- With Shootout Winning Triple Plus (A+++) sound or close to it on both sides, this very specific UK pressing is STUNNING from start to finish
- Bigger, more dynamic, more lively, more present and just plain more EXCITING than anything we heard – that’s why it won our shootout
- Hard to believe, but it’s true: there is only one stamper that consistently wins shootouts, and the unfortunate fact of the matter is that it took us twenty years to discover it, ouch
- This British pressing with the right stamper – can show you the sweeter, tubier Midrange Magic that we is the hallmark of all the best Cat Stevens’ recordings
- “Though some of the lyrics retain Cat’s fanciful imagery… he shows a new emotional directness, especially on side two, the albums “down” side. This is reflected in Cat’s singing, which becomes more assured and more emotive with each album.”
- With Triple Plus (A+++) sound on the first side and solid Double Plus (A++) sound on the second, this copy of Cat Stevens’ brilliant third album will be very hard to beat
- So transparent, open, and spacious, nuances and subtleties that escaped you are now revealed as never before
- When you play I Wish I Wish and I Think I See The Light on this vintage pressing, we think you will agree with us that this is one of the greatest Folk Rock albums of them all
- “A delight, and because it never achieved the Top 40 radio ubiquity of later albums, it sounds fresh and distinct.”
So many copies excel in some areas but fall flat in others. This one has it ALL going on — all the tubey magic, all the energy, all the presence and so on. The sound is high resolution yet so natural, free from the phony hi-fi-ish quality that you hear on many pressings. (more…)
In many ways this recording is state-of-the-art. Listening to the Tubey Magical Acoustic Guitars on the best copies brings back memories of my first encounter with an original Pink Label Tea for the Tillerman. Rich, sweet, full-bodied, effortlessly dynamic– that sound knocked me out twenty-odd years ago, and here it is again.
Of course I’ve always been a sucker for this kind of well-crafted pop. If you are too then a Hot Stamper copy of Manna will no doubt become a treasured demo disc in your home as well.
Audiophiles with high quality turntables literally have an endless supply of good recordings such as this to discover and enjoy. No matter how many records you own, you can’t possibly have even scratched the surface of the vast recorded legacy of the last sixty years. (The first stereo recordings date from 1954, the year of my birth, good timing on the part of my parents.) That’s the positive thought for the day.
We here at Better Records look forward to helping you find recordings that do justice to the music you have yet to hear. (more…)
[This letter is from a long time ago, 2005 perhaps. A killer copy may have been a hundred bucks back then, but times have changed!]
One of our best customers, Gerardo, who has to have his Hot Stampers shipped all the way to the Philipines where he lives, asked recently about Tea for the Tillerman. He wanted to know if we had something that would beat the MoFi pressing. Having recently played one (for condition; we already know how bad the sound is) we said HELL YEAH!
In fact, about the cheapest clean plain old American copy we can dig up for you will beat the pants off the MoFi. So we charged him $100 and sent it on out. Not having heard back, we followed up with this email:
We were just wondering if you ever got to have the Tea For The Tillerman Hot Stamper vs. MoFi / UHQR shootout. Hope it went well!
His reply can be seen below.
Hi Tom and Crew,
I have already listened to my Hot Stamper copy and have forwarded the MFSL pressing to my friend. However, we have not done the shootout because I’m out of Manila now… We should be able to do the shootout as soon as I return.
I have listened to my copy the day it arrived. I’m not very good at describing the sound of an album, that’s why I love reading your commentaries, because it accurately describes what I actually hear. The HS Tillerman is now my reference album where I test all improvements/adjustments I make in my system or my turntable. (more…)
This letter from our good customer Gary references the Hot Stampers he bought from us and subsequently played for a CD-only audiophile friend with a megabuck stereo. This is his story, followed by my commentary about the sound of Cat Stevens’ music on disc.
The Cat Stevens Hot Stampers are just amazing. The dynamic range is almost shocking on my rig. It’s like a car with the ability to go from 0 to 60 in 2 seconds… It is so cool to turn up the music really loud and still converse with people if you want. The quiet is dead quiet. That is the sign of a good record.
I had a visitor from Chicago with more money in his system than most houses, no vinyl. He is now looking into it. Teaser busted him. I think I might have cried when I heard Father and Son on Tillerman, just beautiful. Thanks and keep up the good work.
Gary, I have a long history of challenging audiophiles who hold that the CDs of those albums do them justice sonically. Prove it I say. The difference between the good LP pressings and the best CDs is NIGHT AND DAY. Anyone playing the CDs of those albums is in the presence of a pale shadow of what’s really on that tape. (more…)
It is my contention that there is no audiophile pressing on the face of the Earth that can compete with the best sounding originals of Teaser and the Firecat. Of ANY music. The best copies of Teaser have a sound I have never experienced with any modern-mastered record. There is a magic in its grooves that may simply be impossible to capture with the cutting equipment currently in use. Perhaps one day I’ll be proven wrong, but that day is clearly not yet upon us.
Island 25th Anniversary LP
I remember fifteen years ago when Acoustic Sounds was selling the then in-print 25th Anniversary Island pressing (10U, as I recall) for $15, claiming that it was a TAS list record. If you’ve ever heard that pressing, you know it has no business going anywhere near a Super Disc List. It’s mediocre at best and has virtually none of the magic of the good original pressings. I refused to sell it back in those days, for no other reason than it’s far from a Better Record. I don’t like misrepresenting records and I don’t like ripping off my customers. That pressing was a fraud and I was having none of it.
In case you don’t already know, one of the worst sounding, if not THE WORST SOUNDING VERSION OF ALL TIME, is the Mobile Fidelity Anadisq pressing that came out in the ’90s. If you own that record, you really owe it to yourself to pull it out and play it. It’s just a mess and it should sound like a mess, whether you have anything else to compare it to or not.
It’s also on the TAS Super Disc list, which is sad. Really, really sad. (more…)
When we said this album was not the sonic equal of Teaser and the Firecat or Tea for the Tillerman, boy, We Was Wrong and then some. Read all about it in this White Hot Stamper copy review below.
It’s been about a year since we last found Hot Stampers of this album, and having made a number of improvements to the stereo over that time, I’m here to report that this album got a WHOLE LOT BETTER, better than I ever imagined it could get. Mona Bone Jakon now ranks as a DEMO DISC of the highest order, every bit the equal of Teaser and Tea.
To think that all three of these records came out in one fifteen month period is astonishing. The only other artists to have produced music of this calibre in so short a time would have to be The Beatles, and it took four of them to do it.
Which is not what we used to think, as evidenced by this paragraph from a previous Hot Stamper listing.
This album is one of Cat’s top four titles both musically and sonically. Tea and Teaser are obviously in a league of their own, but this album and Catch Bull At Four are close behind. The music is WONDERFUL — the best tracks (including I Wish I Wish and I Think I See The Light) rank right up there with anything from his catalog. Sonically it’s not an epic recording on the scale of Tea or Teaser, but with Paul Samwell-Smith at the helm, you can be sure it’s an excellent sounding album — on the right pressing.
That last line is dead wrong. It IS an epic recording on the scale of Tea and Teaser. This copy proves it! Now that we know just how good this record can sound, I hope you will allow me to borrow some commentary from another classic Cat Stevens album listing, to wit:
Right off the bat I want to say this is a work of GENIUS. Cat Stevens made three records that belong in the Pantheon of greatest popular recordings of all time. In the world of folk-pop, Mona Bone Jakon, Teaser and the Firecat and Tea for the Tillerman have few peers. There may be other recordings that are as good but there are no other recordings that are better.
When you hear I Wish I Wish and I Think I See The Light on a Hot Stamper copy you will be convinced, as I am, that this is one of the greatest popular recordings in the history of the world. I don’t know of ANY other album that has more LIFE and MUSICAL ENERGY than this one. (more…)
Roger is up to his old tricks again, doing shootouts with our Hot Stampers and all the great pressings he already owns, in this case putting our humble Brown Label A&M domestic LP up against the legendary Pink Label Island British Import and a couple of MoFis. We’ll let Roger tell his own story, since by now we all know he does it as well as anyone.
Just a note on another hot stamper shootout I recently did, this time on Cat Stevens Tea for the Tillerman. It was interesting comparing itto the regular MFSL half-speed, the MFSL UHQR pressing, and a UK Pink Island 3U pressing, which was my all-time champ.
The regular MFSL was up first and I now remember why I don’t like this pressing: the guitars are entirely too bright, forward, and stand too proud of the rest of the mix, completely overwhelming the other instruments and voices.
When I had a detail-challenged stereo 25 years ago I recall thinking that MFSL really improved the detail on the guitars and the highs were more crystalline, but with a vastly improved stereo I can see what MFSL was doing in artificially hyping the details.
After taking this ear-bleeding pressing off my turntable and replacing it with the UHQR, I was actually relieved that the UHQR was not as annoying as the regular half-speed, although the UHQR had its faults also. The tonal balance was weird, thin and bright, and dynamics were suppressed, the worst of the four pressings I had. Also, the bass on both MFSL versions, as you often say, was an amorphous blob with little dynamics, speed, and extension.
Sometimes I wish I kept my old crappy stereo to see if I could now tell what it was that made these audiophile pressings so attractive then. (more…)
A blast from the past from 2006.
I have to admit that I was dead wrong when I said that the best copies of this album were the Brown Label A&M pressings. I see now how I made this error. We played four pink label copies and our best A&M LP is only better than three of them.
But it sure isn’t better than this one! I’ve heard a good dozen or so Pink Labels and this is the first one that ever blew my mind. I thought I knew this record, but this copy changes everything.
Our White Hot Stamper Commentary from 2006 (more…)
[This commentary was written circa 2001. The record above came out in 1986]
I remember 15 years ago when Acoustic Sounds was selling the then in-print 25th Anniversary Island pressing (7U, as I recall) for $15, claiming that it was a TAS list record. If you’ve ever heard that pressing, you know it has no business going anywhere near a Super Disc List. It’s mediocre at best and has virtually none of the magic of the good originals.
I refused to sell it back in those days, for no other reason than it’s far from a Better Sounding Record. I don’t like misrepresenting records and I don’t like ripping off my customers.
That pressing was a fraud and I was having none of it.
Chad probably didn’t even know the difference. When you don’t know much about records, you can say all sorts of things and not get called out for them. Audiophiles are a credulous bunch and always have been. They still believe the same nonsense that I foolishly believed back in the ’80s (and even as late as 2000).
Over the last twenty years we’ve figured a few things out. Most of what we learned you can read right here on this blog.
We’re still waiting for most of the audiophile community to catch up with us. Excessive amounts of credulity make it hard for audiophiles to approach audio problems scientifically. They believe things that are easily disproven, but when you want to believe as badly as most audiophiles do, why make the effort to find out whether what you believe is true or not?