Chris Thomas, Producer-Engineer – Reviews and Commentaries

The First Two Roxy Music Albums Are the Band’s Best Sounding

Hot Stamper Pressings of the Music of Roxy Music Available Now

For Your Pleasure is a Masterpiece of Art Rock, Glam Rock and Bent Rock all rolled into one. AMG calls Roxy Music the “most adventurous rock band of the early ’70s” and I’m inclined to agree with them.

Spacious, dynamic, present, with HUGE MEATY BASS and tons of energy, the sound is every bit as good as the music. (At least on the best copies it is. That’s precisely what Hot Stampers are all about.)

Strictly in terms of recording quality, For Your Pleasure is on the same plane as the other best sounding record the band ever made, their first.

Siren, Avalon and Country Life are all musically sublime, but the first album and Pleasure are the only two with the kind of dynamic, energetic, POWERFUL sound that Roxy’s other records simply cannot show us (with the exception of Country Life, was is powerful but a bit too aggressive).

The super-tubey keyboards that anchor practically every song on the first two albums are only found there. If you want to know what Tubey Magic sounds like in 1972-73, play one of our better Hot Stamper Roxy albums. Roxy and their engineers and producers manage to capture a keyboard sound on their first two albums that few bands in the history of the world can lay claim to.

I love the band’s later albums, but none of them sound like these two. The closest one can get is Stranded, their third, but it’s still a bit of a step down.

Chris Thomas and John Punter

With all the latest technological advances in playback, I can tell you that these records sound a whole lot better than I ever thought they could.

For Your Pleasure is an amazing recording. Chris Thomas produced side one; he produced the rest of their albums (and engineered The Beatles and Badfinger and mixed Dark Side of the Moon and on and on).

The album has many of his trademark qualities: an enormous, 3-dimensional soundstage; tons of bass; tremendous dynamics; and energy to rival anything around.

John Punter‘s engineering is superb in all respects — virtually faultless.

Big Rock Records with Big Rock Sound

Both of these albums are the very definition of big speaker albums. The better pressings have the kind of ENERGY in their grooves that are sure to have most audiophile systems begging for mercy.

This is The Audio Challenge that awaits you. If you don’t have a system designed to play records with this kind of SONIC POWER, don’t expect to hear them the way the band and those involved in their productions wanted you to.

This album wants to rock your world, and that’s exactly what our Hot Stamper pressings are especially good at doing.

Roxy Music is one of the most influential and important artists/bands in my growth as a music lover and audiophile, joining the ranks of Steely Dan, 10cc, Ambrosia, Yes, Bowie, Supertramp, Eno, Talking Heads, Jethro Tull, Elton John, The Beatles, Crosby, Stills and Nash, The Cars, Led Zeppelin, Cat Stevens and countless others, musicians and bands who dedicated themselves to making the highest quality recordings they could, recordings that could only come alive in the homes of those with the most advanced audio equipment.

My system was forced to evolve in order to reproduce the scores of challenging recordings issued by these groups in the 70s.

It’s clear that these albums informed not only my taste in music, but the actual stereo I play that music on. It’s what progress in audio is all about. I created the system I have in order to play demanding recordings such as these, the music I fell in love with all those years ago.

Want to find your own killer copies?

Consider taking our moderately helpful advice concerning the pressings that have been winning our Hot Stamper shootouts for years. For Your Pleasure and the first album only really come alive:

Of course it needs to be played loud. What Roxy Music album doesn’t?

Furthermore, the better copies sound their best:

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Magical Mystery Touring – Our View from the Nineties

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Hot Stamper Pressings of the Music of The Beatles Available Now

We discuss in detail what we’re listening for and what the best copies seem to do well that the run-of-the-mill copies simply do not.

If you own a copy of the German MMT, play yours and listen for what we’re listening for. It’s all laid out in the track commentary below.

Side One

Magical Mystery Tour

The fact that this is a key track should be obvious to anyone who has ever played the album. If you don’t have a good copy of the MMT this song will take your head off. Only the German pressings have any real hope of getting it right — the MOFI, British, Japanese, domestic, etc. are uniformly awful in my experience: aggressive and irritating, the worst being the MOFI I would guess.

The German ones break down into three groups – too smooth; just right; and a bit bright or thin. Now remember, almost every copy of this record I played had the exact same stamper numbers. You can’t tell one from another except by dropping the needle on them. There is no visual clue on the record to associate with the sound, no possibility of bias. What comes out of the speakers is all I had to go by.

And it’s easy to confuse the overly smooth ones with the best ones, because on the song MMT smooth is a good thing . But when is smooth too smooth? That’s where track two comes in.

The Fool On The Hill

This song is full of airy flutes, woodwinds and the like. They should sound harmonically extended, delicate and sweet. We talked about the sound of the flutes on another record recently, Blood, Sweat & Tears. It’s as a good a test for this album as it is for that one.

Having said that, what separates the killer copies from the merely excellent ones is the quality of the flute sound. When you can hear the air going through the flute, and follow the playing throughout the song, you have a superbly transparent copy with all the presence and texture of the best. If the flute sounds right Katz’s voice will too. The sound will be Demonstration Quality of the highest order. Want to shoot out two different copies of this album on side one? Easy. Just play this track and see which one gets the flute right.

On the best copies Paul’s voice is amazingly present. You should feel as though you could reach out and touch him. Which means there are two basic elements to listen for in this song, both of which must be proportional and balanced. First, the flutes must sound open and airy. Then, Paul’s voice must retain its lower-midrange body and warmth without sounding veiled or thick in any way, yet have excellent presence. Not too many copies, maybe one out of ten, can really pull it off. It’s amazing when they do though!

If the first track is alive but not aggressive, and Fool sounds the way I describe it above, the only thing left is The Walrus Test. Feel free to skip to the last track if you like.

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Are Your Cellists Digging In on I Am the Walrus?

Hot Stamper Pressings of The Beatles’ Music Available Now

This commentary was written many years ago.

Over the last decade I Am The Walrus has evolved into a good test for side one, a fact that came as a complete surprise to me. As I was listening to the various copies in a shootout years ago I noted that the opening cellos and basses in the right channel were often tonally identical from copy to copy, but sounded quite a bit more lively and energetic on some pressings relative to others. Was it EQ? Level? Compression?  

Why so much more passion from the players on some copies and not others?

As I tried to puzzle it out, playing first one copy and then another, it became clear to me what was happening. The cellists and the bassists were just plain digging HARDER into the strings on the best copies. When you see live classical music, the cellists at the front of the orchestra are usually sawing away with abandon when the music is really going. They dig their bows hard into the strings to make them vibrate as loud as possible. To make their instruments heard in the back row it becomes a matter of muscle, of pure physical exertion.

So armed with the copies where the string players are working the hardest, I checked the other tracks. Sure enough, the opening cut, MMT, jumped out of the speakers with the most energy I had heard on any copy. As I went through the tracks one by one, they had the most life of any of the copies I had been listening to. To use a word that was popular at the time, the music was HAPPENING.

This was the final piece to the puzzle. Tonality always comes first. Frequency extension; lack of distortion; rich, powerful bass — these are important qualities as well. But the life of the music is in the micro and macro dynamics, and that is what I had not been paying sufficient attention to during the shootout.

That was until I listened to Walrus and heard the players working up a good healthy sweat. Then I knew I had a Hot Stamper. And when I played the not-so-Hot Stampers, the string guys sounded like session musicians picking up a paycheck.

Where was their passion? Didn’t they realize they were making a classic?

If you get the right pressing they sure were!

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Watch Out for 5c on Side One of The White Album

Hot Stamper Pressings of The White Album Available Now

Starting as early as 1984, some pressings of The White Album came with a decidely inferior side one, 5c.

Often it was mated to an equally problematic-sounding side two, -6. Although the -6 stamper can be good, when it has 5c on side one, it’s never as good as it should be.

Even though this copy had less-than-impressive sound on sides three and four — these sides qualify as minimally Hot Stamper pressings — there is nothing inherently wrong with the -2/-3 stamper numbers for those sides.

These later pressings just don’t sound as good as the earlier ones we like.

Not that we like the originals.

The few we’ve played were terrible. They tend to have -1 or -2 stampers for the first two sides, and their mastering tends to add a lot of problems to a recording that already has more than its share.

Want to find your own top quality copy?

Consider taking our moderately helpful advice regarding the pressings that tend to win our shootouts. The White Album sounds its best:

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Magical Mystery Tour – Our Beyond White Hot Copy from 2007

Hot Stamper Pressings of the Music of The Beatles Available Now

Looking back, 2007 seems to have been a milestone year for us here at Better Records, although we certainly did not know that at the time.

Later that same year we swore off Heavy Vinyl for good (prompted by the mediocre sound of the Rhino pressing of Blue) and committed ourselves to doing record shootouts of vintage pressings full time. (Please excuse the overuse of capitals.)

Our Commentary from 2007

The best sounding Magical Mystery Tour ever! Hot Stamper copies of this album are a regular feature on this site, but we’ve NEVER heard one like this — on EITHER side.

We had no choice but to award this album the very rare grade of A++++ (Four Pluses!) on both sides.

Our lengthy commentary entitled  entitled outliers and out-of-this-world sound talks about how rare these kinds of pressings are and how to go about finding them.

We no longer give Four Pluses out as a matter of policy, but that doesn’t mean we don’t come across records that deserve them from time to time.

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Baby You’re a Rich Man

Hot Stamper Pressings of the Music of The Beatles Available Now

Below we discuss listening to Baby You’re a Rich Man from side two of the German MMT.

If you own a copy of the album, play yours and listen for what we describe in this track by track breakdown.

For those of you interested in digging deeper into the sound of scores of other titles, our listening in depth commentaries have track breakdowns for some of the better-known albums we’ve done shootouts for.

Baby You’re A Rich Man

This track is Demo Disc Quality on the best Hot Stamper pressings. As I was playing this song for the shootout, the thought occurred to me that if I had one track to play to someone to demonstrate what a thrill it is to have a big, expensive stereo, it would be hard to pick a better song than Baby You’re A Rich Man.

The only other one that occurs to me off the top of my head is Sergio Mendes’ For What It’s Worth off of Stillness.

The sound is wall-to-wall and floor-to-ceiling and big as life. You can’t get that sound with screens and you can’t get it with smaller speakers and their smaller drivers.

Once you’ve heard that sound it’s hard to get too excited about any other.

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The Pretenders on Nautilus – Dead As a Doornail Sound

More of the Music of The Pretenders

An audiophile hall of shame pressing and another Half-Speed mastered audiophile LP reviewed and found wanting.

This pressing is completely lifeless. The brain trust at Nautilus managed to take all the rock out of this rock and roll band.

It’s yet another ridiculous joke played on a far-too-credulous audiophile public.  If this Nautilus LP isn’t the perfect example of a pass/not-yet record, I can’t imagine what would be.

But look who’s talking? I bought plenty of Nautilus pressings in the ’70s and ’80s, some good ones, some not so good. And some of them I still liked well into the 2000s. What’s my excuse?

Even as recently as, say, fifteen years ago, I still had yet to achieve much of the progress in audio I would need to achieve in order to get past the last of the audiophile pressings I still clung to.

And there’s still one that just cannot be beat, even now.

Keep in mind I had been heavily into audiophile equipment and high quality records for thirty years at that point.

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Why Are We Guessing (Again)?

More of the Music of The Pretenders

German pressings? Not British?

We discovered that only the best German pressings convey the energy and enthusiasm of the band while avoiding the grunge, flatness and hardness that make the typical pressing of this album all but unlistenable at loud volumes.

Isn’t this a British band that just happens to be led by an American? And wasn’t the album produced by the clearly British Chris Thomas and recorded at George Martin’s AIR studios in London? How is it possible that the best German pressings consistently sound better than the best British pressings?

Your guess is as good as mine. And, if you stop to think about it, who in his right mind would think that any answer they might give to such a question is anything other than a guess?

But that’s not the half of it. It’s not simply the fact that the Germans seem to be the only ones able to work their magic on this title. Most German pressings are not nearly as good sounding as this one. It is only this specific German pressing that does everything right. It has won every shootout for the last five years if that tells you anything.

What to Listen For

In the chorus of Time the Avenger, the better copies do not get as harmonically distorted, edgy and hard as most. The best really “bloom,” but they are few and far between.

A Top Pretenders Title

This is where Chrissie Hynde matured into a top class songwriter; every track is good and many are brilliant. With Robbie McIntosh having joined the band, this is first and foremost a guitar rock record; his jangly, grungy riffs drive every song. Great songs and great guitar work — what more do you need in a rock record?

Think of Middle of the Road — everything that’s good about this band on this album is there in that song: it’s uptempo, with a driving beat, a rock solid rhythm section and a beautifully distorted guitar out front and high up in the mix.

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Letter of the Week – “…my goodness, it is truly wonderful. Demo Disc level fantastic.”

Hot Stamper Pressings of The Beatles’ Music Available Now

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

Hi Tom,

Just wanted to provide a little deeply appreciative feedback. A few months back, I ordered 2 White Hot Stampers of Abbey Road and MMT [MAGICAL MYSTERY TOUR]. (the German press of MMT is amazing btw).

Abbey Road had a distracting level of surface noise, and it is the first time I have returned a record but I did send that one back. The other day, you had a Hot Stamper ++ copy of Abbey Road, and it was very reasonably priced at $170. It was delivered yesterday, and my goodness, it is truly wonderful. Demo Disc level fantastic. For my ear, it sounds better than the $750 copy I returned. A fine addition to my Beatles collection…Thank YOU!

Also in this order I purchased a Hot Stamper ++ copy of Tom Waits, Blue Valentine. It too is amazing, warm and deeply moving.  

Have a great weekend Tom, and thank you to you and your team.

Best,
Rick

Rick,

Thanks so much for your letter!

Best, TP