Some great music is to be found here, and quite respectable sound on the “hotter” copies. ’Ain’t Got No Home’ and ’A Change Is Gonna Come’ are two personal favorites of the ten tracks here.
Both sides are tonally balanced from top to bottom, with more energy and space than others. The bass is huge, the brass rich, the all analog sound smooth and natural. It’s no demo disc; it just sounds bigger, clearer, and more right than the other sides we played.
Listen to how Tubey Magical the organ on The Great Pretender sounds. The top extends and the bass is punchy.(more…)
One of the great Live Classic Rock albums of all time, now available in White Hot Stamper form! We recently undertook a massive shootout for this spirited double LP and three of the better sides from the whole shebang are on this here pressing. Sides one and two each earned our top grade of A+++, while side four clocked in at A++. Side three, as is often the case, was not quite up to the same standards.
We feel that the best material is contained on the other three sides, so we doubt this will be a dealbreaker for many of you.(more…)
In 2012 the new MoFi put out another remastered Big Pink. Since their track record at this point is, to be honest, abysmal, we have not felt the need to audition it.
It’s very possible, even likely, that they restored some of the bass that’s missing from the originals. But bad half-speed mastered bass — poorly defined, never deep and never punchy — is that the kind of bass that would even be desirable?
To us, it is very much a problem. Bad bass is just plain annoying. Fortunately for us it is a problem we have to deal with much less often now that we’ve all but stopped playing half-speed mastered records.(more…)
Holy mother of god, this is one KNOCKOUT copy of The Band’s self-titled masterpiece! Both sides earned our top grade of A+++ and beat the pants off every other copy — including quite a few RL-mastered originals — in the shootout. On top of that, both sides play between Mint Minus and Mint Minus Minus, which is pretty dan quiet for this album. We love this music, but most copies out there have flimsy sound, trashed vinyl, or both. Here’s the exceedingly rare copy that does just about everything right WITHOUT the typical crackly campfire surface noise!
This Capitol Green Label pressing mastered by Robert Ludwig has TWO KILLER SIDES. When you play either side of this copy, you are going to lose your mind. It’s got Master Tape clarity, You Are There presence, and unbelievable transparency. Drop the needle on Night They Drove Old Dixie Down or Up On Cripple Creek and get ready for some SERIOUS MAGIC!(more…)
This Capitol pressing has some of the best sound we’ve ever heard for this album! It’s beyond frustrating to try to find great sound for Big Pink — most copies tend to be an absolute nightmare. The sound is rich, warm, sweet, and full-bodied with exceptional clarity and transparency. There’s tons of ambience and you can really hear the sound of the room around the drums. The sound of the organ is AMAZING!
Side one earned an A++ grade. It has a strong bottom end and the vocals sound correct. The sound can be a bit murky at times, but that’s pretty much the case for every Band record we’ve ever played — it’s just kind of their sound. (The Moody Blues are another band whose records always sound murky, for whatever reason.)
Side two was a bit better — fuller, cleaner, livelier and more transparent than just about any copy we’ve ever heard. There’s tons of tubey magic and real weight to the bottom. We gave it an A++ to A+++ — you’ll have a VERY hard time finding one that sounds even close to this good if our experience is any guide. (more…)
White Hot Stampers for side two — WOW! Check out the track listing for that side: Stage Fright / The Night They Drove Old Dixie Down / Across the Great Divide / This Wheel’s on Fire / Rag Mama Rag
Pretty hard to beat that batch of Band songs; practically every one is a classic. And considering how difficult it is to get a good sounding copy of the albums those songs are taken from, this double album is a great way to go if you love The Band. The performances are uniformly excellent, and the live horn section adds a lot to the fun and energy of the music.
(The same can be said for Little Feat’s live album, Waiting for Columbus. We’ve been trying to find Hot Stampers on that one for years with little luck. Guess we’ll just have to keep trying.)(more…)
The best copies have no trace of phony sound from top to bottom. They’re raw and real in a way that makes most pop records sound processed and wrong. Our best Hot Stampers have plenty of the qualities we look for in The Band. Energy, presence, transparency, Tubey Magic… you name it — you will find it there. The biggest strength of this recording is its wonderful, natural midrange. And tons of bass.
Despite what anyone might tell you, it’s no mean feat to find good sounding copies of this record. There are good originals and bad originals, as well as good reissues and bad reissues. Folks, we’ve said it many times — the label can’t tell you how a record sounds, but there’s a sure way to find out that information. You’ve got to clean ’em and play ’em to find out which ones have Hot Stampers, and we seem to be the only record dealers who are doing that, in the process making unusually good pressings available to you, the music-loving audiophile.(more…)
[I believe this review is from the mid to late ’90s.]
This is the EMI Centennial version we sold years ago for close to thirty bucks. I thought at the time the MFSL gold CD was better. Now, after many stereo changes, I realize the gold CD is actually fat in the midbass and a little thick and sucked out in the midrange. (MFSL’s, and quite a few others’, standard audiophile EQ.)
I know this because the EMI LP is correct in those areas and shows you how truly wonderful the recording is. If only it had more bass. Who knows? Between the music and the sound you may not even miss it.
Above 100 hertz this album is magic. Below 100 it’s tragic. (Ha ha.)
Most copies of this album do not have a boosted bottom or top, which means that at normal listening levels — depending on how you define that term — they can sound pretty flat. This is one album that needs to be turned up, obviously not to the levels of a live rock concert, but up about as loud as you can until you can get the bass and the highs to come out. We found ourselves adding more and more level in order to get the sound to come to life, and it was playing pretty loud before the sound was right.
But it’s SO GOOD when it’s loud. Why the hell would you not want to crank it up and ROCK OUT?(more…)