two and nearly as good on side one – this is one of the best copies to EVER hit the site
    • We haven’t had any copies of this album at all up since 2013, and no White Hot copies since 2008 – it’s that tough to find
    • Guaranteed to MURDER any Pink Label Island original you have ever heard – these are the Hot Stampers
    • Melody Maker thoroughly recommended the album in 1968 for being “full of excitement and emotion” and described the band as a blues ensemble “influenced by jazz music” capable of setting “the audience on fire”. Wikipedia
    • See all of our Jethro Tull albums in stock

Folks, this is the best copy we are going to have on the site for a very long time. It took years and hundreds upon hundreds of dollars to get this shootout going and this killer copy is the result.

Tull Records Are Tough To Cut Right

It’s very common for Jethro Tull records to lack bass or highs, and more often than not they lack both. (Think of your typical copies of Aqualung and Stand Up, for example.) The bass-shy ones tend to be more transparent and open sounding — of course, that’s the sound you get when you take out the bass. (90 plus percent of all the audiophile stereos I’ve ever heard were bass shy, no doubt for precisely that reason: less bass equals more detail, more openness and more transparency. Go to any stereo store or audiophile show and notice how bright the sound is. Ugh.)

Just what good is a British Classic Rock Record that lacks bass? It won’t rock, and if it don’t rock, who needs it? You might as well be playing the CD.

The copies that lack extreme highs are often dull and thick, and usually have a smeary, blurry quality to their sound. When you can’t hear into the music, the music itself quickly becomes boring.

If I had to choose, I would take a copy that’s a little dull on top as long as it still had a meaty, powerful, full-bodied sound over something that’s thin and leaned out. There are many audiophiles who can put up with that sound — I might go so far as to say the vast majority can — but I am not one of them. Small box speakers and screens are not for me. Those systems don’t do a very good job with bands like Jethro Tull, and a stereo that can’t play Tull is not one I would be very likely to own.

Flute

Of course one of the key elements to any Jethro Tull record is the sonic quality of the flute. You want it to be airy and breathy — like a real flute — and some copies will give you that, but keep in mind there are always trade-offs at work on old rock records like this. It’s a full-bodied, rich sounding recording. Make sure your system is playing it that way before you start to focus on the flute, otherwise you are very likely to be led astray.

A Big Speaker Record

Let’s face it, this is a Big Speaker Record. It demands to be played loud. It requires a pair of speakers that can move lots of air below 250 cycles. If you don’t own a speaker that can do that, this record will never really sound the way it should. It will certainly never come to life the way it should.

I’m not saying don’t buy it. Maybe one day you’ll get hold of a pair of big speakers and be able to play this record like a pro. (Considering the price of big speakers today, that’s not very likely unless you win the lottery, but we can always hope.)

We Was Wrong in 2008 About Tull

We listed a White Hot copy of This Was in 2008 on the Island Pink label, and noted at the time:

Be forewarned: this ain’t Stand Up or Aqualung. I don’t think you’ll be using any copy of This Was to demo your stereo, because the recording has its share of problems. That said, this record sounds wonderful from start to finish and will make any fan of this music a VERY happy person. We guarantee you’ve never heard this album sound better, or your money back.

Now we know a couple of things that we didn’t back in 2008.

1). This album is a lot better sounding than we gave it credit for years ago. It’s not perfect by any means but it is much better than the above comments might lead you to believe.

We chanced upon an exceptional sounding copy of the album a couple of years back, and that taught us something new about the record:

2). The Pink Label pressings are not the ideal way to go on this album.

Once we heard the exceptional copy alluded to above, we played it against our best Pink Label copies and it was simply no contest.

The Pink Label original British pressings can be good, but they will never win a shootout up against copies with these stampers (assuming you have more than one copy – any record can have the right stampers and the wrong sound, we hear it all the time).

MORE 2016 BREAKTHROUGHS

The Best Sounding Jethro Tull Album

Thick As a Brick

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Thick As A Brick is surely the BEST SOUNDING ALBUM Jethro Tull ever recorded. Allow us to make the case.

  • The better copies are shockingly dynamic. At about the three minute mark the band joins in the fun and really starts rocking.
  • Set your volume for as loud as your system can play that section. The rest of the music, including the very quietest parts, will then play correctly for all of side one. For side two the same volume setting should be fine.
  • The recording can have exceptionally solid, deep punchy bass (just check out Barrie “Barriemore” Barlow’s drumming, especially his kick and floor toms. The guy is on fire).
  • The midrange is usually transparent and the top end sweet and extended on the better pressings.
  • The recording was made in 1972, so there’s still plenty of Tubey Magic to be heard on the acoustic guitars and flutes.
  • The best copies can be as huge, wide and tall as any rock record you’ve ever heard, with sound that comes jumping out of your speakers right into your listening room.
  • Unlike practically any album recorded during the ’80s or later, the overall tonal balance, as well as the timbre of virtually every instrument in the soundfield is exceedingly correct.

That kind of accuracy practically disappeared from records about thirty years ago, which explains why so many of the LPs we offer as Hot Stampers were produced in the ’70s. That’s when many of the highest fidelity recordings were made. In truth this very record is a superlative example of the sound the best producers, engineers, and studios were able to capture on analog tape during that time.
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Today’s Bad Heavy Vinyl Pressing Is… Aqualung!

See all of our Jethro Tull albums in stock

 

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Another Classic Records LP debunked.

By the time the guitars at the end of the title track fade out you will be ready to take your heavy vinyl Classic and ceremoniously drop it in a trashcan. (Actually, the best use for it is to demonstrate to your skeptical audiophile friends that no heavy vinyl pressing can begin to compete with a Hot Stamper from Better Records. Not in a million years.)

Over the course of the last 25 years we was wrong three ways from Sunday about our down-and-out friend Aqualung here. We originally liked the MoFi. When the DCC 180g came along we liked that one better, and a few years back I was somewhat enamored with some original British imports. Wrong on all counts. After playing more than two dozen pressings, it’s pretty clear that the right domestic pressings KILL any and all contenders.
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An Interview with Martin Barre

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(No, that’s not him pictured above.)

Martin Barre’s Guitar Wizardry

Clarity and resolution are the key to getting the most out of this album. The subtle harmonics of the gently strummed acoustic guitar at the opening of My God. The air in Anderson’s flute throughout the album. The snap to Dammond’s snare. And how about all the fuzz on Barre’s fuzzed out guitar on the song Aqualung? Sure, there’s guitar fuzz on the typical pressing but there’s SO MUCH MORE on the truly elite copies. When you hear it right, the sound of that guitar makes you really sit up and take notice of how amazing Barre’s solos are. (The guy is criminally underrated as both an innovator and technically accomplished guitarist.) The distortion is perfection and so is the playing.

Highlights from an Interview with Premiere Guitar  in 2011

Max Mobley

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