Top Artists – Led Zeppelin

Led Zeppelin – In 2008 We Had a Lot More R&D Ahead of Us

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Letters and Commentaries for Led Zeppelin III

A classic example of live and learn.

In 2008 we simply had not done our homework well enough. I had been an audiophile for at least 33 years by then, and a professional audiophile record dealer for 21, but we still hadn’t cracked the code for Zep III.

Sure, by 2008 we had auditioned plenty of the pressings that we thought were the most likely to sound good: the original and later domestic pressings, the early and later British LPs, some early and later German pressings, maybe a Japanese import or two. In other words, the usual suspects.

We already knew the Classic Records Heavy Vinyl was unbelievably bad; no need to put that in a shootout. It earned an “F” right out of the gate for its bright and harsh sound.

The result? We were roughly in the same position as most serious record collecting audiophiles, if not actually in a better one: who do you know that has played at least ten different pressing Led Zeppelin III, or any other album for that matter?

We had auditioned a number pressings of the album and thought we knew enough about the sound to pick a winner. We thought the best original British Plum and Orange label pressings had the goods that no other copies could or would have. (Years later we would get hold of another one, clean it up and put it in a shootout.)

But of course, like most audiophiles who judge records with an insufficiently large sample size, we turned out to be quite mistaken.

Logic hadn’t worked. None of the originals would end up winning another shootout once we’d discovered the right reissues.

But in 2008, we hadn’t stumbled upon the best pressings because we hadn’t put enough effort into the only approach that actually works.

What approach is that? It’s trial and error. Trial and error would eventually put us on the path to success. We had simply not conducted enough trials and made enough errors by 2008 to find out what we know now.

We hadn’t made the breakthrough we needed to make in order to know just how good the album could sound.

Can you blame us? The pressings that have been winning shootouts for years are from the wrong country (not the UK) and the wrong era (not the original).

We reproduce below the commentary for the 2008 listing that gets it wrong.

The best British originals are good records, but none of them would win a shootout these days up against the superior import pressings we discovered around 2015 or so.

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Led Zeppelin – The Drums and Cymbals Are Key to the Best Pressings

Hot Stamper Pressings of Led Zeppelin’s Albums Available Now

More Demo Discs for Bass

The drum sound on the best copies is punchy and huge, with prodigious amounts of studio space swirling around Bonham’s kit.

There’s real resonance to the toms, not the standard overdamped sound of a studio kit, which gives them a lively, realistic, natural quality that you rarely hear outside of Zep records.

And the cymbals crash and splash just like real cymbals do, which is yet another sound you rarely hear outside of the best Zep pressings. (The best copies of Zep IV have crashing cymbals on Black Dog and Rock and Roll like few records in the history of rock.)

We just finished a massive shootout for this album and were reminded just how hard this album rocks. Achilles Last Stand, For Your Life and Nobody’s Fault But Mine are all KILLER on a Hot Stamper pressing like this one. After cleaning and playing a pile of copies we are pleased to report that the best of them are full of The Real Zep Magic. The average LP may not be much of a thrill but our Hot Stampers sure are, with all the energy, dynamics, whomp, and presence (pun only slightly intended) you could hope for.

That is EXACTLY the kind of sound we love here at Better Records.

Hey Man, Turn It Up!

We’re hoping this copy ends up in the hands of someone who will play it good and loud because that’s the way it was meant to be heard. It’s the only way the mix works, which is a sure sign that that is clearly how the artists intended their records to be played.

Turn up the volume and play the midsection of For Your Life on side one or the entire Nobody’s Fault But Mine on side two to hear Zep rockin’ out in their prime.

Nobody did it better than these four guys. If you have Hot Stampers of their albums, you have some of the best sounding rock and roll records ever made, records that sound the way Zep wanted you to hear them as long as you play them at good loud levels.

What to Listen For 

This copy has the kind of sound we look for in a top quality Led Zeppelin record: immediacy in the vocals (so many copies are veiled and distant); natural tonal balance (most copies are at least slightly brighter or darker than ideal; ones with the right balance are the exception, not the rule); good solid weight (so the bass sounds full and powerful); spaciousness (the best copies have wonderful studio ambience and space); and last but not least, transparency, the quality of being able to see into the studio, where there is plenty of musical information to be revealed in this sophisticated recording.

Here is a more comprehensive breakdown of what we were listening for when evaluating Presence.

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Led Zeppelin – Led Zeppelin III

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Testimonial Letters for the Music of Led Zeppelin

  • Boasting KILLER Shootout Winning Triple Plus (A+++) sound or close to it on both sides, this vintage import pressing could not be beat – exceptionally quiet vinyl too
  • Huge, Tubey Magical and lively, with solid weight down low and lots of space around all the instruments, this copy is guaranteed to rock like nothing you have ever heard
  • Drop the needle on “Since I’ve Been Loving You,” turn it up good and loud and Zep will be right there in front of you for the live concert of a lifetime
  • “Gallows Pole,” “Tangerine” and “That’s the Way” are just a few of the tracks that have truly awesome Demo Disc sound
  • 5 stars: “On their first two albums, Led Zeppelin unleashed a relentless barrage of heavy blues and rockabilly riffs, but Led Zeppelin III provided the band with the necessary room to grow musically. While there are still a handful of metallic rockers, III is built on a folky, acoustic foundation that gives the music extra depth.”
  • If you’re a fan of the band, this classic from 1970 belongs in your collection.
  • 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 others

Drop the needle on Since I’ve Been Loving You and turn it up good and loud. Robert Plant will be right there between your speakers, and your jaw will be on the floor!

Cue up Tangerine on side two for a taste of rich, sweet, Tubey Magical Analog Sound. The acoustic guitars are lush and delicate, the bass is deep and well-defined, and the vocals are completely natural and free from bad mastering or phony EQ.

Zep Unplugged

The three Zep albums with out of this world acoustic guitars are the first album, III and Houses of the Holy. (All three are currently on our Top 100 List, along with II and IV. All five can be amazing sounding on the right pressings, but those pressings tend to be tough to come by in clean condition.)

The guitars are every bit as rich, tubey, sweet, delicate and harmonically correct as those found on Tea For the Tillerman, Rubber Soul, Comes a Time or any of the other phenomenally good recordings we rave about on the site.

Of course, without the right pressing, you would never know that. Later copies, Classic Records copies, typical domestic and import copies — none of them are going to sound like this one. We guarantee it.

Jimmy Page, Production Genius

When you hear the resolution and transparency found on the best copies of III you will no doubt gain a deeper appreciation of the extraordinary effort that has gone into these recordings, and what a production genius Jimmy Page was at this time.

Ultimately the ability to hear into the music at the highest levels is what gives you, the listener, the ability to understand and enjoy it. One reason these commentaries tend to be overly enthusiastic is that once you’ve heard a pressing that sounds as good as the best copies of the album can, you can’t help but be much more emotionally involved in the music.

When the sound gets better it’s the music that really gets better. That’s Audio 101, the raison d’etre for the expensive and finicky equipment we all own.

When the sound gets to the top levels, when the sound gets that good, the music practically becomes a drug. Want to take a trip? Drop the needle on a top copy at the start of That’s The Way or Since I’ve Been Loving You. Jimmy Page created a world of sound for you to inhabit — you likely won’t be coming back to earth for a while.

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Led Zeppelin – Presence

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More of Our Hardest Rockin’ Records

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  • With two incredible Nearly Triple Plus (A++ to A+++) sides, this copy is practically as good as we have ever heard, right up there with our Shootout Winner – exceptionally quiet vinyl too
  • Here is a pressing with the power, the dynamic contrasts, the low end whomp, as well as the in-the-room midrange presence (pun only slightly intended) you’ve been waiting for
  • Featuring a stripped down, harder rock sound, Presence really benefits from the killer bottom end found on this early LP
  • “Presence has more majestic epics than its predecessor, opening with the surging, ten-minute Achilles Last Stand and closing with the meandering, nearly ten-minute Tea for One.”

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Led Zeppelin II on Classic Records – Seriously, What Could Be Sadder?

Reviews and Commentaries for Led Zeppelin II

More Classic Records Led Zeppelin Titles Reviewed

An unmitigated disaster — ridiculously bright and ridiculously crude.

In short, a completely unlistenable piece of garbage, and, along with the MoFi pressing from 1982, one of the worst sounding versions of the album ever made.

Over the years we have done many Led Zeppelin shootouts, often including the Classic Heavy Vinyl Pressings as a “reference.” After all, the Classic pressings are considered by many — if not most — audiophiles as superior to other pressings.

What could be sadder?

In fact, you will find very few critics of the Classic Zep LPs outside of those of us (me and the rat in my pocket) who write for this Better Records, and even we used to recommend three of the Zep titles on Classic: Led Zeppelin I, IV and Presence when they first came out.

Wrong on all counts.

Since then we’ve made it a point to review most of the Classic Zeps, a public service of Better Records. We don’t actually like any of them now, although the first album is still by far the best of the bunch.

Below you will find our reviews of the more than 200 Heavy Vinyl pressings we’ve played over the years.

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Led Zeppelin – Houses of the Holy

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More Top 100 Titles

  • You’ll find superb Double Plus (A++) sound throughout this vintage Atlantic pressing – fairly quiet vinyl too
  • Only the pressings mastered by Robert Ludwig have any hope of doing well in our shootouts, and those are the only ones we have ever offered, beginning all the way back in 2006
  • Wall to wall, floor to ceiling Led Zeppelin power – this copy delivers like you will not believe, or your money back
  • A Better Records Top 100 (along with 4 other Zep titles), 5 Stars in AMG and a True Zeppelin Must Own Classic
  • The Tubey Magical acoustic guitars here should be a wake up call to everyone that any and all attempts to remaster this album are bound to fail — that sound is gone and it is never coming back
  • 5 stars: “Jimmy Page’s riffs rely on ringing, folky hooks as much as they do on thundering blues-rock, giving the album a lighter, more open atmosphere…”
  • If you’re a fan of the band, this title from 1973 is clearly one of their best, and inarguably one of their best sounding

This copy has the kind of BIG, BOLD ROCK SOUND that takes this music to places you’ve only dreamed it could go. The HUGE drums on this copy are going to blow your mind — and probably your neighbors’ minds as well.

And what would a Zep record be without bass? Not much, yet this is precisely the area where so many copies fail. Not so here. The bottom end is big and meaty with superb definition, allowing the record to ROCK, just the way you know Zep wanted it to.

The vocals too are tonally correct. None of the phony upper-midrange boost that the Classic Records reissue suffers from is evident on this copy. The louder Robert Plant screams, the better he sounds and the more I like it. The Classic makes me wince. (more…)

Letter of the Week – “The copy I bought from you 100% blew my mind, with no wiggle room….completely blown!”

More of the Music of Led Zeppelin

Reviews and Commentaries for Led Zeppelin II

One of our good customers had this to say about a Hot Stamper pressing he purchased recently:

Hi Tom,
I’ve been waiting for the right time to play the RL WHS LZII. It finally happened last night. I do have a LZ II with RL on side 1, and I was previously quite happy with it. I did prefer it over all the other copies, both regular and audiophile.

However, the copy I bought from you 100% blew my mind, with no wiggle room….completely blown!

JB’s drum kit is coming right out of the speakers like there is no tomorrow. I think I lost my mind while listening to Heartbreaker, a song I like but never really fully enjoyed……until NOW.

The room is never big enough for this one. Those punches of sound were so punchy, like George Foreman hitting Ali… massive.

Side 2 of this album is nothing short of phenomenal. I’m not sure if I own another LP that rocks like this RL one does. No wonder you made a top ten list just so you could put this one on it.

Someone will ask me or comment…why on earth would you spend $2400 on a record? To that person I will say… I am not buying a record. I am buying an experience that I can repeat as many times as I like, over and over again. To me, listening to this music in this way is priceless.

I truly don’t have the words to express what utter joy my being felt while listening to this. Can’t wait to do it again.

Once again, many thanks to all of you at Better Records for what you do.

These sounds have been bringing much joy into my life.
Michel

Michel, thanks for your letter of the week. We agree with everything you say. It is that good!

Best, TP

Further Reading

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Letter of the Week – “While the loud parts rock in an unbelievable way, the quiet bits reveal the magic…”

More of the Music of Led Zeppelin

More Testimonial Letters for the Music of Led Zeppelin

One of our good customers had this to say about some Hot Stampers he purchased recently:

Hey Tom,   

Wanted to say thanks for the Led Zep III, fantastic and beyond expectation. While the loud parts rock in an unbelievable way the quiet bits reveal the magic, the surreal presence, space and uncanny realism. Brilliant!

I have an OK copy of Led Zep IV and the first section of Stairway to Heaven is similar in that I love hearing the acoustic guitar and then the breathy recorders (oh those recorders) and then Plant’s voice seems to appear from nowhere right before your ears.

I am so lucky to have the Zep III so thanks again.

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Letter of the Week – “The most expensive record I ever bought but well worth the dough!”

More of the Music of Led Zeppelin

Reviews and Commentaries for Led Zeppelin II

One of our good customers had this to say about some Hot Stampers he purchased recently:

I will share with you guys a few more observations.

You will not be surprised to learn that the Led Zep 2 WHS leads the pack. The most expensive record I ever bought but well worth the dough!

Your description says it all: Freakishly good! Firmly trounced my early UK plum and my German RL (side 1) issues

No disapoimtments regarding the sound whatsoever with all others. One has to understand though that a 3/3 is an absolute judgement but a relative one (Bruce Springssteen comes to mind) but if one follows you long enough the prices asked for give a bit of indication so that‘s fine with me.

Christian ended his letter with these thoughts.

You made my life better with your records. I keep learning a lot from you following your site everyday now, enhanced my listening skills and sometimes detect now my own HS (just listening and comparing my two early UK Track Who Tommy inspired by your listing yesterday) and am amazed by the quality but also differences from side to side).

Best.
Christian

Christian,

We are so happy to hear that we’ve made your life better with our records, who could ask for anything more?

It wasn’t hard for us to beat your UK and German pressings, the UK original is a joke next to the good RL pressings. I hope you had a chance to play our Hot Stamper against the Heavy Vinyl reissue. If you did, please let us know what you heard.

As for your copies of Tommy have side to side differences, we’ve been going on about that for three decades, but for some reason audiophiles and those who write for them never notice these things.

We are not aware of any audiophile reviewer who can play Big Rock Records the way we can play them, the way they should be played, a subject we discussed in this commentary.

Thanks for your letter,

TP

Further Reading

Letter of the Week – “I wonder if you’ve ever had another customer who doesn’t own a turntable buy a white hot stamper from you?”

More of the Music of Fleetwood Mac

More of the Music of Led Zeppelin

Aaron has been trying to help his audiophile friends learn the differences between good records and Heavy Vinyl records. This first story concerns Chuck, who sold Aaron the VPI table you see pictured. Aaron writes:

Chuck’s a real record guy. I played him some hot stampers, alongside the same record in heavy vinyl format.

First up was Rumours – white hot up against the Hoffman 45 mastering. He wanted to hear “you make loving fun,” so we did.

The drums on the Hoffman are more prominent, and they grab you right away. Way out of balance to my taste.

He said, “Hoffman’s done a great job with the drums. But it comes at the expense of Christine’s voice. That’s okay, I never loved her as a singer anyway.”

Next I busted out my holy grail, and played him my Zep 2 WHS. Followed up by the Jimmy Page remastering. The latter is indeed a decent record, Tom, as you say. But the clarity on the drums is superior on the Ludwig. [Clarity is not the word I would have chosen, but that’s another story for another day.]

As Chuck put it, “I never thought of this as a vocal record.” Plant’s voice just has so much more emotion on the hot stamper than on the Page version. He said, “the Page version takes out some of the humanity.” I totally agreed with that. Chuck was amazed that you were able to find and sell me a RL copy with such clean vinyl. I took the record off the table and showed it to him – he was amazed to see how scuffed it looked. It’d grade VG at best visually, but man does it play clean.

So, record after record, Chuck could hear what the hot stampers were doing. And, no doubt, the VPI table is making the hot stampers sound better, and in comparison, the heavy vinyl sounds even duller.

That said, this turntable is so much more revealing than my Clearaudio was, that there is always something delightful to listen to on my heavy vinyl records. They don’t sound worse, they sound better than they used to. It’s just that the gap between them and the hot stampers is only continuing to grow wider.

So, my man Chuck, who sold me his VPI turntable, saw the light. But then he shielded his eyes from it. Even though Chuck’s got a stack of 25 benjamins in his hand right now, I don’t think any of that is headed your way, Tom.

Aaron followed up this letter with one about another friend, Bill, who is now, with Aaron’s help, building his first great stereo. Aaron brought along a killer copy of Clap Hands in order to judge the speakers they would be auditioning in various audio salons. When Ella finally sounded right, that was it.

Bill closed the deal on the spot, and we retired to his home to sip some Japanese whiskey and listen to some music. As we chatted, he asked me more about the copy of Rumours I had played for him at my house last week.

It had made him bury his face in his hands and declare, “money can’t buy that sound.”

When he reminded me of how moved he was by what he heard in my listening room, and feeling loosened up by the whiskey, I confessed to him that, in fact, money CAN buy that sound. Just, a whole lot of money. Sure enough, a WHS of Rumours was available on your site, and he bought it without hesitation.

No turntable, buying hot stampers.

I wonder if you’ve ever had another customer who doesn’t own a turntable buy a white hot stamper from you? It’s actually a really good move. I’m now firmly of the opinion that anybody shopping for a stereo should bring along a hot stamper. Pick a favorite album, and buy a hot stamper to bring with you as you listen to equipment. Even if you don’t own a turntable, a hot stamper is going to reveal the character of the equipment you demo, in a way that no streaming or demo CD can do. The price of a hot stamper is small in the context of helping you to avoid making a bad stereo purchase.

Aaron

Aaron,

I’m firmly of that opinion too: buy more Hot Stampers!

In order to judge equipment, you must have a record that is right, and one of our killer copies of Rumours is going to be right in ways that few other records are. We even advise you on what to listen for on practically every track on the album here.

I hope that when Bill finally gets a turntable that our Rumours sounds good on it. Judging equipment or turntable setup solely with female vocals — even vocals as good as Ella’s — is not something we recommend, a subject we discussed in some detail here.

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