On this London LP, even though it says the record is electronically re-processed into stereo, the songs we heard on side one were dead mono.
So much for believing what you read on album covers. (more…)
One of our good customers had this to say about a Hot Stamper Rolling Stones title he purchased recently:
I was blown away by Let It Bleed. Despite the only noise on the record being on Love in Vain… that particular song sounds as if they are playing live in my living room! The richness of the guitars is unbelievable. And the bass on Live With Me, wow…. Great pressing! (more…)
One of our good customers had this to say about some Hot Stampers he purchased recently:
All time world champ. A cut above unbelievable! All the magic sans the shrillness so common in the multitudinous copies I’ve heard. Breathtaking finesse and musicianship exploding in holographic dynamics that are clean and tonally real and penetrating.
What a copy. Pure gold. Thank you Tom. You knocked it out of the park.Phil
Fantastic! We loved it too.
One small correction: Some mastering engineer knocked it out of the park. All we did was find the ball, grab it and run with it.
This LP has the British track listing, so don’t pick this one up if you’re looking for great sounding versions of Let’s Spend The Night Together or Ruby Tuesday. A bummer, but the domestic copies sound AWFUL, so what can you do?
This vintage British pressing has the kind of Tubey Magical Midrange that modern records rarely 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.
The best pressings give you exactly what you want from this brand of straight-ahead rock and roll: presence in the vocals, solid, note-like bass, big punchy drums, and the kind of live-in-the-studio energetic, clean and clear sound we love here at Better Records. With big speakers and the power to drive them, at loud levels YOU ARE THERE.
And why not? The engineer is Andy Johns, Glyn’s very talented younger brother (sadly, now deceased). They worked together on the Stones’ previous album, Exile on Main St.
Andy engineered the Zep albums from II through Physical Graffiti, and those are amazingly well-recorded albums in anybody’s book when you have pressings that allow you to hear them right.
And you can add to that group Tull’s Stand Up (69), Traffic’s John Barleycorn (70) and the Stones’ Their Satanic Majesties Request (67), Sticky Fingers (71) and It’s Only Rock ‘N Roll (74). Even two tracks from Stephen Stills’ first album (71). (more…)
And the music is interesting and fun from first song to last. With Joe Pass on guitar how could it not be – the guy’s a very talented player.
With two Triple Plus (A+++) shootout winning sides, this original stereo World Pacific copy simply could not be beat
Engineering by Bruce Botnick
Botnick is of course the man behind the superb recordings of The Doors, Love and others too numerous to mention.
He also recorded another of our favorite West Coast jazz ensemble records, Bud Shank And the Sax Section. That undiscovered gem — well known to us but heretofore undiscovered by the audiophile public as far as we can tell — has a lot in common with this album. Top players, smart arrangements, superb sound, the album is as fun as Fun West Coast Jazz gets.
This copy is spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it. (more…)
This is the Stones’ last truly great album. All Music Guide gives it the same 5 star rating that they awarded Beggars Banquet, Let It Bleed, and Sticky Fingers. With hits like Miss You, Shattered, and Beast Of Burden, it’s easy to see why.
Most copies are too thin and grainy for serious audiophile listening, but this one is a different story. It’s not easy to find great sound for The Stones, so take this one home for a spin if you want to hear this band bring these songs to life in your very own listening room.
Not many copies have this kind of clarity and transparency, or this kind of big, well-defined bottom end. The sound of the hi-hat is natural and clear on this pressing, as are the vocals, which means that the tonality in the midrange is correct, and what could be more important than a good midrange? It’s where the music is. (more…)
This is the Stones at their most experimental, so there are plenty of strange effects and trippy arrangements. Only the best copies manage to make sense of it, but when you find one this music is a lot of fun.
If you’re looking for the raging bluesy rock of Sticky Fingers and Let It Bleed, you’ll find some of that here but also a lot of psychedelia too. You do get some great rockers though — Citadel, 2000 Man, and 2000 Light Years From Home to name a few. She’s A Rainbow is the poppiest song here, and on this copy it sounds WONDERFUL. (more…)