Top Artists – Michael Jackson

Michael Jackson / Thriller – A Rock, Pop and Soul Masterpiece

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Reviews and Commentaries for Thriller

  • With outstanding grades throughout, this pressing of Michael Jackson’s Masterpiece of Funky Rock Pop will be very hard to beat 
  • The sound is huge – big, wide, deep, and open, with a punchy bottom end and rhythmic energy to spare, as well as cleaner, smoother, sweeter upper mids and a more extended top
  • Billie Jean and Beat It sound out of this world, but that’s not fair, since every track does
  • A Top 100 and 5 Stars on AMG: “This was a record that had something for everybody, building on the basic blueprint of Off the Wall by adding harder funk, hard rock, softer ballads, and smoother soul — expanding the approach to have something for every audience.”

This is some of the best High-Production-Value rock music of the ’80s. The amount of effort that went into the recording of Thriller is comparable to that expended by the engineers and producers of bands like Supertramp, The Who, Jethro Tull, Ambrosia, Pink Floyd and far too many of our favorites to list. It seems that no effort or cost was spared in making the home listening experience as compelling as the recording technology of the day permitted.

Sound that came Jumping-out-of-the-speakers coupled with driving rhythmic energy were the hallmarks of the best copies. These qualities really brought this complex music to life, gave it room to breathe, and made it possible for us to enjoy the hell out of it. This is yet another definition of a Hot Stamper — it’s the copy that lets the music work as music. (more…)

Michael Jackson – Off The Wall

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Reviews and Commentaries for Off the Wall

  • You’ll find outstanding Double Plus (A++) sound on both sides of this MJ classic with some of the most heartfelt, emotional and powerful music he ever recorded
  • Off the Wall is substantially sweeter, tubier, more natural, richer, more relaxed and more ANALOG than any other Michael Jackson album
  • We’re constantly blown away by just how good the best copies of Off the Wall sound – what a recording!
  • Clearly MJ’s best sounding release – 5 stars: “This was a visionary album … part of a colorful tapestry of lush ballads and strings, smooth soul and pop, soft rock, and alluring funk.”

As consistently brilliant as Thriller may be musically — it is the biggest selling album of all time after all [scratch that, the Eagles Greatest Hits just took the top spot away from Thriller recently] — speaking strictly in terms of sonics the sound of the best copies of Off the Wall is substantially sweeter, tubier, more natural, richer, and more ANALOG than Thriller.

Thriller is clearly more aggressive and processed-sounding than Off the Wall. The Girl Is Mine or Human Nature from Thriller would fit just fine anywhere on Off the Wall, but could the same be said for Beat It or Thriller? Just thinking about them you can hear the artificiality of the sound of both those songs in your head. Think about the snare that opens Beat It. I’ve never heard a snare sound like that in my life. Practically no instrument on Off the Wall has that kind of overly processed EQ’d sound.

Normally when you have a copy with plenty of presence, it can be somewhat sibilant in places. Sibilance is hardly a problem here. For some reason this copy has all the highs, but it’s cut so clean it practically doesn’t spit at all. Even on the song I Can’t Help It, which normally has a problem in that respect. Since that’s my favorite song on this album, and probably my favorite MJ song of all time, hearing it sound so good was a revelation. (more…)

The Jacksons – Triumph

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  • If you’ve heard one of our amazing Hot Stamper pressings of Off the Wall – the best sounding record Michael Jackson ever made – then you know exactly the Tubey Magical sound of the best copies of Triumph
  • We guarantee there is dramatically more space, richness, vocal presence, and performance energy on this copy than others you’ve heard, and that’s especially true if you made the mistake of buying whatever Heavy Vinyl pressing is currently on the market
  • 4 stars: “Released during the summer of 1980, just as the hits from Michael’s Off the Wall were sliding off the charts, Triumph became the Jacksons’ first Top Ten pop album since 1972’s Lookin’ Through the Windows…”
  • If you’re a fan of The Jacksons, this is one of their best.
  • The complete list of titles from 1980 that we’ve reviewed to date can be found here.

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Michael Jackson / Off The Wall – The CBS Half-Speed Is a Joke

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Reviews and Commentaries for Off the Wall

Sonic Grade: F

Pure MUD. No top end whatsoever!

I remember when we audiophiles looked down our noses at CBS Half-Speeds because they weren’t pressed in Japan and sold at a notable discount to the offerings of Mobile Fidelity and their competitors.

But we were so desperate back then for good sounding pressings that we bought them anyway!

Are audiophiles any less desperate today? They seem pretty desperate to me! They approach these new Heavy Vinyl records naively instead of skeptically, assuming they will be better sounding in exactly the same way I assumed the Half Speeds I was buying would be better sounding forty years ago.

The more things change…

If you are buying these modern pressings, take the advice of some of our customers and stop throwing your money away on Heavy Vinyl and Half-Speed Masters.

At the very least let us send you a Hot Stamper pressing — of any album you choose — that can show you what is wrong with your copy. And if for some reason you disagree that our record sounds better than yours, we will happily give you all your money back and wish you the best.

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Michael Jackson / Thriller – Proof that Bernie Grundman Could Still Cut a Good Record in 1982

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Reviews and Commentaries for Thriller

Our old friend Bernie Grundman handled the mastering for Thriller and managed to do a really nice job. Unfortunately, most copies of this mass-produced classic don’t give you as much of the magic as other copies, including the ones BG mastered.

The sound on this copy is huge — big, wide, deep, and open, with the kind of three-dimensional soundstaging that lets the music unfold in front of you and around you as well. You get the bottom end punch that’s so crucial to this music and tons of energy as well. The bass is meaty and well-defined, showing you the rhythmic foundation that the music needs. The overall sound is transparent with amazing texture to practically every element.

Michael’s voice is marvelous on this copy — breathy, textured, and positively dripping with emotion (just listen to him break down on The Lady in My Life).

Thanks to constant improvements in our stereo, we’re now getting this album to sound better than it ever has. Extended highs appeared where none had been before. We were hearing synthesizers buried deep in the mix we’d never heard. All of a sudden, these ’80s pop records had amazing analog magic.

If your system is up to the task, you won’t believe how big and lively this album sounds. Who woulda thunk it?

In a recent commentary we went into some detail about Bernie Grundman’s shortcomings as a mastering engineer.

Michael Jackson – Thoughts on Thriller, Circa 2006

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Reviews and Commentaries for Thriller

This pressing has a side two that is so amazing sounding that it COMPLETELY CHANGED my understanding and appreciation of this album. The average copy is a nice pop record. This copy is a MASTERPIECE of production and engineering.

After playing a bunch of these we noticed some recurring shortcomings on most of the pressings. Either they lacked extension on the top end or they lacked bass definition and weight, or both. When this copy hit the table, the first thing we noticed was that the top end was Right On The Money and the bottom end was also Right On The Money. Not surprisingly, the middle fell right into place.

It ended up having the most ambience, the most transparency, the most resolution, the most dynamic contrasts, the most presence — in short, it had more of EVERYTHING than any copy we’ve ever heard. The lesson to be learned there may be that when the extremes are somehow properly transferred to the vinyl, the middle will take care of itself. Since the extremes seem to be the hardest thing to get right, at least on this record, that might explain why so many copies don’t quite cut the mustard.

Side one fits perfectly into this theory. The bottom end is MEATY with plenty of punchy, solid bass, but the top end is lacking a bit of extension compared to the very best. The result is that there’s a trace of hardness in the vocals that shouldn’t be there. If you can add a dB or two of extreme highs, EVERYTHING will sound right on side one. It all comes back to life.

I remember twenty years ago playing Thriller and thinking they were all so transistory, spitty, and aggressive sounding.

Well, I didn’t have a Triplanar tonearm, a beautiful VPI table and everything that goes along with it back then. Now I can play this record. I couldn’t back then. All that spit was simply mistracking. The record is no different, it just sounds different now. In other words, this record is a great test. If you can play this record, you can play practically anything.

Off the Wall Vs. Thriller – Which One Has More Tubey Magic?

ABSOLUTELY STUNNING SOUND for this White Hot Stamper pressing!

Both sides cannot be beat — both have the BIG M.J. SOUND that jumps out of the speakers and fills the room. We’ve never heard a copy that was so full of ANALOG MAGIC!

The vocals are PERFECTION — breathy, full-bodied, and present. The top end is extended and sweet, with tons of ambience the likes of which I’ve never heard before.

Normally when you have a copy with strong midrange presence it will be somewhat sibilant in places. Not so here. For some reason this copy has all the highs, but it’s cut so clean it practically doesn’t spit at all. Even on the song I Can’t Help It, which normally has a problem in that respect. Since that’s my favorite song on this album, and probably my favorite MJ song of all time, hearing it sound so good was a revelation.

Better Sound than Thriller?

Yes. As consistently brilliant as Thriller may be musically — it is the biggest selling album of all time after all — speaking strictly in terms of sonics the sound of the best copies of Off the Wall is substantially sweeter, tubier, more natural, richer, and more ANALOG than Thriller.

Thriller is clearly more aggressive and processed-sounding than Off the Wall. The Girl Is Mine or Human Nature from Thriller would fit just fine anywhere on Off the Wall, but could the same be said for Beat It or Thriller? Just thinking about them you can hear the artificiality of the sound of both those songs in your head. Think about the snare that opens Beat It. I’ve never heard a snare sound like that in my life. Practically no instrument on Off the Wall has that kind of overly processed EQ’d sound.

Choruses Are Key

The richness, sweetness and freedom from artificiality is most apparent on Off the Wall where you most always hear it on a pop record: in the biggest, loudest, densest, climactic choruses.

We set the playback volume so that the loudest parts of the record are as huge and powerful as they can possibly grow to be without crossing the line into distortion or congestion. On some records, Dark Side of the Moon comes instantly to mind, the guitar solos on Money are the loudest thing on the record. On Breakfast in America the sax toward the end of The Logical Song is the biggest and loudest element in the mix, louder even than Roger Hodgson’s near-hysterical multi-track screaming “Who I am” about three quarters of the way through the track. Those are clearly exceptions though. Usually it’s the final chorus that gets bigger and louder than anything else.

A pop song is usually structured so as to build more and more power as it works its way through its verses and choruses, past the bridge, coming back around to make one final push, releasing all its energy in the final chorus, the climax of the song. On a good recording — one with real dynamics — that part should be very loud and very powerful.

Testing Off the Wall

It’s almost always the toughest test for a pop record, and it’s the main reason we play our records loud. The copies that hold up through the final choruses of their album’s largest scaled productions are the ones that provide the biggest thrills and the most emotionally powerful musical experiences one can have. Our Top 100 is full of the kinds of records that reward that listening at loud levels.

We live for that sound here at Better Records. It’s what vintage analog pressings do so brilliantly. They do it so much better than any other medium that there is really no comparison, and certainly no substitute. If you’re on this site you probably already know that.

To bring this discussion back to the subject at hand, the loudest choruses on Off the Wall are richer, smoother, sweeter and more free of processing artifacts than those on Thriller. (more…)

Letter of the Week – “…your Off the Wall pressing was a religious experience.”

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

Hey Tom, 

These are absolutely fantastic – mind blowing. I can’t believe I’m saying this, but your Off the Wall pressing was a religious experience.

Thanks again,

Jonathan

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Reviews and Commentaries for Off the Wall

Letter of the Week – “Wow! is the word that describes this album and I am glad I got mine.”

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Reviews and Commentaries for Off the Wall

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

Hey Tom,   

The Off The Wall Hot Stamper is a fantastic album and worth every penny. I am not what you would call an audiophile and won’t ever claim to be but I know what I like. I have listened to this album 5 times and I am just amazed that all the [tracks] can SOUND SO GOOD.

I especially like Girlfriend, She’s Out of My Life where Michael’s voice strains and I can hear him take a couple of breaths before the last couple of words and I Can’t Help It is exceptional. Wow! is the word that describes this album and I am glad I got mine.

Thanks for all the great sounds.

Desi L.

Michael Jackson – Bad

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  • A KILLER copy with two Shootout Winning Triple Plus (A+++) sides – this is some of the best sound we have ever heard on Bad – exceptionally QUIET vinyl too
  • This one beat every other copy we played against it – the sound is huge, full-bodied, punchy and relatively smooth throughout, with real space and ambience around the vocals and instruments
  • Includes some of Jackson’s biggest 80’s hits, “Man in the Mirror,” “Dirty Diana,” Smooth Criminal,” and of course, the title track 
  • 4 1/2 stars: “… essentially taking each portion of Thriller to an extreme, while increasing the quotient of immaculate studiocraft. He wound up with a sleeker, slicker Thriller, which isn’t a bad thing…”

Michael Jackson’s records always make for tough shootouts. His everything-but-the-kitchen-sink approach to recording make it difficult to translate so much sound to disc. vinyl or otherwise. Everything has to be tuned up and on the money before we can even hope to get the record sounding right. (Careful VTA adjustment could not be more critical in this respect.)

If we’re not hearing the sound we want, we keep messing with the adjustments until we do. There is no getting around sweating the details when sitting down to test a complex recording such as this. If you can’t stand the tweaking tedium, get out of the kitchen (or listening room as the case may be). Obsessing over every aspect of a record’s reproduction is what we do for a living. This kind of Big Rock Recording requires us to be at the top of our game, both in terms of reproducing the albums themselves as well as evaluating the merits of individual pressings.

When you love it, it’s not work, it’s fun. Tedious, occasionally exasperating fun, but still fun. And the louder you play a record like this the better it sounds.

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