- An excellent vintage UK pressing with Double Plus (A++) sound from start to finish
- This copy has real depth to the soundfield, full-bodied, present vocals, plenty of bottom end weight, and lovely analog warmth
- This reissue is the only way to fly – if you have an original, or any other pressing, you don’t know what you are missing!
- These are the stampers that always win our shootouts, and when you hear them you will know why – the sound is big, rich and clear like no other
- We’ve discovered a number of titles in which one stamper always wins, and here are some of the others
- 5 stars: “Repeating the formula of Low’s half-vocal/half-instrumental structure, Heroes develops and strengthens the sonic innovations David Bowie and Brian Eno explored on their first collaboration. The vocal songs are fuller, boasting harder rhythms and deeper layers of sound.”
- A seriously good copy with Double Plus (A++) grades throughout – Ziggy Stardust in analog is simply a phenomenally good sounding recording
- The stage is huge and the amount of Tubey Magic has to be heard to be believed – this is the pinnacle of sound for Glam Rock
- Until you hear one of these killer British pressings you simply cannot know what you are missing
- A Rock & Pop Top 100 album, and Ken Scott’s engineering masterpiece all rolled into one
- 5 stars: “Fleshing out the off-kilter metallic mix with fatter guitars, genuine pop songs, string sections, keyboards, and a cinematic flourish, Ziggy Stardust is a glitzy array of riffs, hooks, melodrama, and style and the logical culmination of glam.”
Drop the needle on any song. We guarantee you have never heard that song sound better. The mastering is superb. There’s really no “mastering” to listen for — all you’re really aware of is the music flowing from the speakers, freed from all the limitations that you’ve had to accept over the years.
Unquestionably, this is the pinnacle of Glam Rock. Every track is superb; not a moment is less than stellar from beginning to end.
Is it Bowie’s Masterpiece?
Absolutely. No other Bowie record ranks higher in my book.
Is it amazingly well recorded?
You better believe it. This is not just Bowie’s masterpiece; it’s Ken Scott‘s as well. For BIG, BOLD, wall to wall, floor to ceiling sound, look no further. The best copies are swimming in rich, sweet TUBEY MAGIC. This is a sound we cannot get enough of here at Better Records.
Tubey Magical Acoustic Guitar reproduction is superb on the better copies of this recording. Simply phenomenal amounts of Tubey Magic can be heard on every strum, along with richness, body and harmonic coherency that have all but disappeared from modern recordings (and especially from modern remasterings)
The guitars on this record are a true test of stereo reproduction. Many pressings of this album do not get the guitars to sound right. On some they will sound veiled and dull, and on a copy with a bit too much top, they will have an unfortunate hi-fi-ish sparkle, the kind that Mobile Fidelity was infamous for in the late ’70s and ’80s.
The guitars may not sound “real,” they way they actually would in real life, but they sure sound grungy and GOOD!
- An original UK import pressing with superb Double Plus (A++) sound from start to finish – exceptionally quiet vinyl too
- This copy was simply bigger and fuller than most others we played, with plenty of funky energy and three-dimensional studio space
- Exceptionally present, real and resolving, this pressing is guaranteed to murder any remastering undertaken by anyone, past, present and future
- 5 stars: “Reworking glam rock themes with avant-garde synth flourishes, and reversing the process as well, Bowie creates dense but accessible music throughout Scary Monsters.”
- If you’re a Bowie fan, this title from 1980 is surely a Must Own
This original RCA pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds. (more…)
- Excellent sound for Lou Reed’s Glam Rock Classic, Transformer, engineered to sound as Tubey Magical as Ziggy Stardust by none other than Ken Scott
- Here is an import pressing with the kind of Tubey Magical Midrange that modern records cannot BEGIN to reproduce
- A side one this good means Walk on the Wild Side is a Demonstration Quality track that will have your audiophile friends turning green with envy
- Transformer is an absolute tour de force of ’70s Glam Rock / Classic Rock / Alternative Rock
- “… Bowie and Ronson gave their hero a new lease on life — and a solid album in the bargain.”
- Transformer is his Masterpiece, a Core Collection title, and possibly a case of One and Done since it’s the only Lou Reed album we sell. (You, of course, may feel differently.)
Transformer is an absolute tour de force of ’70s Glam Rock / Classic Rock / Alternative Rock. You’ve got Lou Reed teamed up with David Bowie (in the producer’s chair!), Mick Ronson, Herbie Flowers and Klaus Voorman, and on top of that the album was recorded at Trident and mixed by the great Ken Scott.
Throw in the fact that this is the best set of post-Velvets material Lou would ever write and it is a recipe for success. There are so many good songs on here I won’t bother to list them one by one. Satellite Of Love is especially good though, if you ask me. If you agree, and you’ve never heard the VU demo version, make sure to seek it out. It’s completely different and good fun.
First, my apologies. I have been reading your website for over two years, gleaning information to help me find Hot Stampers, or at least good sounding records. I had not made a purchase until this past week. I was starting to feel guilty; you have given me so much great direction and guidance over these years, and I had not supported you in the proper way.
So I made a modest purchase of these two records, to assuage my guilt and support your efforts. You will be getting much more business from this satisfied customer.
I have Remain In Light on LP, CD and even the FLAC file release. My new Hot Stamper truly puts these recordings to shame. No, really, TO SHAME! If this ever gets on the Better Records Testimonials: “People let me tell you…it’s sent a chill up and down my spine…”!
I really can’t believe how well balanced the sound is: great bottom end, mids are pronounced and the shrillness is GONE! No smear anymore! Breathtaking.
My copy of Station to Station is just as wonderful.
I’ve been convinced of “Hot Stamper” recording for quite some time now, thanks to Tom and the BR crew; I’ve found some great recordings after conducting my own modest shoot-outs. Found some real gems. But the best results that I have ever got, and there are only a few, have now been easily matched and outstripped by my first BR purchase!
Thanks for your enthusiastic letter! We’re on the same page. I get excited when I hear my favorite music sound better than I ever expected it would too. (more…)
This is the sound of digital mastering at its worst. Best to give this one a pass if you are looking for audiophile quality sound.
We play mediocre-to-bad sounding pressings so that you don’t have to, a public service from your record loving friends at Better Records.
You can find this one in our Hall of Shame, along with more than 350 others that — in our opinion — qualify as some of the worst sounding records ever made. (On some records in the Hall of Shame the sound is passable but the music is bad. These are also records you can safely avoid.)
Note that most of the entries are audiophile remasterings of one kind or another. The reason for this is simple: we’ve gone through the all-too-often unpleasant experience of comparing them head to head with our best Hot Stamper pressings.
When you can hear them that way, up against an exceptionally good record, their flaws become that much more obvious and, frankly, that much more inexcusable.
- A seriously good UK pressing with Double Plus (A++) grades on both sides, making this one of the better copies from our most recent shootout – exceptionally quiet vinyl too
- We shot out a number of other imports and this one had the presence, bass, and dynamics that were missing from most of the other copies we played
- The sound is big and rich – you will not believe all the space and ambience on these sides
- 4 1/2 stars: “Lodger has an edgier, more minimalistic bent than its two predecessors, which makes it more accessible for rock fans, as well as giving it a more immediate, emotional impact.”
- If you have Low (1977) and Heroes (1978), this is the album that will complete Bowie’s Berlin Trilogy with Eno and Visconti
- Outstanding sound throughout this vintage UK pressing of Bowie’s 1973 post-Ziggy classic, earning solid Double Plus (A++) grades on both sides – exceptionally quiet vinyl too
- Remarkable richness, smoothness and warmth, something that all the best Ken Scott Tube Recordings are renowned for
- Plenty of Bowie Classics: “Watch That Man,” “Aladdin Sane,” “Panic in Detroit,” “Cracked Actor,” “The Jean Genie,” “Lady Grinning Soul,” and more
- Here are more of our favorite Hot Stamper pressings of recordings with exceptionally Tubey Magical Sound
- And some reviews and commentaries for the most Tubey Magical Recordings we have ever played
- If you’re a David Bowie fan, this title of his from 1973 has to be considered a Must Own
- The complete list of titles from 1973 that we’ve reviewed to date can be found here.
THE BIG BOWIE SOUND for this wonderful follow-up to Ziggy Stardust! We just finished shooting out a number of import pressings of the album, and this import was one of the better copies we heard. This one’s got the kind of Tubey Magical Richness that takes these Glam Rockers to a whole new level. (more…)
With Let’s Dance the name of the game is ENERGY, and boy does this copy have it! Both sides have the deep, punchy bass and sweet, extended highs that Bowie’s music needs to come ALIVE. With that big bass and smooth top end, this is one record you can turn up GOOD and LOUD without fear of fatigue. On a big pair of dynamic speakers you will really get your money’s worth from the best Hot Stamper pressings.
Presenting another entry in our extensive Listening in Depth series with advice on what to listen for as you critically evaluate your copy of Let’s Dance.
Here are some albums on our site you can buy with similar Track by Track breakdowns.
This track has a tendency to be a bit brighter than those that follow. To find out if your Let’s Dance is killer, see how the title track sounds.
The best sounding track on the album and one of the handful of best sounding Bowie tracks ever recorded. With a truly Hot Stamper copy, try as you might you will be very hard pressed to find better sound. Demo Disc Quality doesn’t begin to do it justice.
Cat People (Putting Out Fire)
The best sound and music on side two. A top Bowie track.
Shake It (more…)
- This UK pressing will show you a Diamond Dogs you had no idea existed, yet here it is – exceptionally quiet vinyl too
- We shot out a number of other imports and the presence, bass, and dynamics on this incredible copy placed it head and shoulders above the competition
- It’s ridiculously tough to find even passable sound for this album – we guarantee you have never heard better than these two killer sides
- Great songs including the title track, “Rebel Rebel,” “1984,” “Sweet Thing,” “Big Brother,” “Rock & Roll With Me” and more
The sound on this UK pressing is Tubey Magical yet still clean, clear and spacious — you’ll need a lot of luck and a good-sized pile of records to find a copy that sounds like this one.
“1984” (a favorite of ours on David Live) sounds great here. In addition to singing, the man handles sax, Mellotron, and Moog duties on the album, and, most surprisingly, plays practically all of the electric guitar parts.
Bowie was one of the handful of artists to produce an immensely enjoyable and meaningful body of work throughout the ’70s and into the ’80s, music that holds up to this day. The music on his albums, often groundbreaking and always multi-layered, will surely reward the listener who takes the time to dive deep into the complex sounds he recorded.
Repeated plays are the order of the day. The more critically you listen, the more you will discover within the exceedingly dense mixes favored by the man, his producers (Tony Visconti among them) and engineers (our favorite being Ken Scott). And the better your stereo gets the more you can appreciate the care and effort that went into the production of his recordings.