Top Artists – Tom Petty

Tom Petty – Hard Promises

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This vintage copy boasts outstanding Double Plus (A++) grades or BETTER from top to bottom
Recorded at Sound City, home to some of the greatest analog sound ever recorded, this 1981 Backstreet pressing still has plenty of ANALOG magic in its grooves
4 1/2 stars: “…filled with great songwriting, something that’s as difficult to achieve as a distinctive sound… ‘The Waiting’ became the best-known song on the record, but there’s no discounting ‘A Woman in Love,’ ‘Nightwatchman,’ ‘Kings Road,’ and ‘The Criminal Kind,’ album tracks that would become fan favorites… it has a tremendous set of songs and a unified sound that makes it one of Petty’s finest records.”
If you’re a fan of Tom Petty and his hard-rockin’ bandmates, this is a classic from 1981 that belongs in your collection
The complete list of titles from 1981 that we’ve reviewed to date can be found here.

The album tends to be bright, thin, edgy, pinched and gritty — radio friendly, maybe, but not especially audiophile friendly.

We hate that sound but we are happy to report that some copies manage to avoid it, and this is one of them.

Is that richer, fuller sound the sound of what’s on the master tape or did the mastering engineer “fix” it?

We’ll never know, now will we?

What we can know is the sound of the pressings we actually have to play, and this one is killer.

Recorded by Shelly Yakus at Sound City, Van Nuys and at Cherokee Studios, Hollywood, CA, this vintage Backstreet pressing has the kind of Tubey Magical Midrange that modern records can barely 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.

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Tom Petty & the Heartbreakers – Southern Accents

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With two outstanding Double Plus (A++) sides, this early MCA pressing is doing just about everything right – exceptionally quiet vinyl too
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
“Southern Accents is an ambitious album, attempting to incorporate touches of psychedelia, soul, and country into a loose concept about the modern South… ‘Rebels’ and ‘Spike’ are fine rockers, and ‘Don’t Come Around Here No More’ and ‘Make It Better (Forget About Me)’ expand The Heartbreakers’ sound nicely.”
If you’re a fan of Tom Petty and his bandmates, this classic from 1985 surely belongs in your collection.
The complete list of titles from 1985 that we’ve reviewed to date can be found here.

If you’ve tried to find a good sounding copy of this album you could easily be forgiven for throwing in the towel — we almost did ourselves, and more than once. We’ve cleaned and played a pile of copies over the years, and now we are glad to report that this one sounds like a completely different album — it’s rich, smooth, and sweet, a big step up over the typical gritty, grainy copy.

Credit must obviously go to the man behind the console, Shelly Yakus, someone who we freely admit, now with a sense of embarrassment, had never been one of our favorite engineers. After hearing a White Hot Stamper pressing of Damn the Torpedoes and a killer copy of Crack the Sky’s Animal Notes, as well as amazing sounding pressings of Moondance (his first official lead engineering gig) and Twelve Dreams of Dr. Sardonicus, we realize that we have seriously underestimated the man.

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Tom Petty and the Heartbreakers / Long After Dark – What the Best Pressings Get Right

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Energy and rock and roll rhythmic drive are of course paramount on any Tom Petty album.

Many copies were brighter than ideal, which is nothing new for Petty’s body of work but not the sound we find most pleasing.

Some copies in our shootout were dark and small; we took serious points off for both of these shortcomings.

The climaxes of the songs should be as uncompressed and uncongested as possible to earn our higher grades. When the music gets loud it should stay tonally correct and undistorted, and not all copies can do that, not at the serious levels we like to play our records.

Choruses Are Key

Watch out for too many instruments and voices jammed into too little space in the upper midrange. When the tonality is shifted-up, even slightly, or there is too much compression or distortion, there will be too many upper midrange elements — voices, guitars, drums — vying for space, resulting in congestion and a loss of clarity.

With the more solid-sounding copies, the lower mids are full and rich. Above them, the next “level up” so to speak, there’s plenty of space in which to fit all the instruments and voices comfortably, without piling them on top of one another as so often happens. Consequently, the upper midrange “space” does not get overwhelmed with musical information.

Also watch for edge on the vocals, which is of course related to the issues above. Most copies have at least some edge to the vocals — the band wants to really belt it out in the choruses, and they do — but the best copies keep the edge under control, without sounding compressed, dark, dull, or smeary.

The highest quality equipment, on the hottest Hot Stamper copies, will play the loudest and most difficult-to-reproduce passages with virtually no edge, grit, or grain, even at very loud levels.

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Letter of the Week – “Oh my god can I hear what I am missing on all of the other nonsense.”

More Hot Stamper Pressings of Albums with Stevie Nicks Performing

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

Hey Tom,

Well one thing I know for sure is the record matters A LOT. I have a handful of White Hots and oh my god can I hear what I am missing on all of the other nonsense. Even my Super Hots beat all of my other average stuff.

For example, my White Hot of Bella Donna is so far over the top of sounding like she is heard in the room that it’s scary. Same with my Bob Marley and Tom Petty. But in guessing they could be even better. I’m gonna update my cartridge and phono amp soon.

I noted:

The problem with audio systems is that you are always flying blind, never knowing what you are missing until you hear it. Again, more evidence to support the success of mediocre Heavy Vinyl.

He added:

I relate to that. It’s like our race cars. It’s maddening to get into someone else’s race car…

I replied:

That analogy works better if the other race car in question has a flat tire or two and the owner of it cannot even tell that it does.

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Tom Petty – Full Moon Fever

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Full Moon Fever returns to the site on this original UK pressing that boasts a STUNNING Shootout Winning Triple (A+++) side two mated to an excellent Double Plus (A++) side one
Big, full-bodied, clean, clear and spacious with a huge bottom end and tons of big rock energy
Forget the dry, flat domestic LPs – these UK pressings are the only ones with the Tubey Magical richness the music needs
4 1/2 stars: “.…the real reason Full Moon Fever became Petty’s biggest hit is that it boasted a selection of songs that rivaled Damn the Torpedoes. Full Moon Fever didn’t have a weak track… [it] might have been meant as an off-the-cuff detour, but it turned into a minor masterpiece.”

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Tom Petty & the Heartbreakers – It Took Us Until 2011 to Resolve the Studio Ambience

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Reviews and Commentaries for the Music of Tom Petty

This commentary was written way back in 2011 after playing the best sounding copy of the album we had ever heard up to that point.

For those who may be interested, we offer some unsolicited audio advice toward the end of our review regarding what kind of stereo is not appropriate for Tom Petty’s albums.

Our story from 2011:

This Minty looking Shelter original LP has THE TWO BEST SOUNDING SIDES we have ever heard for this album! It’s a freak in the world of Tom Petty records, which tend to have NO good sounding sides.

And this is the band’s MASTERPIECE to boot, with four or five of their best and Hardest Rockin’ songs.

Both sides come flyin’ out of the gate with straight ahead rockers that have the Big Sound we go crazy for here at Better Records.

Side one was so unbelievable that we had to award it the rare Four Plus (A++++) rating.

Of course the sound is punchy and alive — with Hot Stampers, what else would they be? — but where did all that studio ambience come from?

Simple: the best copies have the RESOLUTION that’s missing from the average pressing. You know the kind of run-of-the-mill LP I’m talking about: punchy but crude and just a bit too aggressive to really enjoy.

Oh, but not this bad boy. Sweetly textured guitars, breathy vocals — all the subtleties of a Top Quality Recording are here, along with prodigious amounts of bass and powerful dynamics. (Check out that drum sound!)

If you can play this one good and loud you will be shocked at how good it sounds.

I’ve paraphrased a bit of commentary from Aja for this listing where we discussed the kind of changes we needed to go through here at Better Records to make it possible to play a hard-drivin’ rock record like this one and get it to sound the way we always wanted it to.

We Now Return to The Revolution, Which Is Already in Progress

As audiophiles we all know that when it sounds this good, it makes you appreciate the music even more. We had to make quite a few improvements in the system before that reality hit home. The third pair of Hallographs and the new EAR 324P phono stage we brought on board since the last shootout made a HUGE difference in the sound. Aja is now without a doubt a real DEMO DISC, and I wouldn’t want to live without it. It’s a THRILL to finally hear this album sound the way it should have sounded, but for various and sundry reasons never quite did.

A World of Sound Awaits You

That’s what the Recent Revolutionary Changes in Audio link is all about. If you haven’t taken advantage of all the new technologies that make LP playback dramatically better than it was even five years ago, Aja won’t do what it’s supposed to do. Trust me, there’s a world of sound lurking in the grooves of the best Aja’s that simply cannot be revealed without better cleaning fluids, Aurios, Hallographs, top quality front ends, big speakers and all the rest. Our playback system is designed to play records like Aja with all the size, weight and power of the real thing. We live for this kind of Big Rock sound here at Better Records. We’re prepared to do whatever it takes to play records like this with Maximum Fidelity, secure in the knowledge that a system that can play Aja can play ANYTHING.

Substitute You’re Gonna Get It! for the word Aja in the paragraphs above and you will get what I’m driving at.

Any system that can’t play a good Tom Petty album has no business being owned by anyone, let alone an audiophile.

That meaty bottom end, those perfectly distorted guitars — find equipment that can play that stuff right and buy it.

Don’t settle for some wimpy audiophile bullshit system.

Get a system that lets you play the music YOU love, not the music your stereo dealer likes to play in his showroom.

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In 2014 This Was the Best Sounding Tom Petty Record We’d Ever Played

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More of Our Favorite Artists’ Best Sounding Albums

In 2014 we wrote:

Damn the Torpedoes is the best sounding Tom Petty album we have ever played.

Credit must go to SHELLY YAKUS, someone who we freely admit, now with a sense of embarrassment, has never been one of our favorite engineers. After hearing this beyond-White Hot Stamper side two and a killer copy of Animal Notes we realize that we have seriously underestimated the man, and for that we deeply apologize.

If your Damn the Torpedoes doesn’t sound good (and it probably doesn’t), you sure can’t blame him — the master tape is mind-boggling in its size, weight, power and rock n’ roll energy.

Our 2014 better than White Hot Stamper copy had the kind of sound we never expected to hear on Damn The Torpedoes, an album that’s typically bright, thin, pinched and transistory — radio friendly but not especially audiophile friendly.

Well folks, all that’s changed, and by “all” I don’t necessarily mean all to include the records themselves. This may very well be a record that sounded gritty and pinched before it was cleaned. And our stereo has come a long way in the last five or ten years, as I hope yours has too.

One sign that you’re making progress in this hobby is that at least some of the records you’ve played recently, records that had never sounded especially good before, are now sounding very good indeed. In our case Damn the Torpedoes is one of those records. It’s the best sounding Tom Petty album we have ever played.

Mindblowing On Both Sides

Side two is OFF THE CHARTS! It’s big and rich with excellent presence and tons of energy. I could go on and on here but all you have to know is that it is BY FAR the best sounding side two we have ever heard.

Side one is almost as good, with lots of space around all of the instruments, tons of energy and less congestion than the average copy. The sound is positively jumpin’ out of the speakers.

Note that we no longer give out the A++++ Beyond White Hot Stamper grade for the kinds of pressings that blew our minds, with sound so far superior to any copy we had ever heard that they actually broke our grading scale.

Tom Petty & the Heartbreakers – You’re Gonna Get It!

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More of Our Favorite Titles from 1978

Musically it’s surely the best record Tom Petty ever made – a late ’70s Rock Classic
Three of Petty’s best songs are on this one – Restless, I Need To Know and Listen To Her Heart – and they sound amazing
“Overall, the current LP boasts an impressive stylistic cohesiveness with its predecessor, but what makes the album exciting are the fresh hints of openness and expansion just beneath the surface. The rhythms are a bit looser, and there’s a new emphasis on Petty’s rough, driving, rock & roll guitar in the mix.” Rolling Stone

Vintage covers for this album are hard to find in exceptionally clean shape. Most of them will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG.

Sweetly textured guitars, breathy vocals — all the subtleties of a High Quality Recording are here, along with prodigious amounts of bass and powerful dynamics. Check out that drum sound! If you can play this one at the levels it demands you might just be shocked at how good it sounds. (more…)

The Traveling Wilburys – Learning the Record, Any Record

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More Helpful Advice on Doing Your Own Shootouts

Many of the pressings we played of Volume One suffered from too much compression and a phony hi-fi-ish quality on the vocals. We knew there had to be great copies out there somewhere, so we kept dropping the needle until we found a few good men. Here is what we had to say about a killer copy we ran into during that process.

We heard a lot of copies with a spitty, gritty top end, but this one is smooth like butter and sweet like candy. Side two is nearly as good but doesn’t have quiet the same energy factor. It’s still dramatically better than most copies out there.

Now that we’ve discovered these Hot Stampers, the sound is finally where we want it to be. Until this week, we were convinced that these songs sounded better on the radio. (That’s what tons of compression and FM bass boost will do for you.)

Learning the Record

For our recent shootout we had at our disposal a variety of pressings we thought would have the potential for Hot Stamper sound. We cleaned them carefully, then unplugged everything in the house we could, warmed up the system, Talisman’d it, found the right VTA for our Triplanar arm (by ear of course) and proceeded to spend the next hour or so playing copy after copy on side one, after which we repeated the process for side two.

If you have five or ten copies of a record and play them over and over against each other, the process itself teaches you what’s right and what’s wrong with the sound of the album. Once your ears are completely tuned to what the best pressings do well that other pressings do not do as well, using a few specific passages of music, it will quickly become obvious how well any given copy reproduces those passages.

The process is simple enough. First, you go deep into the sound. There you find a critically important passage in the music, one which most copies struggle — or fail — to reproduce as well as the best. Now, with the hard-won knowledge of precisely what to listen for, you are perfectly positioned to critique any and all pressings that come your way.

It may be a lot of work but it sure ain’t rocket science, and we never pretended it was. Just the opposite: from day one we’ve explained how to go about finding the Hot Stampers in your own collection.

The problem is that unless your a crazy person who bought multiple copies of the same album there is no way to know if any given copy is truly Hot Stamper. Hot Stampers are not merely good sounding records. They are the copies that win shootouts. This is a fact that cannot be emphasized too strongly.

As your stereo and room improve, as you take advantage of new cleaning technologies, as you find new and interesting pressings to evaluate, you may even be inclined to start the shootout process all over again, to find the hidden gem, the killer copy that blows away what you thought was the best.

You can’t find it by looking at it. You have to clean it and play it, and always against other pressings of the same album. There is no other way.

For the more popular records on the site such as the Beatles titles we have easily done more than twenty, maybe even as many as thirty to forty shootouts.

And very likely learned something new from every one.

Tom Petty / Damn The Torpedoes – Is This Audiophile LP Bright Enough For You?

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Reviews and Commentaries for the Music of Tom Petty

On this pressing it sure is. If your stereo is dull, dull, deadly dull, this company’s remastering approach, like many of the CBS Half-Speeds, will fix your lack of high end.

A perfect example of Stone Age Audio Thinking – a bright record to fix a dark system.

The only problem is, what happens when you put together a better system, one that’s tonally correct?

Then you will have to get rid of your old record collection and start over, right?

So get your stereo right before you go wasting lots of money on phony sounding records.

And most of the Heavy Vinyl pressings being made today are every bit as bad, but the tonality mistakes are simply reversed. The bass is boosted and the top is too smooth.

Why can’t these ridiculous audiophile labels make up their minds? Should records be bright or dull? Pick a lane!

Tune your system to that crap and you will find yourself in the real predicament down the road, assuming you ever get your stereo working right. Having a collection full of modern remasterings will make any progress in audio that much more difficult to achieve.

Or you could just buy one of these to play your bright records. Problem solved.

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