- This outstanding pressing boasts solid Double Plus (A++) sound or close to it on all FOUR sides
- The “naked” sound of the real thing – the real voices and the real guitars and the real everything else, in a way that would never happen again
- Bill Halverson worked his magic, but only the best pressings let his genius shine the way it does here
- 4 1/2 stars: “4 Way Street, released in April of 1971: a live double-LP set, chock-full of superb music distilled down from a bunch of nights on that tour that more than fulfilled the promise of the group.”
- Rolling Stone raves that “Crosby, Stills. Nash, and Young are all performers of unquestionable talent, and mostly because they stay out of each others’ way, 4 Way Street must surely be their best album to date.”
It’s EXCEPTIONALLY difficult to find even decent sounding copies of this album. We’ve played SCORES of original domestic copies, original imports, and all kinds of reissues — trust me, most of them would make you cringe.
When you get a good copy, this music is AWESOME! For ’60s power trio hard rock, you just can’t do much better than the studio material.
White Room, Sitting On Top Of The World, Politician, Born Under A Bad Sign — this is the very essence of Classic Blues Rock. Unfortunately, the typical copy barely hints at the potential of this recording, and the audiophile pressings are even worse.
The DCC Gold CDs are especially bad in our opinion; they sound nothing like the good pressings we’ve played over the years.
Where’s The Bass?
Most early pressings you find these days are thrashed beyond belief. We used to pick up every clean Plum & Gold label copy we’d find back in he day, but no more. We gave up. The Cream magic was just plain missing from the early domestic pressings. The problem is simple: a glaring lack of bass.
Let’s think about that. Cream is a power trio. The music absolutely demands a solid, weighty bottom end. Sacrifice the bass and the sound is just too lean to rock.
We can sum up the sound of the whomp-less copies in a word: fatiguing. As is always the case, some copies sound better than others, but none could give us the kind of bass that we were hoping for. (more…)
- A stunning Shootout Winning copy that is guaranteed to blow your mind – Triple Plus (A+++) sound on side one and an outstanding Double Plus (A++) side two
- The sound is HUGE — lively, present and rich in a way that nothing you’ve heard can compete with
- One of our all time favorite albums at Better Records and one that almost never sounds THIS good
- 5 stars: “…this variety made Déjà Vu a rich musical banquet for the most serious and personal listeners, while mass audiences reveled in the glorious harmonies and the thundering electric guitars…”
If you play this copy at serious levels and have the kind of full range system that’s both loud and clean like live music, we guarantee you will be nothing less than gobsmacked at the size and power of the music on this album, the band’s inarguable masterpiece.
Both sides here are super high-resolution, tonally perfect, Tubey Magical and ALIVE. The vocals are silky and sweet with very little strain or grain (a very common problem in the loudest choruses). The highs are extended, the bass is deep and punchy, and the overall clarity is breathtaking.
Just listen to the guitars during the solos — you can really hear the sound of the pick hitting the strings. The rhythm guitars sound meaty and chunky like the best sounding copies of Zuma and After The Gold Rush. (more…)
DEJA VU is an album we admit to being obsessed with — just look at the number of commentaries we’ve written about it.
Presenting another entry in our extensive Listening in Depth series with advice on what to listen for as you critically evaluate your copy of Deja Vu. Here are some albums on our site you can buy with similar Track by Track breakdowns.
- With two nearly Triple Plus (A++ to A+++) sides, this copy is close to the BEST we have ever heard, right up there with our Shootout Winner – fairly quiet vinyl too
- The low end speed and energy on this copy are crazy good – it’s like a Cream concert in your listening room
- The best pressings, the ones that are full-bodied and smooth, let you crank the levels and reproduce the album good and loud the way it was meant to be heard – exceptionally quiet vinyl too
- “The live music on the whole is better than that on Wheels of Fire, capturing the trio at an empathetic peak as a band.”
When you get a good copy of this album you’re sure to hear what we heard — that this is truly one of the great live rock albums (with a bit of studio material on side two as well). This copy has the Big Rock Sound that we go crazy for at Better Records. The best pressings, the ones that are full-bodied and smooth, let you crank the levels and reproduce the album good and loud the way it was meant to be heard.
When it’s all working, you’re front and center for a fiery Cream concert with these guys delivering one heckuva performance. And where else are you gonna get that these days? (more…)
- Close to Shootout Winning sound on both sides – Nearly Triple Plus (A++ to A+++) – one of the best copies of this shockingly well recorded album to hit the site in years
- The vocals are exceptionally breathy, smooth and sweet here – this recording is the very definition of Midrange Magic, thanks to the engineering of Bill Halverson
- 4 stars: “This self-titled release is one of most impressive side project to arise from CSN. The best elements of each are readily available here, punctuated at every turn by their complicated vocal arrangements and air-lock harmonies.”
Where in the world did all the Midrange Magic that we were hearing on this copy of the album come from?
On a song like Where Will I Be the sound is so unbelievably transparent, open and intimate it sounds like an outtake from David Crosby’s first album, one of the ten best sounding rock records ever made. How did Bill Halverson learn how to record as well as Stephen Barncard all of a sudden?
I was in high school when I first played this album and I remember being disappointed with it, mostly because I was expecting another Deja Vu. As I grow older I appreciate other qualities in a recording; I’ve come to appreciate this album for what it is: not the Grand Musical Statement that Deja Vu is, but a simpler, more intimate portrait of two artists at the start of a lifelong harmonious collaboration. With a damn fine batch of songs to sing.
Top Quality Sound
The Midrange Magic on some of these tracks is off the scale. The transparency is also remarkable, with richness and sweetness matched by few copies in our huge shootout.
Listen to the three-dimensional quality of the piano on the first track of side two. Skip to the second track and you will hear some of the best bass to be found on the side. The song is not about the bass, obviously, so we hasten to point out the vocals and harmonies — the sine qua non of any CSN or Y record — are Truly Right On The Money as well. (more…)
A distinguished member of the Better Records Rock Hall of Fame.
WHOA! We’ve paired up two FOUR PLUS sides to create this stunning 2-pack with mindblowing Demo Quality sound for the whole album. These A++++ sides will show you just how amazing it can sound: super full-bodied, rich, warm and natural.
Please note that we award this very special grade so rarely that we don’t even have a graphic to represent it in our sonic grade box. The scale usually only goes to three pluses, but these two sides went up to four!
This is an incredible recording, and on a copy like this the sound is truly stunning. When you hear Chicago here you will not believe how CINEMATIC the sound is! It’s everything we love about ANALOG, and then some.
Most of the credit must go to the team of recording engineers, led here by the esteemed Bill Halverson, the man behind all of the Crosby Stills Nash and Young albums. Nash was clearly influenced by his work with his gifted bandmates, proving with this album that he can hold his own with the best of the best. Some songs (We Can Change The World, Be Yourself) are grandly scaled productions with the kind of studio polish that would make Supertramp envious. For me, a big speaker guy with a penchant for giving the old volume knob an extra click or two, it just doesn’t get any better than this. (more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
Here’s a big one that we know many of you are waiting for: WHITE HOT STAMPERS for both sides of CSN’s amazing debut album. I’m pretty sure we get more emails about this album than any other; everyone wants a great sounding copy, but they’re oh-so-hard to find, especially in clean condition.
We’ve paired up a MONSTER side one with an equally amazing side two to create this White Hot Stamper 2-Pack. We’ve noticed many of you steer clear of the 2-Packs, but this one is a STUNNER.
If you’re waiting for a single copy to hit the site with two sides this good, we advise you to grab a comfortable chair and a cooler — you’re gonna be waiting a LONG TIME. (more…)
When all the elements are working together as they do here, the music on Steve Stills’ first album is postively AMAZING. Until I hear something better, I’m going to have to call this BILL HALVERSON‘s Engineering Masterpiece.* Yes, on the best copies it’s that good.
*We have now heard something even better, an album from earlier in the same year in fact, Deja Vu.
We’ve had an unbelievably hard time finding copies that lived up to our expectations, prompting much of my crew to argue that it just could not be done. We didn’t find copies that sounded just as good as I remembered — no, we found copies that went BEYOND what I had hoped for.
What to Listen For (WTLF)
Both sides are rich and full-bodied, as well as transparent, with lots of separation between the parts. Most copies tend to be murky, thick, and veiled. The overall sound here is airy, open, and spacious, with TONS of ambience. (more…)
The sound of the horn arrangements backing practically every song on the album are key to the quality of the pressing and mastering. Blurry, smeary, leading-edge-challenged horns are the kiss of death on this album, as are grainy, gritty, transistory ones. When the horns have clarity, correct tonality, plenty of space around them and a solid, full-bodied sound, probably every other instrument in the soundscape will too.
This is not your usual Clapton album, and that’s a good thing, because most Clapton albums are full of filler. Not so here — almost every song is good, and many are superb.
BILL HALVERSON was the engineer on this album.