Top Engineers – Glyn Johns

The Rolling Stones – Black and Blue – Our Shootout Winner from 2016

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A distinguished member of the Better Records Rock and Roll Hall of Fame.

This is in fact one of the better sounding “later period” (1976) Stones records we’ve played, if we’re talking about the better copies, like this one. The best pressings are big, open, dynamic and full-bodied, with exceptionally lively percussion. As always, credit goes to the recording engineers, Glyn Johns et al., as well as Lee Hulko at Sterling, the original mastering engineer (who’s cut about as many good sounding records as anyone we can think of).  

Hand of Fate is our favorite on side one, sounding like an unreleased track from Exile on Main Street. I’m guessing Glyn Johns had a lot to do with that one sounding as meaty and raw as it does. Following Hot Stuff, it balances that one’s bright, clear sound nicely, making it easy to separate the real winners from the also-rans. (more…)

Eagles – Desperado

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A distinguished member of the Better Records Rock Hall of Fame.

This Original Asylum White Label Pressing has a STRONG A++ side one backed with a KILLER A+++ side two! It’s been a couple of weeks since we finished our big shootout for this great album and I still can’t get over how amazing this copy sounded. Most copies are too compressed to ever really come to life, but this one is big, bold and dynamic with lots of energy. The bottom end is positively killer on this one. 

Side one earned an A++ grade. It’s incredibly transparent with lots of ambience and space around the various instruments. There’s loads of tubey magic; most copies just aren’t this rich, warm or sweet. Our very best side ones have a little more presence, but I doubt anyone will be less than thrilled by the sound here.

Side two has it ALL going on, which is why we gave it our top grade of A+++. The soundfield is big, wide and DEEP. The top end is extended and silky sweet, qualities that you don’t get on most copies out there. This side has all the immediacy you could ask for. I just don’t think you could find a better sounding side two no matter what you did.

On the TAS Super Disc List, Harry Pearson recommends the British SYL pressings for this album. SYL pressings can sound very good; we’ve previously found one that rated a Double Plus on both sides. But our champions for both sides were both domestic, both this time and last time. (more…)

Rod Stewart – Never A Dull Moment – What to Listen For

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Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your copy of NADM. 

Most copies tend to be dull, veiled, thick and congested, but the trick with the better pressings is being able to separate out the various parts with ease and hear right INTO the music.

Just listen to those meaty electric guitars, the note-like bass or that amazing snare drum sound with such a huge THWACK — that’s the raw power of rock n’ roll, baby.

It’s also surprisingly airy, open, and spacious — not quite what you’d expect from a bluesy British rock album like this, right? Not too many Faces records sound like this, we can tell you that.

But the engineers here managed to pull it off. One of them was Glyn Johns (mis-spelled in the credits Glynn Johns), who’s only responsible for the first track on side one, True Blue. Naturally that happens to be one of the best sounding tracks on the whole album. (more…)

The Rolling Stones – Beggars Banquet on London

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  • A killer vintage copy of this exceptionally well-recorded Stones album from ’69, with superb Double Plus (A++) sound from first note to last
  • Clear, rich and lively throughout – the Tubey Magic of the best pressings is what has them sounding the way they should
  • One of a select group of Rolling Stones Must Own records which we prize above all others – Sticky Fingers and Let It Bleed round out the trio
  • 5 stars: “Basic rock & roll was not forgotten, however: ‘Street Fighting Man’… was one of their most innovative singles, and ‘Sympathy for the Devil’… was an image-defining epic.”

Good pressings are certainly not easy to come by — this kind of rich, full-bodied, musical sound is the exception, not the rule. And there’s actual space and extension up top as well, something you certainly don’t hear on most pressings. This is a fantastic album, and excellent sides like these give it the kind of sound it deserves.

Raw Rock & Roll Sound

Of course, Hot Stamper Sound still only gets you what’s on the tape. In this case, it’s some rude, crude, dirty rock & roll. That’s clearly what the Stones were going for here. In terms of audiophile appeal, Tea For The Tillerman this ain’t. Nor does it want to be!

What sets the best copies apart from the pack is a fuller, richer tonal balance, which is achieved mostly by having plenty of bass and lower midrange energy. The copies that are bass shy — most of them, that is to say — tend to bring out more of that midrangy shortcoming. (more…)

Eagles – Listening in Depth

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Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your copy or copies of The Eagles amazingly well recorded first album.

The Eagles first album is without a doubt Glyn Johns’ masterpiece — rock records just don’t sound any better! It’s exactly the kind of record that makes virtually ANY Audiophile Record pale in comparison. EVERYTHING you could ask for as an audiophile is all here and more.  

The Eagles first album is without a doubt Glyn Johns’ masterpiece — rock records just don’t sound any better! It’s exactly the kind of record that makes virtually ANY Audiophile Record pale in comparison. EVERYTHING you could ask for as an audiophile is all here and more. When you drop the needle on Train Leaves Here This Morning, the opener for side two, the immediate impression you will get is “WOW”. The sound is as BIG and BOLD as any outside of the live event. The sweetness and the tubey magical quality of the vocals are virtually without equal. It’s my favorite track on the album and it KILLS on this copy!

A Top Ten Title

You may have seen our Top 100 list of the best sounding rock records elsewhere on the site. If we were to pick out a Top Ten from that list, this record would have made the cut.

In-Depth Track Commentary

Side One

Take It Easy

On most copies the vocals in the chorus will be a little bit strained. When you hear the vocals sound completely free from harmonic distortion or “edge” of any kind, you have yourself an exceptionally well mastered and pressed copy.

Witchy Woman

Witchy Woman is one of the key test tracks we use for side one. Take It Easy, the opening song, often sounds amazingly good — it’s got that driving beat and those acoustic guitars and it just seems to be one of those songs that usually sounds right on the original pressings.

Witchy Woman starts out with huge, powerful drums: they should just knock you out. Next comes an acoustic guitar with a lot of echo: the more echo the better, because that means the pressing has lots of resolution. The echo is on the tape, and the more of the tape that ends up on the record the better. Then comes the vocal. It should not be too bright, spitty or grainy. The vocals also have tons of ambience surrounding them on the best copies.

This is a HUGE Demo Quality track. If this song doesn’t knock your socks off something is not working right.

Chug All Night 
Most of Us Are Sad 
Nightingale

Side Two

Train Leaves Here This Morning

This is my favorite track on the album. In fact I like it so much I think it’s the best Eagles song ever recorded. (Dillard and Clark recorded it on their album as well.) The acoustic guitars and vocal harmonies on this track are simply as good as it gets. If somebody can play me a CD that sounds like this I will eat it.

Take the Devil 
Early Bird

This is another tough track to master properly. The mix is very complicated, and there’s a banjo that figures prominently in it. Getting that banjo to sound musical is the trick. The bass is very rich on the best copies. On those copies that are a bit on the lean side, the banjo can take on an edgy and aggressive quality.

The best copies get the banjo JUST RIGHT and place it perfectly in the mix. On The Border, their third album and my personal favorite, makes wonderful use of the banjo. When the band changed their sound to take them in the direction of more straight ahead rock (One of These Nights) they lost me. The public felt differently, sending the album to Number One in the charts, which set the stage for the monster success of Hotel California.

Peaceful Easy Feeling 
Tryin’

Eric Clapton – Backless

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  • One of the better sounding copies to hit the site in a while – this British original earned Double Plus (A++) grades on both sides
  • Rich, smooth, clear sound throughout – listen to the grungy guitars on Walk Out In The Rain – that’s the way they should sound all right
  • Clapton comes to life on the traditional blues Early In The Morning – it also has the best sound on the album
  • “Backless is a seductive record, if you’re attracted to the interplay of Clapton’s dolorous voice and Marcy Levy’s raspy backup vocals, George Terry’s slide guitar and Glyn Johns’ pristine production.” Rolling Stone

The true test for side two was the second track, the old blues song Early In The Morning. It’s by far the best sounding track on the album, with huge space, rich bass, a fat snare and Tubey Magic to die for. This is the kind of sound that only the likes of Glyn Johns can get down on tape, live in the studio no doubt, and it made it easy to do the shootout for side two. The bigger, the richer, the tubier, the more transparent the better. It’s THE track to demo with.  (more…)

The Rolling Stones – Let It Bleed

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Let It Bleed

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  • With two outstanding Double Plus (A++) sides, this copy ROCKS from start to finish; fairly quiet vinyl too! 
  • Love In Vain on a copy like this is one of the best sounding Rolling Stones songs of all time
  • The acoustic guitar sound and the rich whomp of the snare proves that Glyn Johns is one of the Greatest Engineers who ever lived
  • Top 100, 5 stars on Allmusic – Jason McNeil of PopMatters wrote that Beggars Banquet and Let It Bleed are, “the two greatest albums the band’s (or anyone’s) ever made.” 

This is, IMHO, the second or third best record the Stones ever made. (Sticky Fingers is Number One, and either this or Beggar’s Banquet comes in a strong second.) With this pressing we can now hear the power and the beauty of this superb recording.

Love In Vain on a copy like this is one of the best sounding Rolling Stones songs of all time. In previous listings I’ve mentioned how good this song sounds — thanks to Glyn Johns, of course — but on these amazing Hot Stamper copies it is OUT OF THIS WORLD. (more…)

The Faces – A Nod Is As Good As A Wink

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  • Triple Plus (A+++) sound on side one backed with excellent Double Plus (A++) sound on side two, this copy is a MONSTER!
  • Rich and solid, yet open, spacious, and transparent — nothing like the muddy, congested sound we heard all day
  • 5 stars: it “doesn’t feel cobbled together and it serves up tremendous song after tremendous song.”

This Warner Bros. Green Label LP has MASTER TAPE sound on the first side and not far from it on the second! If you like your hard rock dirty and bluesy, you can’t do much better than this record. You’re going to freak out over the meaty guitars, the HUGE bass, and the live-in-the-studio vocals. We played a ton of copies and none of them could hold a candle to this one. 

You won’t be a minute into this record before you’re blown away by all the ambience and echo. You can really hear the sound of the big room around these guys as they rock out. The vocals sound Right On The Money — smooth, but with all of the raspiness that Rod Stewart is famous for.

The drums are big and punchy and the guitars sound grungy and  right. (more…)

The Beatles Let It Be – Listening In Depth

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Another in our series of Home Audio Exercises with specific advice on What to Listen For (WTLF) as you go about the business of critically evaluating copies of Let It Be.

This is the first time we’ve discussed individual tracks on the album. Our recent shootout, in which we discovered a mind-boggling, rule-breaking side one, motivated us to sit down and explain what the best copies should do on each side of the album for the tracks we test with. Better late than never I suppose. 

(These also happen to be ones that we can stand to hear over and over, dozens of times in fact, which becomes an important consideration when doing shootouts as we do for hours on end). (more…)

The Who – Who’s Next – Classic Records Reviewed

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Sonic Grade: B-

At one time we did not recommend this record but now we do! Without going into the sordid details, let”s just say this record sounds pretty good. The acoustic guitars are especially sweet and silky for a modern reissue. The sound is better than most of the pressings of Who’s Next I’ve ever played. Clearly this is is one of the better Classic Records rock records. (It’s the only Who record they’ve done that we carried. The others are awful.) 

The Best Bass Ever!

In our Hot Stamper commentary for Who’s Next we noted this about the sound of the Classic pressing:

It’s actually shockingly good, better than it has any right to be coming from Classic Records. The bass is PHENOMENAL; no British Track pressing had the bass punch and note-like clarity of the Classic. It shows you the kind of bass you had no idea could possibly be on the tape. It reminds me a bit of the Classic pressing of the first Zep album: in the case of the Zep, it has dynamics that simply are not to be found anywhere else. The Classic Who LP has that kind of bass — it can’t be found elsewhere so don’t bother looking. (Don’t get me wrong; we’ll keep looking, but after thirty plus years of Track Who LPs, we kinda know when we’re beaten.)

Hot Stampers Ain’t Cheap

We’ve found Hot Stampers of Who’s Next in the past, and they are still the ultimate versions. This goes without saying.

But Hot Stamper copies are not particularly quiet, and they are never cheap, which is in marked contrast to Classic Records’ heavy vinyl pressings, which are fairly quiet and also fairly cheap. Some of you may think $30 is a lot of money for a record, but we do not. It’s a fair price.

When you buy Crosby Stills and Nash’s first album or Tapestry or Bridge Over Troubled Water on Classic for $30, you are getting your money’s worth.

Don’t Kid Yourself

But don’t kid yourself. You are not getting anywhere near the best copy available, because the best copies are hard to find. We do find them, and we do charge a lot of money for them, because they sound absolutely AMAZING compared to the Classic version and anything else you’ve ever heard.

A Benchmark

We recommend you use the Classic version as a benchmark. When you find something that beats it, you have yourself a very good record. Until then, you still have a good, quiet record to enjoy. You win either way.