- A superb pressing of The Hollies’ 1974 release, with outstanding Double Plus (A++) sound from first note to last
- The sound of this early UK pressing is big, full-bodied and dynamic with Tubey Magic to die for – forget the dry, edgy sound of the domestic LPs, this is the real master tape, baby!
- The Air That I Breathe is the monster track here, and on these killer British Polydor pressings it’s out of this world thanks to the engineering prowess of none other than Alan Parsons
- Spectacular Prog Rock sound explodes on this copy of the band’s phenomenally well-recorded debut album, mixed by none other than Alan Parsons – exceptionally quiet vinyl too
- With insanely good Shootout Winning Triple Plus (A+++) grades or very close to it on both sides, this copy has the sound we look for on Ambrosia’s Masterpiece
- Big Whomp Factor here – the bottom end is huge and punchy on this copy, like nothing you’ve heard
- A Better Records All-Time Favorite & Top 100 Demo Disc: “Its songs skillfully blend strong melodic hooks and smooth vocal harmonies with music of an almost symphonic density.”
Folks, this LP is nothing short of a Sonic Spectacular. For that reason alone it would get a strong recommendation, but the music is so good that the brilliant sound is best seen as a bonus, not the sole reason to own the album.
These sides have the kind of energy that few titles can lay claim to. Put this one up against your best Dark Side of the Moon. Unless you bought a High Dollar copy from us, I’d say there’s almost no chance that this album won’t reduce it to vinyl rubble. (We talk about how similar the recordings are below.) (more…)
- With outstanding Double Plus (A++) sound or BETTER from start to finish, this mind-blowing recording is guaranteed to rock your world
- The transparency, the clarity, the energy, the power – it’s all here on these very special import pressings
- Just listen to how clear the clocks are on Time, how breathy the vocals are on Breathe, how textured the synthesizers are and how silky the top end is from the beginning of the album all the way to the powerful finish
- A Top 100 album (Top Ten actually) and Demo Disc to rival the most amazing sounding records of all time
- 5 stars: “…what gives the album true power is the subtly textured music… no other record defines [Pink Floyd] quite as well as this one.”
This vintage import pressing has the presence, the richness, the size and the energy you always wanted to hear on Dark Side — AND NOW YOU CAN! (more…)
We audiophiles need records like this. They make us better listeners, and they force us to become better audio tweakers.
You cannot buy equipment that will give you the best sound. You can only tweak your equipment to get it.
At most 20% of the sound of your stereo is what you bought. At least 80% is what you’ve done with it. (Based on my experience I would put the number closer to 90%.)
This is known as the Pareto Principle
The Pareto Principle, also known as the 80/20 Rule, The Law of the Vital Few and The Principle of Factor Sparsity, illustrates that 80% of effects arise from 20% of the causes – or in lamens terms – 20% of your actions/activities will account for 80% of your results/outcomes.
The Pareto Principle gets its name from the Italian-born economist Vilfredo Pareto (1848-1923), who observed that a relative few people held the majority of the wealth (20%) – back in 1895. Pareto developed logarithmic mathematical models to describe this non-uniform distribution of wealth and the mathematician M.O. Lorenz developed graphs to illustrate it.
Dr. Joseph Juran was the first to point out that what Pareto and others had observed was a “universal” principle—one that applied in an astounding variety of situations, not just economic activity, and appeared to hold without exception in problems of quality.
In the early 1950s, Juran noted the “universal” phenomenon that he has called the Pareto Principle: that in any group of factors contributing to a common effect, a relative few account for the bulk of the effect. Juran has also coined the terms “vital few” and “useful many” or “trivial many” to refer to those few contributions, which account for the bulk of the effect and to those many others which account for a smaller proportion of the effect. — Juran
A few years back we played a copy with all the presence, all the richness, all the size and all the energy we ever hoped to hear from a top quality pressing of Dark Side of the Moon. It did it ALL and then some. The raging guitar solos (there are three of them) on Money seemed to somehow expand the system itself, making it bigger and more powerful than I have ever heard. Even our best copies of Blood Sweat and Tears have never managed to create such a huge space with that kind of raw power. This copy broke through all the barriers, taking the system to an entirely new level of sound.
Take the clocks on Time. There are whirring mechanisms that can be heard deep in the soundstage on this copy that I’ve never heard as clearly before. On most copies you can’t even tell they are there. Talk about transparency — I bet you’ve NEVER heard so many chimes so clearly and cleanly, with such little distortion on this track.
One thing that separates the best copies from the merely good ones is super-low-distortion, extended high frequencies. How some copies manage to correctly capture the overtones of all the clocks, while others, often with the same stamper numbers, do no more than hint at them, is something no one can explain. But the records do not lie. Believe your own two ears. If you hear it, it’s there. When you don’t — the reason we do shootouts in a nutshell — it’s not.
- An outstanding early UK pressing of I Robot with solid Double Plus (A++) sound or BETTER throughout
- The overall sound is clean, clear and transparent – many copies tend to be overly smooth, but this one has the kind of clarity that allows the natural textures of the instruments to come through
- 4 1/2 stars: “. . . that sense of melody when married to the artistic restlessness and geeky sensibility makes for a unique, compelling album and the one record that truly captures mind and spirit of the Alan Parsons Project.”
If you’re a fan of this album who has been playing a typical copy, or — even worse — one of the MoFi versions, you are sure to be impressed with the kind of sound this superb copy delivers. You get a strong, solid bottom end setting the foundation, which is exactly what you need to make a funky tune like I Wouldn’t Want To Be Like You come to life. (more…)
Question: Does Tom Port have any clue as to what the hell he’s doing or selling to the public? That is my question.
Hello Tom, I’m the idiot who spent $399 on your White Hot Stamper of Ambrosia’s first album a few weeks ago. I did an A/B listening test with an A++/A++ copy I bought from you a few years ago. Your website waxes lyrical about the exceptional qualities of this recording; I always thought it was very, very good but not quite the recording you make it out to be!
To perform my listing test, I listened to my A++/A++ side one first. Then listened to the newly purchased A+++/A+++ next. The results? I almost had to call 911 because my jaw hit the floor! THIS was the recording you had written about in the records descriptive comments. This pressing is so holographic I swear I could have stepped into the recording.
Dare I say this is a better recording than Dark Side of the Moon; and yes, I can make such a claim, I purchased an A++/A+++ – A++/A+++ copy from you guys a few years ago. This is what I refer to as Master Tape sound quality. A Holy Grail for audiophiles.
It’s pressings like this that pose the questions: Why can’t all records sound this good and why can’t all recording engineers be as great as Alan Parsons?
So, back to my original question. Does Tom Port know what the hell he is doing or selling to the public?
Yes Tom, I’d say absolutely, 100% you know what you are doing and I’m the happiest idiot on this Earth. Keep up the great work, Tom, and thank you and your staff for the incredible service you provide.
Thanks for your letter. I’m positively blushing!
Seriously, the right vintage pressing, on the right stereo, can take the enjoyment of music to a level far beyond that of anything experienced by the audiophile of today stuck in the rut of the Heavy Vinyl Reissue. (more…)
- A stunning Shootout Winning early British pressing – the first “Triple Triple” (A+++) to hit the site in many years
- Standout tracks include Song on the Radio and Time Passages (an edited version of which made it all the way to #7 on the Pop charts)
- “… this is exceptionally well-crafted, from Stewart’s songs, where even three-minute songs seem like epics, to Alan Parsons’ cinematic arrangements and productions… one of Al Stewart’s very best albums.” – All Music, 4 1/2 Stars
Our Hot Stampers of Year Of The Cat are always a big hit, and this, the 1978 follow-up, shares many of the same qualities. Alan Parsons is a pretty good producer and engineer it turns out. This copy is richer and sweeter than most, with a big, bold, three-dimensional sound that perfectly suits the kind of Big Productions that are his stock in trade. The bigger the better we say! (more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
For the first time on our site, TRIPLE PLUS MASTER TAPE SOUND ON BOTH SIDES! We play stacks of copies of this one a few times every year, but I don’t recall ever hearing one that sounded so correct from the first song to the last.
Let me tell you — when this album sounds as bad as most copies do, the music just plain does not work. So many copies add a nasty layer of grit to the vocals, and the effect is positively painful. This copy shows you a Year Of The Cat that is just not available on the typical copy, and certainly not on the MoFi pressing either.
This White Hot Stamper is the UNDISPUTED WINNER and Current Heavyweight Champion of our latest Hot Stamper shootout for Al Stewart’s Masterpiece, Year of the Cat. How come more of these don’t turn up on the site? Simple — most copies of this record just plain SUCK. We kept asking ourselves Where is the Famous Alan Parsons’ Dark Side of the Moon Magic that’s supposed to be on this recording? This record was THE Demo Disc in every stereo store in town when it came out back in the day, but we could not find any correlation between that fact and the sound we were hearing on copy after copy. The full, rich sound we knew so well from other Alan Parsons’ productions was simply nowhere to be found.
Until this bad boy copy came along. Folks, here is the True Audiophile Demo Disc Sound you remember. It wasn’t all a dream. It was real! Rich acoustic guitars, tubey-magical sweetness on the vocals, ambience around everything and everyone, huge amounts of space revealed by the breathtaking transparency of this pressing, top and bottom extension completely unlike the average copy. Everything that this album was supposed to do was finally happening when we dropped the needle on this side one. Talk about BIG SOUND, here it was! (more…)
- You’ll find outstanding Double Plus (A++) grades or close to them on both sides of this truly phenomenal ’70s Big Rock Production – exceptionally quiet vinyl too
- The best sides have the trademark Alan Parsons sound, with huge amounts of space in the studio, and the kind of musical energy that made the first Ambrosia album (which he mixed) such a joy to play
- This band, their producers, and their engineers sweated every detail of this remarkable recording
- “There is an unusual dreamlike quality that pervades its work. The songs seem to be reaching the listener direct from some strange and beautiful realm of the unconscious. It is an experience rare in popular music today or at any time. ” – Billboard
Alan Parsons produced this album, and at its best, it is truly a Demo Disc — if you have the system to play it.
This album needs lots of space and a big, wide, open soundstage if it’s going to work, and the best sides deliver that sound. It’s a rare copy that manages to have real presence and top end without getting too edgy; on the good ones, the bass is big, solid and punchy and the energy is superb. (more…)