Incredible Demo Disc sound throughout: Triple Plus (A+++) on side two and close to that (A++ to A+++) on side one
This British original 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
“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. (more…)
A Space in Time is just one of the recordings that made me pursue Big Stereo Systems driving Big Speakers, right from my earliest days in audio. You need large dynamic drivers with plenty of piston area – the kind that can move a lot of air – in order to bring the power of the music to life.
If you have big speakers and a penchant for giving the old volume knoban extra click or two, it just doesn’t get any better than A Space in Time.(more…)
What a monster — this White Hot Stamper Frampton Comes Alive boasts KILLER A+++ sound on sides one, two, and four and very strong A++ sound on side three! If you’re looking for a top-shelf pressing of THE iconic Classic Rock Double Live Album, don’t let this one pass you by. If you grew up with this album it’s going to be a thrill to hear this copy rockin’ on a big audiophile system.
It’s ridiculously hard to find good sound for this record. Most copies are thin, dry and transistory. And it’s time consuming to clean and play as many copies of this double album as it takes to find enough Hot Stampers to make the endeavor worthwhile. When this album doesn’t have the goods it’s just not very fun. A White Hot Stamper copy like this one will remind you why we all went so crazy for this music back in the ’70s.(more…)
Hot Stampers for one of our favorite Classic Rock records have finally made it to the site! This British original is the very definition of TUBEY MAGIC. The sound is so rich and sweet it will make you want to take all your CDs and dump them in the trash (if you haven’t done so already).
This is the sound WE LOVE here at Better Records, assuming the pressing in question still maintains its dynamics and 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.(more…)
A KILLER copy of the Stones’ last great album with Triple Plus (A+++) sound from the first note to the last
You aren’t going to believe how hard this pressing rocks, with all the WHOMP and ENERGY you never knew was there
Tons of great songs – Miss You, Beast of Burden and Shattered, all sounding shockingly good on this Shootout Winning copy
5 Stars on Allmusic: “Some Girls may not have the back-street aggression of their ’60s records, or the majestic, drugged-out murk of their early-’70s work, but its brand of glitzy, decadent hard rock still makes it a definitive Stones album.”
This is the Stones’ last truly great album in our opinion. 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 or too grainy for serious audiophile listening, but this one is a MONSTER. It’s beyond difficult to find great sound for The Stones, so take this one home for a spin if you want to hear this band come 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 all the music is!(more…)
CHRIS KIMSEY is one of our favorite recording and mixing engineers. Click on the link to find our in-stock Kimsey engineered or produced albums, along with plenty of our famous commentaries.
Many can be found in our R ock and Pop Top 100 List of Best Sounding Albums with the Best Music (limited to titles that we can actually find sufficient copies of with which to do our Hot Stamper shootouts).
By the way, the BGO Import CD of this album is excellent. No match for a Hot Stamper of course, but dramatically better than the average classic rock CD, and quite a bit better than the domestic CDs we’ve auditioned.
The Audio Fidelity Gold CD mastered by Steve Hoffman is even better. If you don’t want to buy a Hot Stamper LP, that CD is your best bet (assuming it sounds as good as mine).
This is some of the best High-Production-Value rock music of the ’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 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. (Of course, as it turns out, recording technology only got worse as the decade wore on, and during the ’80s the sound of most records went off a cliff.)
Big Production British Rock & Roll just doesn’t get much better than A Space in Time. (more…)
Frampton’s first solo album, Wind of Change, was recorded by the well-known engineer Chris Kimsey, who 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 as rich, sweet, and Tubey Magical as practically anything you’ve ever heard (as well as overly tube compressed, its biggest fault).
I unashamedly confess to being a huge Frampton fan to this very day. Wind of Change has been a Desert Island Disc for me ever since I picked up my first copy while still in high school. I bought the first Frampton album as soon as it came out, probably based on a magazine review. Think I paid $3.08 for it; that was the discount price for an album at the little record store I frequented back in those days. It was in Leucadia, CA, not far from where I went to high school. (more…)