One of our good customers had this to say about some Hot Stampers he purchased recently:
Hey Tom,
I played Autoamerican tonight finally. It’s supposed to have an issue but I sure as hell didn’t hear it. I don’t remember what the issue was supposed to be.
But it’s a WHS and man o man does it sound good. Rapture was out of this world. (more…)
Audiophile Versions of This Album Suck (The Life Right Out of the Music)
As previously noted, the MoFi, one of those Jack Hunt turgid muckfests (check out City to City #058 for the ulitimate in murky MOFI sound), is incapable of conveying anything resembling the kind of clear, radio-friendly pop rock sound that Chris Thomas and the band were aiming for. The recording has copious amounts of Analog Richness and Fullness to start with. Adding more is not an improvement; in fact it’s positively ruinous. (more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
DEMO DISC SOUND on this A+++ Hot Stamper Side One! This is one KILLER New Wave Pop Record. All the Blondie magic you could ever want is in these grooves! The truly POWERFUL sound of this Power Pop Band really comes through on this Bad Boy, or should we say Bad Girl? Whatever. This was the Hands Down Hot Stamper Winner of our latest shootout. Man, we had a ball with this one.
To be fair, consistency is the problem with this album, with some songs being absolute Pop Masterpieces (The Tide Is High on side one, Rapture on side two), but other tracks falling short of the standard set by Parallel Lines, where every track bar none was a gem of songcraft and High Gloss Pure Pop Production.
Still, what’s good is good, and the sound is STUNNING, with real Demo Disc qualities. The Right Pressing of the Right Stamper.
As expected, if you clean and play enough copies of a standard domestic major label album like this one, sooner or later you will stumble upon The One, and boy did we ever. One of our copies was OFF THE CHARTS with presence, breathy vocals, and punchy drums. It was positively swimming in studio ambience, with every instrument occupying its own space in the mix and surrounded by air. There was not a trace of grain, just the silky sweet highs we’ve come to expect from analog done right.
This is of course the premise behind Hot Stampers themselves. They are out there to be stumbled upon. You can’t tell what pressing from what era from what country is going to be The One (Keanu, are you listening?) until you actually sit down, clean and play a big pile of them. We found a source for this title sealed and managed to pick up over a dozen new copies, and those, along with some other used ones we had laying around, comprised our data pool. (more…)
Our 2-pack sets combine two copies of the same album, with at least a Super Hot Stamper sonic grade on the better of each “good” side, which simply means you have before you a pair of records that offers superb sound for the entire album. (more…)
This is Mike Chapman’s Big Beat Sonic Masterpiece — yes, bigger and better than Parallel Lines — akin to the debuts of The Knack and The Cars, and every bit as huge and punchy as either.
Eat to the Beat lives and dies by its energy, its bass and above all by its transient snap. The drums and bass of Die Young Stay Pretty are as real sounding as if you were standing five feet in front of a the band. On the best copies it’s hard to imagine that song sounding any better. The drum and bass are massive in their attack. It’s the very definition of punch. (more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
Can this kind of music get any better? This album is a MASTERPIECE of Pure Pop, ranking right up there with The Cars first album. I can’t think of many albums from the era with the perfect blend of writing, production and musicianship Blondie achieved with Parallel Lines.
As expected, if you clean and play enough copies of a standard domestic major label album like this one, sooner or later you will stumble upon The One, and boy did we ever. This side two had OFF THE CHARTS with presence, breathy vocals, and punchy drums. It was positively swimming in studio ambience, with every instrument occupying its own space in the mix and surrounded by air. There was not a trace of grain, just the silky sweet highs we’ve come to expect from analog done right. (more…)
Sonic Grade: D or worse
EMI and Simply Vinyl both released Heavy Vinyl versions of the album with little sonic success. I remember being underwhelmed by the Simply Vinyl version, the perfect example of the smeary sub-gen sound you get when a record is made from a dub tape. The EMI 180 was brighter and thinner and every bit as wrong in its own way. Choosing among them would have been difficult. The best choice: none of the above.
As is so often the case, the Heavy Vinyl Reissues are simply a disgrace.
Two words: compressed muck (like most domestic pressings, to be fair). (more…)
