We used to like the DCC pressing of this Doors album. Now… not so much. It’s a classic case of We Was Wrong.
Keep in mind that the only way you can never be wrong about your records is simply to avoid playing them. If you have better equipment than you did, say, five years ago, try playing some of your MoFi’s, 180 gram LPs, Japanese pressings, 45 RPM remasters and the like. You might be in for quite a shock.
Of course the qustion on everyone’s mind is, “How does this Hot Stamper copy stack up to the famous DCC pressing?” After all, it’s the one we were touting all through the ’90s as The One To Beat.(more…)
A Gold Label original pressing blew out minds not long ago, after whichwe wrote “Need I even mention how much better this copy sounds than the 180g version from the Rhino Box Set, digitally remastered by Bernie Grundman? That thing is just awful, possibly the worst sounding pressing I have ever heard.”
The Gold CD Hoffman did for Audio Fidelity is very likely to be night and day better. So much for the concept of vinyl superiority. Not with Bernie at the helm anyway.(more…)
This incredibly rare, exceptionally quiet Elektra Gold Label LP sounds AMAZING, As Good As It Gets (AGAIG)! The sound is BIG, RICH, and FULL-BODIED, exactly the way it should be. As good as the Hot Stamper Big Red E Label copies can be, and that’s very good indeed, the right first pressing is still The King. It just can’t be beat.
The difference might only be 5%, but on a big dynamic speaker playing at loud levels that 5% can really give the sound the boost it needs to go over the top into crazy Demo Disc Land.(more…)
It’s been over a year, but Waiting For The Sun Hot Stampers are BACK! It’s exceedingly difficult to find a good sounding, reasonably quiet Gold Label copy of this album, let alone enough copies to put together a proper shootout. It wasn’t easy, but a copy like this makes all the trouble worthwhile. Side one is a tubey magical A++, and side two is As Good As It Gets (AGAIG) at A+++.
Side one is WONDERFUL — tubey magical with tons of energy and real weight to the bottom end. The highs are silky sweet, the mids are warm and rich, and the bass is tight and punchy. This is THE BIG SOUND that we look for on Doors records. Morrison’s vocals sound JUST RIGHT here — full-bodied and breathy with incredible immediacy. The transparency is astonishing — you can easily pick out and follow Morrison’s double tracked vocals.(more…)
A few years back we played the 180 gram reissue of Morrison Hotel. Initially we thought it pretty good, but the longer it played, the more its artificiality became apparent — and annoying. Just listen to the vocals — they’re all wrong. Jim Morrison has one of the richest and most distinctive voices in the history of rock. When it doesn’t sound like the guy I’ve been listening to for close to forty years, something is very, very wrong.
The best Hot Stamper copies are nearly always the earlier Big Red label copies. There’s substantially more tubey magic on these pressings; the typical Butterfly Label copy lacks a bit of the weight that the older cutting equipment allowed. The best Butterfly Label copies can be pretty darn good though.
THE BEST SOUNDING COPY OF THIS ALBUM WE’VE EVER HEARD! This Elektra Gold Label SLAUGHTERED the DCC, MURDERED the MoFi, and DECIMATED every last pressing we played it against! You aren’t going to believe all the TUBEY MAGIC on this copy!
Both sides are chock full of wonderfully grungy guitars, BIG beefy bass, and amazingly full-bodied vocals. The overall sound is open and spacious with lots of room around the instruments. This copy has the kind of presence and energy that will have you really rockin’ out! Side one rates an A+++ and side two is right behind, rating A++ – A+++. We’ve never heard a better copy and we expect that you haven’t either — it’s OUT OF THIS WORLD! (more…)
It’s not easy for us to find copies of Strange Days that outperform the DCC, but our best Hot Stampers beat it handily. We also put our original copies up against the 180g version from the Doors Box Set and it was an absolute bloodbath. We understand that a well-known reviewer likes the sound of those Doors pressings (along with just about every heavy vinyl reissue that hits his table) but we here at Better Records prefer to set higher standards. We think you deserve better, and at these prices the record better deliver a world of sound that the heavy vinyl pressing only hints at. And it does.(more…)
Rich, big and full-bodied, with clarity and energy to spare, this is the way you want to hear the Doors’ Bluesy Rock. Roadhouse Blues, Waiting For The Sun and Maggie McGill are KILLER on this pressing – all you Doors fans are gonna flip. Circus Magazine praised it as “possibly the best album yet from the Doors” and “Good hard, evil rock, and one of the best albums released this decade.”
Too many pressings aren’t rich and full-bodied enough to allow Jim Morrison to sound right. He’s The Lizard King, not The Frog Prince for crying out loud. When he doesn’t sound big, powerful, and borderline scary, what’s the point?
Not to worry. On these two sides, he sounds AMAZING. Just listen to him screaming his head off on Roadhouse Blues and projecting the power of his rich baritone on Blue Sunday. Nobody did it any better.(more…)
We used to like the Doors First album on DCC back when it came out in the late ’90s; it sure beat the MoFi and every other pressing I had around, including the original gold label Elektra pressings. But much water has gone under that bridge. There have been countless audio revolutions, as well as the improved record cleaning technologies we tout at every turn. Without them old records just sound like old records, and the DCC pressing will be better.
But with them, and lots of other changes, the right original stomps all over the DCC.
Hey, We Was Wrong, and we’re not too proud to admit it. If you have the DCC and want to know what you’re missing, a Hot Stamper is the ticket.
It will cost you a fair bit more than the DCC, but the difference in sound should more than justify the difference in price if this is an album that is important to you. (more…)
The pressing we auditioned from the Doors Box Set was surprisingly good. It’s rich and smooth with an extended top end — tonally correct in other words — and there’s lots of bass. This is all to the good. For the thirty bucks you might pay for it you’re getting a very good record, assuming yours sounds like ours, something we should really not be assuming, but we do it anyway as there is no other way to write about records other than to describe the sound of the ones we actually have on hand to play.
What it clearly lacks compared to the best originals is, first and foremost, vocal immediacy. There’s a veil that Jim Morrison is singing through, an effect which has a tendency to become more bothersome with time, as these sorts of frustrating shortcomings have a habit of doing.
A bit blurry, a bit smeary, somewhat lacking in air and space, on the plus side it has good energy and better bass than most of the copies we played. All in all we would probably give it a “B.” You could do a helluva lot worse. All the ’70s and ’80s reissues of this album we’ve ever played were just awful, especially those with the date inscribed in the dead wax.(more…)