SUPERB SOUND on Hot Stamper 2-pack! This is not an easy album to find with audiophile sound, and since our best sides were less impressive on their flipsides, we paired up these two copies to give you incredible sound for the album from first note to last.
Side two of the second record is the real deal, with BIG, RICH and ROCKIN’ White Hot Stamper sound. Side one of the first record is nearly as good (A++ to A+++), boasting exceptional transparency, excellent balance and something we didn’t hear on most copies: ENERGY.(more…)
Tonally correct, which is one thing you can’t say for most of the Zeps in this series, that’s for sure. Those of you with crappy domestic copies, crappy imported reissues and crappy CDs, which is pretty much all there is of this recording, will not know what you’re missing.
Compare this title to some of the better Classic Zep releases and I expect you will notice that hearing into the midrange is a more difficult proposition on these songs, with reduced ambience and space around the voices and instruments.
What is lost in these newly remastered recordings? Lots of things, but the most obvious and bothersome is TRANSPARENCY. (more…)
RON NEVISONis one of our favorite engineers. He recorded Bad Company’s debut, a Top 100 album for us, as well as Straight Shooter. In 1973 he engineered Quadrophenia, taking the reins away from Glyn Johns after his success with the amazing Who’s Next.
1977 saw him working on the sprawling mess that turned into Physical Graffitti.
Bad Company was one of RON NEVISON’S early engineering jobs. The year before (1973) he had been behind the board at Ronnie Lane’s Mobile Studio for Quadrophenia, one of the best sounding Who albums we know of and a longtime member of our Top 100 (as is this album). He also knocked it out of the park on Bad Company’s followup release, 1975’s Straight Shooter. In 1977 he worked on the sprawling mess that turned into Physical Graffitti.
If you have top quality copies of any of them you should be able to recognize the qualities they all seem to have in common. This guy definitely knew how to get The Big Rock Sound onto analog tape.
Our job here at Better Records is simply to find you the very special pressings that actually reproduce all the energy and rock and roll firepower that Nevison captured. It ain’t easy but we don’t mind doing it — these are clearly some of the All Time Great Rock Albums of the ’70s (or any other decade you care to name) and we just never get tired of hearing them.
Nevison went on to do many of the biggest selling rock albums of the ’80s, but The ’80s Sound has never held much appeal for us. This explains why you find so few recordings from the era on our site, silk purses, sow’s ears and all that. Ron Nevison This very album was one of Ron’s first big engineering jobs .(They passed on Glyn Johns if you can imagine that.) He went on to do Bad Company’s debut, a Top 100 album for us, as well as Straight Shooter, which in some ways I like even better as a recording, and then the sprawling mess that turned into Physical Graffitti. He went on to do lots of the biggest selling monster rock albums of the ’80s, but The ’80s Sound has never held much appeal for us, which is of course why you find so few recordings from that era on our site, silk purses, sow’s ears and all that. (more…)
On the best copies the energy factor is OFF THE CHARTS. The highs are silky sweet, the bottom end is meaty, the drums are punchy and the vocals are present and tonally correct. The piano has real weight, the synths float breathily in the air, and there’s wonderful three-dimensional depth to the soundfield.
There’s a POWER to the sound that the average copy only hints at. The crashing guitar chords that are the hallmark of The Who Sound often lack the weight of the real thing; they don’t punch you in the gut the way Townsend no doubt wanted them to.
Moon’s drums need to blast away like cannons. This is the quintessential Who sound. Everybody who’s ever seen them live knows it. I saw them back in the day when Moon was still behind his kit and it’s a sound I’ll never forget.
Most copies don’t have nearly this much Tubey Magic — you aren’t going to believe all the richness, sweetness, and warmth here. The clarity and transparency are superb in their own right, and the impressive dynamic range really allows this copy to communicate the explosive energy of The Who at their peak..(more…)
In late 2009 we had just finished a shootout for this hard-rockin’ album, our first since January of ’08, and what we were hearing this time around BLEW OUR MINDS. This record got a whole lot better over the course of the last twenty months or so. I’ll go out on a limb here and say that the drum sound on this record is the right up there with the most present, punchy and realistic I have ever heard on record. (more…)
[These are old notes from many years ago. Take them with a grain of salt.]
Wow! This Universal Heavy Vinyl pressing from circa 2000 (the turn of the century!) is superb, not all that far from a good Track original, and quieter for sure.
Side One rocks incredibly hard from start to finish. What a great album. It has to rank right up there with the best rock of the ’70s, right behind Who’s Next and probably on a par with Tommy, good company indeed, since we LOVE all three of those albums here at Better Records. (Both Tommy and Who’s Next are Top 100 Titles, but Quadrophenia is not far behind either of them for sound or music.(more…)
The sound was JUMPING out of the speakers and filling the room.
Sometimes a copy is just BIGGER than the others – it’s somehow physically wider and taller than other pressings, how we haven’t a clue — and that’s exactly what this copy had more of than any other: SIZE. If you’ve never heard a rock record like this — and knowing how rare they are it’s more than possible — you are in for a treat here.
If you’re a fan of this kind of stuff (as we definitely are) you aren’t going to want to let this one get away. Movin’ On and the title track are going to absolutely blow your mind. The best sounding tracks have MASTER TAPE QUALITY SOUND. (more…)
Incredible sound on both sides with each rating a Triple Plus (A+++) or close to it – size, clarity, balance, energy; it’s all here
If you’re playing this one good and loud you’ll feel like you’re in the room with the boys as they kick out the jams
This is the right sound for this album – take it from us, it is not easy to find a copy that’s this right
“Vocalist and songwriter Paul Rodgers wrote two acoustic-based rock ballads that would live on forever in the annals of great rock history: “Shooting Star” and the Grammy-winning “Feel Like Makin’ Love” 4 stars
The sophomore jinx is nowhere to be found on this album. In fact, you could make a pretty good case that this is actually a better album than their debut. The best pressings of Straight Shooter have ROCK ENERGY that cannot be beat!
What You Want
It’s got 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 that Bad Company (and Free before them) practically invented. (AC/DC is another band with that kind of live studio sound. With big speakers and the power to drive them YOU ARE THERE.)(more…)
They just plain ROCKED HARDER than the other copies we played. Yes, they’re bigger. Yes, they have more weight and whomp down low. Yes, they are smoother and more natural up top.
But what really sets them apart is their tremendous energy. The music EXPLODES out of the speakers and comes to life on the best copies of Quadrophenia like few records you have ever heard. When we find that power and energy on a record, all other things being equal, we have a name for them: White Hot Stampers.(more…)