- With superb sound on all six sides, this early British box set of All Things Must Pass will be very hard to beat
- If you’ve struggled with domestic pressings and later imports or Heavy Vinyl reissues, your troubles are over – here is the sound you were looking for
- 5 stars: “Without a doubt, Harrison’s first solo recording is his best. Drawing on his backlog of unused compositions from the late Beatles era, Harrison crafted material that managed the rare feat of conveying spiritual mysticism without sacrificing his gifts for melody and grand, sweeping arrangements.”
- This is clearly George Harrison’s best sounding album. Roughly 100 other listings for the Best Sounding Album by an Artist or Group can be found here.
- This is a Must Own Title from 1970, a great year for Rock and Pop Music
- The complete list of titles from 1970 that we’ve reviewed to date can be found here
- A great deal of tube compression was used in the mixing and mastering of the album, which makes this a difficult one to reproduce on anything but the highest quality equipment
This is Frampton’s third album, released in 1974. A year later he would put out the wonderful Frampton album, tour it, and record the tour, which became Frampton Comes Alive. Finally the world would hear what a talented songwriter, singer, guitarist and all around performer the man had always been, starting with Humble Pie and reaching his zenith with his first solo album, Wind of Change, his Magnum Opus and a Desert Island Disc for your truly.
All the songs from this album that he played live are dramatically better in live performance than they are in the studio on this album.
Frampton produced Somethin’s Happening and unfortunately for all concerned the production is piss-poor, as is the sound.
I’ve never heard this record sound better than passable, whether on domestic or British vinyl. I gave up finding something better decades ago. The album is just not worth it.
As far as Peter Frampton’s body of work through the ’70s is concerned, it is clearly his worst sounding album.
The records he released in the ’80s are even worse — no surprise there — and the music is every bit as bad.
- This original pressing on the custom A&M label is ROCKIN’ with outstanding Double Plus (A++) grades or BETTER on all FOUR sides – exceptionally quiet vinyl too
- Performance is one of the best sounding – perhaps even THE best sounding – Hard Rock concert albums we’ve ever heard
- Engineered by the legendary Eddie Kramer, what other live rock record sounds this good?
- Marks in the vinyl are sometimes the nature of the beast with these Classic Rock records – there simply is no way around them if the superior sound of vintage analog is important to you
- 4 1/2 stars: “… [O]ne of the classic double-live albums of the ’70s: a two-LP set from a band that were earning a reputation as in-concert monsters, grinding out a living on a circuit that brought them from coast to coast in America… this was heavy, improvised blues rock where live moments trumped the studio… “
- A Member of the Prestigious “None Rocks Harder” Club
Can you imagine if Frampton Comes Alive sounded like this? If you want to hear some smokin’ Peter Frampton guitar work from when he was in the band, this album captures that sound better than any of their studio releases, and far better than Comes Alive on even the best copies.
Grungy guitars that jump out of the speakers, prodigious punchy deep bass, dynamic vocals and drum work — the best pressings of Rockin’ The Fillmore have more live FIREPOWER than any live recording we’ve ever heard. Who knew?
- On his second album, Frampton fronts a real rock band, playing his unique style of rock and pop, electric and acoustic, with consummate skill – if you’re a Frampton fan this is a record that belongs in your collection
- Superb engineering from Chris Kimsey and Eddie Kramer at Olympic and Electric Lady Studios
- 4 1/2 stars: “Named after Frampton’s touring band at the time, Frampton’s Camel has a harder-rocking feel than its predecessor Wind of Change, with Mick Gallagher’s percussive electric piano and organ taking a prominent position in the mix and Frampton getting a harder sound from his electric guitars (though his acoustic playing is so lush and lyrical that it dominates the album here and there in its quiet way).”
- If you’re a Frampton fan — I sure am — then this title from 1973 comes highly recommended.
- All titles from 1973 we’ve reviewed to date can be found here.
- An outstanding original A&M pressing of Frampton with solid Double Plus (A++) sound from start to finish
- Far too many copies have a problem with dry, edgy, lean vocals, the kind of vocal sound you simply cannot find anywhere on UK pressings of Wind of Change, but the best pressings of Frampton are richer and tubier without crossing into being dark and murky
- This has long been a personal favorite of mine, it’s a an album I’ve played hundreds of times and never tired of
- 4 stars: “Frampton exited Humble Pie because that group fell into a loud, hard rock groove that overwhelmed the technical skills he’d spent years working on as a guitarist; he poured a lot of that into this highly melodic mid-tempo rock album.”
A bit of background: Both his first solo album and this, his fourth, were recorded by the well-known engineer Chris Kimsey, who famously worked with the Stones and others too numerous to mention. To say that the sound of his albums varies considerably would be the understatement of the year. The first album (British only, fyi) is rich, sweet, and Tubey Magical as practically anything you’ve ever heard (as well as overly tube compressed, its biggest fault).
Sonically this album tends to be none of those things. However, if you play enough copies you are sure to run into at least some that sound right.
I unashamedly confess to being a huge Frampton fan to this very day. His first album, Wind of Change, has been a Desert Island Disc for me ever since I picked up my first copy while still in high school in 1972. I’m a Big Production Rock Guy, as you may have guessed from looking at the records we rave about the most, and Frampton’s first album is a classic of Big Production Rock, in the style of Abbey Road, Dark Side of the Moon, Songs for Beginners and fifty others I could name. Make that a hundred others. Or two hundred.
Which also explains why I’ve had very large dynamic speakers since about 1975, when I was first able to scrape together enough money to buy a pair of the well-regarded RTR 280-DR. (My mother had to co-sign the loan I took out shortly thereafter to buy an Audio Research SP3A-1 preamp and D-75 amp to power them, if that tells you anything. And ARC was reasonably priced back then; neither piece was even a grand!)
This fourth Frampton album may not boast the sound of his first, but it can have reasonably good sound, and musically it’s his strongest album after his debut, providing as it does much of the material for the blockbuster double live album that was to follow in less than a year, the one that broke the all time sales record set by Tapestry (and would be be bested itself soon enough by a little number known as the soundtrack to Saturday Night Fever). (more…)
A while back we discussed the kind of sound that Glyn Johns managed to get for the likes of Humble Pie and The Who:
But oh what a glorious sound it is when it’s working. There’s not a trace of anything phony up top, down low or anywhere in-between. This means it has a quality sorely at odds with the vast majority of audiophile pressings, new and old, as well as practically anything recorded in the last twenty years, and it is simply this: The louder you play it the better it gets.
This is without a doubt a big speaker record, one that requires the highest-resolution, lowest-distortion components to bring out its best qualities. If you have a system like that you should find much to like here.
I bought my first copy in 1972 when I was still in high school and it quickly became one of my favorite records. All these years later it still is. It’s records like this that shaped my audio purchases and pursuits. It takes a monster system to even begin to play this record right and that’s the kind of stereo I’ve always been drawn to. A stereo that can’t play this record, or The Beatles, or Ambrosia, or Yes, or the hundreds of other amazing recordings we put up on the site every year, is not one I would be very likely to own.
One of the best — if not THE best — rock concert albums we have ever heard. Can you imagine if Frampton Comes Alive sounded like this? If you want to hear some smokin’ Peter Frampton guitar work from the days when he was with the band, this album captures that sound better than any of their studio releases, and far better than FCA on even the best copies.
Grungy guitars that jump out of the speakers, prodigious amounts of punchy deep bass, dynamic vocals and drum work — the best pressings of Rockin’ The Fillmore have more firepower than any live recording we’ve ever heard.
Who knew? We didn’t, of course, until not that many years ago (2014 maybe?). But we are in the business of finding these things out. We get paid by our customers to find them the best sounding pressings in the world. It’s our job and we take it very seriously.
Did any audiophile reviewers ever play the album and report on its amazing sound? Not that we are aware of.
Do they have the kind of playback systems — the big rooms, the big speakers, the freedom from compression and artificiality — that are required to get the most from a recording such as this one?
Doubtful. Unlikely in the extreme even.
They don’t know how good a record like this can sound because they aren’t able to play it the way it needs to be played.
And when was the last time you read a review of a record that hadn’t just been reissued on Heavy Vinyl?
There was a time when audiophile reviewers wrote about exceptionally good sounding vintage pressings they had come across. Harry Pearson comes immediately to mind, but there were many others following his lead. Now it seems few of them can be bothered. More’s the pity.
- Frampton’s solo debut returns, now with Double Plus (A+++) sound on both sides and fairly quiet vinyl for an early UK pressing circa 1972
- This vintage British pressing is the very definition of TUBEY MAGIC, with sound so rich and sweet it will make you want to take all your CDs and dump them in the trash (now that record stores don’t even want them anymore)
- The best copies like this one keep what’s good about the recording while letting us hear into the soundfield with glorious transparency
- 4 stars: “The sound is crisp, the melodies catchy, and Frampton’s distinctive, elliptical Gibson Les Paul guitar leads soar throughout…“
This is some of the best High-Production-Value rock music of the ’60s and ’70s. The amount of effort that went into the recording of this album is comparable to that expended by the engineers and producers of bands like Supertramp, Yes, Jethro Tull, Ambrosia, Pink Floyd, Elton John and too many others 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.
The best song Peter Frampton ever wrote (and performed) is on this very record, in White Hot Stamper sound no less: All I Wanna Be (Is by Your Side). It has the Tubey Magical sound WE LOVE here at Better Records.
However, the richness that makes British recordings from the era so good can easily go over the edge, turning the sound into a thick, mucky stew in which the individual sonic components become difficult to separate out. Think of the typically dull Who’s Next or early Genesis or Jethro Tull albums and you’ll know exactly what I mean.
Only a select group of pressings are able to strike the right balance between Tubey Magic and clarity. This is one of those.
And as far as we can tell it’s the only version of the album that’s pressed from the master tape. The domestic A&M LPs are clearly made from dubbed tapes. They are as flat, small, smeary, veiled and opaque as any Heavy Vinyl pressing being made today, and we long ago gave up on them (i.e., domestic pressings of this album and Heavy Vinyl in general). (more…)
- This outstanding pressing boasts solid Double Plus (A++) sound from start to finish
- Hard rockin’ energy to spare, the kind you will be hard-pressed to find on any modern Heavy Vinyl reissue these days – Shine On is big and bold and simply amazing here
- A classic Glyn Johns recording – we were knocked out by the full-bodied, Tubey Magical sound of these killer pressings
- 4 stars: “The record has an undeniable live feel to it, due in part to Glyn Johns’ humble yet precise recording, framing the group as if they were a boogie version of the Band.”
Glyn Johns strikes again — this record is absolutely brimming with TUBEY MAGIC. It’s the sound we love here at Better Records, assuming the pressing in question still maintains some degree of presence, immediacy and transparency. Records like this can easily get thick and muddy; think of the typically dull Who’s Next or Sticky Fingers and you’ll know exactly what I mean.
But oh what a glorious sound it is when it’s working. There’s not a trace of anything phony up top, down low or anywhere in-between. This means it has a quality sorely at odds with the vast majority of audiophile pressiings, new and old, as well as practically anything recorded in the last twenty years, and it is simply this: The louder you play it the better it gets.
For that we must thank Glyn Johns. (more…)
If you like a big bottom end on your rock records, this is the album for you.
This, their third album and first for A&M (which probably explains the master tape sound on domestic vinyl), is one of the few Humble Pie titles we’ve found that can offer honest-to-goodness Hot Stamper sound. There is no mystery in this case; the sound comes courtesy of none other than Glyn Johns. He knows Heavy British Rock like nobody else on the planet, or did at the time anyway. If you want fat, meaty drums and guitars — think Who’s Next, Sticky Fingers or A Nod Is As Good As A Wink — Glyn is your man.
Listen to how big and how far forward the drums are in the mix on the first track. That is a sound one rarely hears on a studio recording, and that’s a shame because the drum sound on this record is awesome. (more…)