Both sides here are Super Hot – solid, big and fat with grungy guitars. Exceptionally quiet vinyl on both sides, mostly Mint Minus. A classic Glyn Johns rock recording from 1970 – he was really on a roll at the time. If you like a big bottom end on your rock records, this is the album for you.
This, their third album and first for A&M (which probably explains the master tape sound on domestic vinyl), is one of the few Humble Pie titles we’ve found that can offer honest-to-goodness Hot Stamper sound. There is no mystery in this case; the sound comes courtesy of none other than Glyn Johns. He knows Heavy British Rock like nobody else on the planet, or did at the time anyway. If you want fat, meaty drums and guitars — think Who’s Next, Sticky Fingers or A Nod Is As Good As A Wink — Glyn is your man.(more…)
One of my personal Records to Die For. This album presents a more mature Peter Frampton doing some of the most consistently inspired material of his career, including R&B covers like May I Baby and You Don’t Know Like I Know, with horn charts that really cook — in other words, a great album.
One of my personal Records to Die For. This album presents a more mature Peter Frampton doing some of the most consistently inspired material of his career, including R&B covers like May I Baby and You Don’t Know Like I Know, with horn charts that really cook — in other words, a great album.(more…)
Incredible Demo Disc sound throughout: Triple Plus (A+++) on side two and close to that (A++ to A+++) on side one
This British original is the very definition of TUBEY MAGIC, with sound so rich and sweet it will make you want to take all your CDs and dump them in the trash (now that record stores don’t even want them anymore)
The best copies like this one keep what’s good about the recording while letting us hear into the soundfield with glorious transparency
“The sound is crisp, the melodies catchy, and Frampton’s distinctive, elliptical Gibson Les Paul guitar leads soar throughout… “
This is some of the best High-Production-Value rock music of the ’60s and ’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, Elton John 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.
The best song Peter Frampton ever wrote (and performed) is on this very record, in White Hot Stamper sound no less: All I Wanna Be (Is by Your Side). It has the Tubey Magical sound WE LOVE here at Better Records. (more…)
This is a shootout we’d been trying to do for years, but the copies we’d been playing off and on hadn’t been especially cooperative, and onto the back burner our plans would go. Maybe next year…
A bit of background: Both his first solo album and this, his fourth, were recorded by the well-known engineer Chris Kimsey, who famously worked with the Stones and others too numerous to mention. To say that the sound of his albums varies considerably would be the understatement of the year. The first album (British only, fyi) is rich, sweet, and Tubey Magical as practically anything you’ve ever heard (as well as overly tube compressed, its biggest fault).
Sonically this album tends to be none of those things. However, if you play enough copies you are sure to run into at least some that sound right.
I unashamedly confess to being a huge Frampton fan to this very day. His first album, Wind of Change, has been a Desert Island Disc for me ever since I picked up my first copy while still in high school in 1972. I’m a Big Production Rock Guy, as you may have guessed from looking at the records we rave about the most, and Frampton’s first album is a classic of Big Production Rock, in the style of Abbey Road, Dark Side of the Moon, Songs for Beginners and fifty others I could name. Make that a hundred others. Or two hundred.(more…)
What a monster — this White Hot Stamper Frampton Comes Alive boasts KILLER A+++ sound on sides one, two, and four and very strong A++ sound on side three! If you’re looking for a top-shelf pressing of THE iconic Classic Rock Double Live Album, don’t let this one pass you by. If you grew up with this album it’s going to be a thrill to hear this copy rockin’ on a big audiophile system.
It’s ridiculously hard to find good sound for this record. Most copies are thin, dry and transistory. And it’s time consuming to clean and play as many copies of this double album as it takes to find enough Hot Stampers to make the endeavor worthwhile. When this album doesn’t have the goods it’s just not very fun. A White Hot Stamper copy like this one will remind you why we all went so crazy for this music back in the ’70s.(more…)
Hot Stampers for one of our favorite Classic Rock records have finally made it to the site! This British original is the very definition of TUBEY MAGIC. The sound is so rich and sweet it will make you want to take all your CDs and dump them in the trash (if you haven’t done so already).
This is the sound WE LOVE here at Better Records, assuming the pressing in question still maintains its dynamics and some degree of presence, immediacy and transparency. Records like this can easily get thick and muddy; think of the typically dull Who’s Next or Sticky Fingers and you’ll know exactly what I mean.(more…)
One of the best — if not THE best — rock concert albums we have ever heard. Can you imagine if Frampton Comes Alive sounded like this? If you want to hear some smokin’ Peter Frampton guitar work from the days when he was with the band, this album captures that sound better than any of their studio releases, and far better than FCA on even the best copies.
Grungy guitars that jump out of the speakers, prodigious punchy deep bass, dynamic vocals and drum work — the best pressings of Rockin’ The Fillmore have more live firepower than any live recording we’ve ever heard. Who knew?
Eddie Kramer, King of the Rockers
What Eddie Kramer did for Led Zeppelin II he’s done for Humble Pie on this album, and that’s saying a lot. If Zep II is the hardest rocking studio album in the history of the world, Rockin’ The Fillmore is its close companion, the hardest rockin’ live album in the history of the world. (more…)
Frampton’s first solo album, Wind of Change, was recorded by the well-known engineer Chris Kimsey, who worked with the Stones and others too numerous to mention. To say that the sound of his albums varies considerably would be the understatement of the year. The first album (British only, FYI) is as rich, sweet, and Tubey Magical as practically anything you’ve ever heard (as well as overly tube compressed, its biggest fault).
I unashamedly confess to being a huge Frampton fan to this very day. Wind of Change has been a Desert Island Disc for me ever since I picked up my first copy while still in high school. I bought the first Frampton album as soon as it came out, probably based on a magazine review. Think I paid $3.08 for it; that was the discount price for an album at the little record store I frequented back in those days. It was in Leucadia, CA, not far from where I went to high school. (more…)