Top Artists – War

War – The World Is A Ghetto

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  • A STUNNING copy with Shootout Winning Triple Plus (A+++) sound or very close to it throughout
  • Both of these sides are so open and three-dimensional, with tons of bass and driving rhythmic energy like no other
  • 4 stars: “‘The Cisco Kid’ and ‘The World Is a Ghetto’ understandably dominated the album’s exposure, but there’s much more to enjoy here, even decades on. Beyond the quality of the musicianship, the classy, forward-looking production has held up remarkably well…”

Engineered by the brilliant Chris Huston, this recording displays all his trademark gifts. His mixes feature lots of bass; huge, room-filling choruses that get loud without straining or becoming congested; and rhythmic energy that few pop recordings could lay claim to in 1972.

As for the choruses, allow me to paraphrase another listing, the from Commoner’s Crown.

This is one of the rare pop/rock albums that actually has actual, measurable, serious dynamic contrasts in its levels as it moves from the verses to the choruses of many songs. The first track on side two, Four Cornered Room, is a perfect example. Not only are the choruses noticeably louder than the verses, but later on in the song the choruses get REALLY LOUD, louder than the choruses of 99 out of 100 rock/pop records we audition. It sometimes takes a record like this to open your ears to how compressed practically everything else you own is

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War / Why Can’t We Be Friends? – A True Demo Disc

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This Well Recorded Album Should Be More Popular with Audiophiles

  • An incredible copy of the band’s 1975 release, with Shootout Winning Triple Plus (A+++) sound or close to it throughout
  • One of our favorite albums here at Better Records and clearly the band’s Masterpiece – the bass and dynamics on the better pressings make this a Demo Disc on the right system
  • 4 stars [but we give it 5]: “Cut from the same cloth as the band’s 1973 Deliver the Word LP, War’s 1975 Why Can’t We Be Friends? is a masterpiece in its scope and breadth. [It] remains one of War’s truly outstanding efforts, and has become an integral part of the funk genre’s landscape. It also remains the nightcap of their finest hour.”

Engineered by the brilliant Chris Huston, this recording displays all his trademark gifts. His mixes feature lots of bass; huge, room-filling choruses that get loud without straining or becoming congested; and rhythmic energy that few pop recordings could lay claim to in 1975.

Low Rider sounds AWESOME on this one. This is the kind of record you can take to any stereo store or audiophile friend’s house and bring their stereos to their knees. Audiophile systems are rarely designed to play this kind of music at the levels it demands, but that doesn’t mean they shouldn’t be. Records like this are the challenge we audiophiles need to make our stereos even better. When the music is this good it’s worth the effort

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War – Richness Or Transparency – On This Album You Need Both

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We discuss two qualities essential to the sound of the album Why Can’t We Be Friends? — Richness and Transparency.     

As usually happens in these shootouts we learned that there’s so much more to this album than just big bass. What really makes this music come alive on the best copies was the result of two qualities we found were in fairly short supply.

(1) Richness 
(2) Transparency

When the vocals sound thin and pinched as they do on so many copies of this album, possibly the result of the grainy crap vinyl UA is infamous for, that sour sound takes all the fun out of the music. Many tracks have group vocals and choruses, and the best copies make all the guys sound like they are standing in a big room, shoulder to shoulder, belting it out live and in living color. These are not classically trained singers. These are guys who love their music, who make up in enthusiasm what they lack in polish. I say more power to them. Smoke ’em if you got ’em and turn it up!

The good copies capture that energy and bring it into the mix with the full-bodied sound it no doubt had live in the studio. When the EQ or the vinyl goes awry and their voices start to take on a lean or gritty quality, the party’s over. (Seriously; this album has a party atmosphere; it’s overflowing with fun energy. If you can’t play it loud enough to rock because the sound is fighting you with every click of the volume knob, what is the point of playing it all?) (more…)

Letter of the Week “I have often found myself listening to things on your albums that I never imagined would be captured on vinyl!”

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

Hey Tom, 

Please accept my apology. This email has been written in my head many times before now. However, life, and its many responsibilities have forced their own priority and delayed the composition of this message.

I have long been a skeptical person. My personality, and profession encourage skepticism. That skepticism was high when I first purchased a Ry Cooder album from you in 2014. Prior to that first purchase, I had been conducting research to discover what album pressings were likely to contain the best sound. I do not recall where I initially viewed your banner advertisement (possibly stevehoffman.tv, [not a chance!] or audiokarma.org? [maybe]). Either way, I clicked on the ad for your site and noticed a Ry Cooder album that I have always loved, and I took a chance. Boy was I surprised!

Since then I have purchased many albums from you, and I have been extremely happy with nearly all of them (even 95% accuracy is rare in the physical word, and you have easily achieved accuracy beyond that point). I have often found myself listening to things on your albums that I never imagined would be captured on vinyl!

Just as a side note, I want to thank you for including Sly Stone (a personal favorite), and War in your catalog of albums. Most audiophiles are not focused on those genres, but they are missing some interesting music. Thank you for your excellence!

Justin