- With two seriously good Double Plus (A++) sides, this copy was one of the best we played in our recent shootout
- Tie Your Mother Down and Somebody to Love are both wonderful sounding on this EARLY British pressing
- It’s incredibly difficult to find big, bold, lively sound like this for Queen – it takes us years to do the shootout
- “Its sleek, streamlined finish is the biggest indication that Queen has entered a new phase, where they’re globe-conquering titans instead of underdogs on the make.”
The first two Cars albums were both in The Better Records Rock and Pop Top 100 at one time, with good reason: they’re superb recordings. The Cars have been in “heavy rotation” on my system since their albums came out in the late ’70s. We started doing shootouts for both right around 2006 or 2007, and they continue to be a regular feature of our Rock Hot Stamper section, not to mention some of the most fun shootouts we do in any given week.
Before then had you ever read a word in any audiophile or record collecting publication about how amazing the originals can sound? Of course not. Most of the audiophile types writing for the stereo rags wouldn’t know a good record from a hole in the ground.
If anything the typical audiophile probably has one or both of the disastrous Nautilus half-speed mastered versions, and, having played them, would not be inclined to think highly of the sound. We knew better than to waste our time with that muck. Recently Mobile Fidelity has taken upon itself to remaster a selection of the band’s titles with the same flawed half-speed mastering approach. We haven’t played any of them and don’t intend to. We know that sound and we don’t like it.
Our point, other than to bash a record we have never played, is simply this: if you have any of those MoFi versions we would love to send you a copy of the album so that you can hear for yourself what it’s really supposed to sound like.
If you have Big Dynamic Speakers and like to rock, you can’t go wrong with a Hot Stamper Cars album. Neil Young albums have the Big Rock sound, and if you’re more of a Classic Rock kind of listener, that’s a good way to go. We’re behind you all the way, just check out the commentary for Zuma linked above.
For a band with thin ties, leather jackets, jangly guitars, synths and monstrously huge floor toms that fly back and forth across the soundstage, Cars albums are going to be the ones for you.
…along these lines can be found below.
Some of the most important advice on our site can be found under the heading of The Four Pillars of Success.
Here you can find more entries in our ongoing Shootout Advice series.
Record shootouts are the fastest and easiest way to hone your listening skills, a subject we discuss often on the site and directly address in this commentary from way back in 2005.
This is one of our favorite recordings — a former member of our Top 100 — for one very simple reason: it’s got Big Rock Sound in spades! Drop the needle on Let’s Go and check out the sound of the big floor tom. When the drummer bangs on that thing, you will FEEL it! It’s similar to the effect of being in the room with live musicians — the difference between just hearing music and also feeling it. That’s what you get from a Hot Stamper copy.
What other New Wave band ever recorded an album with this kind of DEMONSTRATION QUALITY sound? It positively JUMPS out of the speakers. No album by Blondie, Television, The Pretenders or ANY of their comtemporaries can begin to compete with this kind of sound, with the exception of the Talking Heads’ Little Creatures. The Cars very own first album is excellent, but it doesn’t have this kind of LIFE and ENERGY. No way, no how. (more…)
The best copies must have one key ingredient that we’ve discovered is absolutely essential if this groundbreaking New Wave album is to come to life — a huge, spacious soundstage.
Some copies are huge; others, not so much. The effect of these size differentials is ENORMOUS. The power of the music ramps up like crazy — how could this recording possibly be this BIG and POWERFUL? How did it achieve this kind of scale? You may need twenty copies to find one like this, which begs the question: why don’t the other 19 sound the way this one does? The sound we heard has to be on the master tape in some sense, doesn’t it? Mastering clearly contributes to the sound, but can it really be a factor of this magnitude?