- This stunning sounding copy of the band’s sophomore release earned shootout winning Triple Plus (A+++) grades or close to them on both sides
- Forget the dubby domestic pressings and whatever crappy Heavy Vinyl record they’re making these days – the UK LPs are the only way to fly on Communique
- If you’re a fan of the band’s debut release, you’ll find much to like on this underappreciated follow up
- “…an album full of the delicate subtleties that make Mark Knopfler shimmer — that deep tobacco-soaked voice, the quick, fluid guitar, and the wit behind many of his lyrics… a rich, abundant source of beauty.”
MASTER TAPE SOUND ON BOTH SIDES! This copy is a FLUKE — we guarantee you have never heard a copy sound even remotely this good. We sure haven’t, and we’ve probably played fifty or more. This copy found itself running way ahead of the pack and never looked back. Two A+++ sides back to back — what are the chances?
Telegraph Road does something on this LP that you won’t hear on one out of twenty pressings: It ROCKS. It’s got ENERGY and DRIVE.
Need evidence to back up such a claim? Not a problem; just listen to how hard Allan Clark bangs on the piano on side one — he’s pounding that piano with all his might. No other copy managed to get the piano to pop the way it does here, clear and solid. Wow, who knew? Maybe this is the reason HP put the record on the TAS Super Disc List. (I rather doubt he’s ever heard a copy this good, but who’s to say?) (more…)
This Vertigo British pressing of Dire Straits’ wonderful debut has ABSOLUTELY THE BEST SOUND for this album we have ever heard. Folks, this one just can’t be beat. AGAIG is our shorthand for As Good As It Gets, and that’s an understatement when it comes to the sound of this copy. It blew the doors off every record we put up against it; every Vertigo pressing, regardless of country of manufacture or era. If you’re looking for The World Champion, this copy holds the title and is very unlikely to be giving it up any time soon.
Rhett Davies is one of our favorite recording engineers, the man behind Taking Tiger Mountain, 801 Live and Avalon to name just a few of his most famous recordings, all favorites of ours of course.
His Masterpiece Discovered
Well, we just have to say that until something better comes along, THIS IS HIS MASTERPIECE. It has to be one of the best sounding rock records ever made, with Tubey Magic mids, prodigious bass, transparency to beat the band, and freedom from hi-fi-ishness and distortion like few rock recordings you have ever heard.
The man may be famous for some fairly artificial sounding recordings — Eno’s, Roxy Music’s and The Talking Heads’ albums come to mind — but it’s obvious to us now, if it wasn’t before, that those are entirely artistic choices, not engineering shortcomings. Rhett Davies, by virtue of the existence of this pressing alone, has proven that he belongs in the company of the greatest engineers of all time, along with the likes of Bill Porter, Ken Scott, Stephen Barncard, Geoff Emerick and others too numerous to mention.
We Want To Rock
What separates the best Brits from the merely good ones? In a word, ENERGY. The best copies make this band sound like they are on fire, ready to go head to head with the world, fiercely proud of the new sound they’ve created. The not-so-good copies make Dire Straits sound the way Dire Straits usually does — laid back and well under control, perhaps even a bit bored with the whole affair. The best copies show you a band that wants to rock with the best of them, and can.
Demo Disc Sound
Both sides here are OFF THE CHARTS — no copy came close, and none may ever! It’s got all of the punch, all of the energy, and all of the tubey magic that you could ever ask for. The vocals, the bass, the guitars — all PERFECTION. The overall sound is rich, full, smooth, sweet, super transparent, and tonally correct from top to bottom. The presence and immediacy on this copy are UNCANNY and UNMATCHED.
Water Of Love and Sultans of Swing have the kind of Demo Disc sound that will have your audiophile friends drooling and turning green with envy. We can’t all afford $100,000 turntables, but when you have a record that sounds this good, you don’t need one! This record makes it sound like you have 100k in your rig, whether you do or not.
A Big Speaker Record
Let’s face it, this is a BIG SPEAKER recording. It requires a pair of speakers that can move air with authority below 250 cycles and play at loud levels. If you don’t own speakers that can do that, this record will never really sound the way it should.
It demands to be played LOUD. It simply cannot come to life the way the producers, engineers and artists involved intended if you play it at moderate levels.
This is the kind of recording that caused me to pursue Big Stereo Systems driving Big Speakers. You need a lot of piston area to bring the dynamics of this recording to life, and to get the size of all the instruments to match their real life counterparts.
For that you need big speakers in big cabinets, the kind I’ve been listening to for more than forty years. (My last small speaker was given the boot around 1974 or so.) To tell you the truth, the Big Sound is the only sound that I can enjoy. Anything less is just not for me. (more…)
- This outstanding pressing boasts solid Double Plus (A++) sound on both sides
- Tonally correct from start to finish, with a solid bottom and fairly natural vocals (for this particular recording of course), HERE is the sound they were going for in the studio
- Drop the needle on So Far Away – it’s airy, open, and spacious, yet still rich and full-bodied
- 4 stars: “One of their most focused and accomplished albums … Dire Straits had never been so concise or pop-oriented, and it wore well on them.”
*NOTE: On side one, two marks make 5 moderate to light pops at the end of Track 2, Money for Nothing, and 10 moderate to light pops followed by 5 light ticks at the beginning of Track 5, Why Worry. On side two, a tiny mark makes 5 moderate pops followed by 7 light ticks near the beginning of Track 4, Brothers in Arms.
Fully extended from top to bottom with a wide-open soundstage, this is the sound you need for this music. There’s plenty of richness and fullness here as well — traits that are really crucial to getting the most out of a mid-’80s recording like this!
Drop the needle on So Far Away — it’s airy, open, and spacious, yet incredibly rich and full-bodied. The bottom end really delivers the goods — it’s punchy and meaty with healthy amounts of tight, deep bass. (more…)
- This outstanding British import boasts solid Double Plus (A++) sound from first note to last
- The open, spacious soundstage, full-bodied tonality and Tubey Magic here are obvious for all to hear – huge, punchy, lively and rockin’ throughout
- This Hot Stamper is far more natural than any other pressing you’ve heard – we guarantee it
- “Certainly a quantum leap from the organic R&B impressionism of the band’s early LPs and the gripping short stories of Making Movies, Love Over Gold is an ambitious, sometimes difficult record that is exhilarating in its successes and, at the very least, fascinating in its indulgences.” – Rolling Stone
This modern album (from 1982, which makes it 38 years old, but that’s modern in our world) can sound surprisingly good on the right pressing. On most copies, the highs are slightly grainy and can be harsh, not exactly the kind of sound that inspires you to turn your system up good and loud and really get involved in the music. I’m happy to report that both sides here have no such problem – they rock and they sound great loud.
We pick up every clean copy we see of this album, domestic or import, because we know from experience just how good the best pressings can sound. What do the best copies have? REAL dynamics for one. And with those dynamics, you need rock solid bass. Otherwise, the loud portions simply become irritating. (more…)
One of our good customers had this to say about some Hot Stampers he purchased recently:
Just some feedback. I know its been a long time. Just always busy. Anyways, All the albums were great. The Dire Straits I thought was the best. FM was next.
Boston is hard for me to listen to nowadays. I used to really be a big Boston fan, played it all the time in the car cassette deck. In fact I first heard album #1 in a friends car deck. Now, I’m not so much a big fan, but The hot stamper was great.
When I first contacted you about your hot stampers you mentioned that I might not be able to notice a big difference with my setup. But I could tell the difference right away. I frequent your site at least once a week looking for something of interest and within my price range. It’s amazing what you guys do.
Anyways, I’ll keep looking and thanks for the awesome hot stampers. (more…)
- You’ll find outstanding Double Plus (A++) sound or close to it on both sides of this UK pressing of the band’s brilliant debut
- One of the best sounding rock records ever made, with rich, sweet, smooth mids; prodigious amounts of bass; superb transparency and clarity; and a freedom from hi-fi-ishness and a lack of distortion like very few rock records we have ever heard
- Rhett Davies knocked this one out of the park – it’s a Top 100 title, a member of the Tubey Magical Top Ten, and our favorite by the band for both sound and music
- 4 1/2 stars: “Knopfler also shows an inclination toward Dylanesque imagery, which enhances the smoky, low-key atmosphere of the album… the album is remarkably accomplished for a debut, and Dire Straits had difficulty surpassing it throughout their career.”
*NOTE: On side one, a mark makes 3 moderate pops followed by 8 light ticks at the beginning of Track 1, Down to the Waterline. On side two, a mark makes 11 light ticks on Track 1, Sultans of Swing.
Rhett Davies is one of our favorite engineers. He’s the man behind Taking Tiger Mountain, 801 Live and Avalon to name just a few of his most famous recordings, all favorites of ours of course.
The man may be famous for some fairly artificial sounding recordings — Eno’s, Roxy Music’s and The Talking Heads’ albums come to mind — but it’s obvious to us now, if it wasn’t before, that those are entirely artistic choices, not engineering shortcomings.
Rhett Davies, by virtue of the existence of this album alone, has proven that he belongs in the company of the greatest engineers of all time, right up there with the likes of Bill Porter, Ken Scott, Stephen Barncard, Geoff Emerick, Glyn Johns and others we could mention. (more…)
Sonic Grade: D
The Warner Brothers 180g Double LP pictured above was mastered by Stan Ricker at half-speed.
Most of the time Stan Ricker’s approach to half-speed mastering results in a record that is too bright, with sloppy bass.
And what do you know, it IS too bright and the bass IS sloppy. Imagine that!
We often discuss the unpredictability of records, but when it comes to Half-Speed Mastered pressings their faults are fairly consistent and easy to spot once you know what to listen for.
- An outstanding UK early pressing, with Double Plus (A++) sound or close to it on both sides – – exceptionally quiet vinyl too, the last clean copy we have in stock
- Guaranteed to be a huge improvement over anything you’ve heard, this Brit is big, punchy, and full-bodied with excellent presence – Mark Knopfler’s leads really soar
- Romeo and Juliet comes to life the way you want it to here, and the song Solid Rock lives up to its title
- 4 1/2 stars: “Making Movies is helped by a new wave-tinged pop production, which actually helps Knopfler’s jazzy inclinations take hold … ranks among the band’s finest work.”
The music really comes together, especially if you’ve been playing a sub-generation domestic pressing, which is the only kind Warners made as far as we know. (The first album is the same way of course.) Here you will find richer mids, sweeter highs, more energy and some real punch down low. (more…)