Top Engineers – Bruce Botnick

Botnick and Levine Knocked Equinox Out of the Park

More of the Music of Sergio Mendes and Brasil ’66

Hot Stamper Pressings of Bossa Nova Records Available Now

The music is of course wonderful, but what separates Sergio from practically all of his ’60s contemporaries is the AMAZING SOUND of his recordings. Like their debut, this one was engineered by the team of Bruce Botnick and Larry Levine.

Botnick is of course the man behind the superb recordings of The Doors, Love and others too numerous to mention. 

Levine is no slouch either, having engineered one of the best sounding albums on the planet, Sergio Mendes’ Stillness.

Just play the group’s amazing versions of Watch What Happens, Night and Day, or Jobim’s Wave to hear the kind of Mendes Magic that makes us swoon. For audiophiles it just doesn’t get any better. (Well, almost. Stillness is still the Ultimate, on the level of a Dark Side of the Moon or Tea for the Tillerman, but Equinox is right up there with it.)

Only the best copies are sufficiently transparent to let the listener hear all the elements laid out clearly, with each occupying a real three-dimensional space within the soundfield. When you hear one of those copies, you have to give Botnick and Levine their due. These guys knew what they were doing like few that have come along since.

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The Doors / L.A. Woman – Rhino Heavy Vinyl Reviewed

See all of our Doors albums in stock

Reviews and Commentaries for L.A. Woman

The Rhino pressing we auditioned from the Doors Box Set was surprisingly good. It’s rich and smooth with an extended top end — tonally correct in other words — and there’s lots of bass.

This is all to the good. For the thirty bucks you might pay for it you’re getting a very good record, assuming yours sounds like ours, something we should really not be assuming, but we do it because there is simply no other way to write about records other than to describe the sound of the ones we actually have played.

What it clearly lacks compared to the best originals is, first and foremost, vocal immediacy.

Jim Morrison seems to be singing through a veil, an effect which becomes more and more bothersome over time, as these kinds of frustrating shortcomings have a habit of doing.

A bit blurry, a bit smeary, somewhat lacking in air and space, on the plus side it has good energy and better bass than most of the copies we played. All in all we would probably give it a “B.” You could do a helluva lot worse.

Record Collecting Advice

All the ’70s and ’80s reissues of this album we’ve ever played were just awful, especially those with the date inscribed in the dead wax. For more moderately helpful advice, click here.

Remastering Out Too Much of the Good Stuff

What is lost in the newly remastered recordings so popular with the record collecting public these days ? Lots of things, but the most obvious and irritating is the loss of transparency.

Modern records tend to be small, veiled and recessed, and they rarely image well. But the most important quality they lack is transparency. Almost without exception they are opaque. They resist our efforts to hear into the music.

We don’t like that sound, and we like it less with each passing day, although we certainly used to put up with it back when we were selling what we considered to be the better Heavy Vinyl pressings from the likes of DCC, Speakers Corner, Cisco and even Classic Records.

Now when we play those records they either bore us to tears or frustrate us with their veiled, vague, lifeless, ambience-challenged presentation.

It was sometime in 2007 when we turned a corner. The remastered Blue on Rhino Heavy Vinyl came out and was such a mediocrity that we asked ourselves “Why bother?” That was all she wrote.

We stopped selling those second- and third-rate remasters and dedicated ourselves to finding, cleaning, playing and critically evaluating vintage pressings, regardless of era or genre of music.

The result is a website full of great sounding records that should find special appeal with audiophiles who set high standards, who own good equipment and who have well-developed critical listening skills.

These newer records, with few exceptions, tend to be compressed, thick, dull, opaque, veiled, recessed and lacking in ambience. These are currently the hallmarks of the Heavy Vinyl LP.

Here are some of the Commentaries we’ve written about Heavy Vinyl over the years. Please to enjoy.

A Confession

Even as recently as the early 2000s, we were still impressed with many of the better Heavy Vinyl pressings we’d auditioned. If we’d never made the progress we’ve worked so hard to make over the course of the last twenty or more years, perhaps we would find more merit in the Heavy Vinyl reissues so many audiophiles seem impressed by these days.

We’ll never know of course; that’s a bell that can be unrung. We did the work, we can’t undo it, and the system that resulted from it is merciless in revealing the truth — that these newer pressings are second-rate at best and much more often than not third-rate and even worse.

Some audiophile records sound so bad, I was pissed off enough to create a special list for them.

Setting higher standards — no, being able to set higher standards — in our minds is a clear mark of progress. Judging by the hundreds of letters we’ve received, especially the ones comparing our records to their Heavy Vinyl and Half-Speed Mastered counterparts, we know that our customers often see things the same way.

The Doors / Waiting For the Sun

More of The Doors

More Psych Rock

  • A stunning pressing with Nearly Triple Plus (A++ to A+++) grades from start to finish – just shy of our Shootout Winner
  • The sound is present, lively and tonally correct, with Jim Morrison’s baritone reproduced with the palpable weight and presence that the reissues barely begin to reproduce
  • It’s tough (not to mention expensive) to find these early pressings with this kind of sound and reasonably quiet vinyl, but we found this one, and it blew our mind
  • “Krieger, Ray Manzarek and John Densmore were never more lucid… This was a band at its most dexterous, creative, and musically diverse …”
  • If you’re a fan of The Doors, this vintage pressing of their 1968 classic belongs in your collection
  • Our review detailing the somewhat surprising shortcomings of the DCC pressing of WFTS can be found here, and the story of how long it took me to figure out The Doors on vinyl (30 years or so!) can be found here

Here is THE BIG SOUND that makes Doors records such a thrill to play. Morrison’s vocals sound just right — full-bodied, breathy and immediate. The transparency makes it possible to easily pick out Bruce Botnick’s double tracking of Morrison’s leads.

For a thrill just drop the needle on Not To Touch The Earth. Halfway through the song the members have sort of a duel — Robbie Krieger wailing on the guitar in one channel, Ray Manzarek pounding on the keyboards in the other, and John Densmore responding with drum fills behind them.

On the average copy, the parts get congested and lose their power, but when you can easily pick out each musician, their part will raise the hair on your arms.

It’s absolutely chilling, and it will no doubt remind you why you fell in love with The Doors in the first place. Who else can do this kind of voodoo the way that they do?

Check out the piano on Yes The River Knows on side two (such an underrated song!) or the big snare thwacks on Five To One to hear that Hot Stamper magic.

The overall sound is airy, open, and spacious — you can really hear INTO the soundfield on a track like Yes The River Knows. The opaque quality that so many pressings of this album suffer from is nowhere to be found here.

Not only that, but you will not believe how hard these sides rock. (more…)

The Doors / The Soft Parade – Back After a Two Year Hiatus

More of the Music of The Doors

Reviews and Commentaries for the Music of The Doors

  • The sound is incredibly powerful from start to finish – big, rich, full-bodied, present and lively – thanks Bruce Botnick, where would The Doors be without you?
  • Full of great songs: Touch Me, Runnin’ Blue, Wild Child, Wishful Sinful and the amazingly trippy Soft Parade extended suite (with Triple Plus sound no less)
  • “Much like a true “parade” of an English fugue, the song morphs from Morrison’s a capella sermon-like intro to a Baroque ballad to a show tune-like section to the long rock outro, the music masterfully following the flowing, stream of consciousness lyric.” Hell yeah!
  • We’ve written extensively about The Soft Parade, and you can find quite a number of Letters and Commentaries for the album on this blog.
  • It’s my favorite by the group and one that was instrumental in helping me progress in this exasperating hobby we have chosen for ourselves.

Vintage covers for this album are hard to find in clean shape. Most of them will have at least some ringwear, seam wear and edge wear. Some will have cut corners. We guarantee that the cover we supply with this Hot Stamper is at least VG, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice enough cover for you.

This Doors pressing (either on the Elektra Gold or Big Red E Label, nothing else would qualify as a Hot Stamper) has the kind of Tubey Magical Midrange that modern records rarely reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back.

Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.).

Hot Stamper sound is rarely about the details of a given recording. In the case of this album, a Hot Stamper must succeed at recreating a solid, palpable, rich JIM MORRISON singing live in your listening room. The better copies have an uncanny way of doing just that.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but less than one out of 100 new records do, if our experience with the hundreds we’ve played over the years can serve as a guide. (more…)

The Doors – L.A. Woman

More of The Doors

Commentaries and Reviews of L.A. Woman

  • An L.A. Woman like you’ve never heard, with solid Double Plus (A++) sound from start to finish
  • This early pressing is huge, lively and rich, with in-the-room vocal presence that no Heavy Vinyl pressing can begin to offer
  • Here is the big Bruce Botnick sound we love
  • If all you know are the various Heavy Vinyl versions, this excellent copy will show you just what you’ve been missing
  • 4 1/2 stars:”The seven-minute title track was a car-cruising classic that celebrated both the glamour and seediness of Los Angeles; the other long cut, the brooding, jazzy ‘Riders on the Storm,’ was the group at its most melodic and ominous.”
  • If you’re a Doors fan, and what audiophile wouldn’t be?, this title from 1971 clearly belongs in your collection
  • The complete list of titles from 1971 that we’ve reviewed to date can be found here.

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The Doors – Strange Days

More of The Doors

  • This excellent copy of Strange Days boasts Double Plus (A++) sound or BETTER on both sides
  • An outstanding-sounding pressing of one of the most difficult-to-find records in the world of Hot Stampers
  • Demo Quality sound for so many classics: “When The Music’s Over,” “Moonlight Drive,” “Love Me Two Times,” and more
  • “… if The Beatles had Sgt. Pepper’s Lonely Hearts Club and The Beach Boys had Pet Sounds, then The Doors’ answer was Strange Days. This experimentation can be heard in the very first notes of the title track, as Ray Manzarek’s spacey keyboards set the tone for Morrison’s eerie, distorted warning, ‘Strange days have found us.’ It’s the perfect introduction to a perfectly strange album.”
  • If you’re a fan of The Doors, this early pressing from 1967 surely belongs in your collection
  • The complete list of titles from 1967 that we’ve reviewed to date can be found here.

If you’re looking to demonstrate just how good 1967 Tubey Analog sound can be, this copy will can do just that.

It’s spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how anyone seriously contemplated trying to improve it. (more…)

Dave Mason – What’s with All the Bad Vinyl and Murky Sound?

Reviews and Commentaries for the Music of Dave Mason

What follows is some advice on What to Listen For.

If you are interested in digging deeper, our Listening in Depth commentaries have extensive track by track breakdowns for some of the better-known albums for which we’ve done multiple shootouts.

On to Alone Together.

Some records are consistently too noisy to keep in stock no matter how good they sound.

This is one of them. We have a section for records that tend to be noisy, and it can be found here.

We struggled for years with the bad vinyl (on the original vomit-colored vinyl pressings, those are the ones that have the potential to win shootouts) and the murky sound of this album.

Finally, with dozens of advances in playback quality and dramatically better cleaning techniques, we have now [circa 2012] managed to overcome the problems which we assumed were baked into the recording.

I haven’t heard the master tape, but I have heard scores of pressings made from it over the years. I confess I actually used to like and recommend the Heavy Vinyl MCA pressing. Rest assured that is no longer the case. Nowadays it sounds as opaque, ambience-challenged, lifeless and pointless as the rest of its 180 gram brethren.

You want to keep what is good about a Tubey Magical analog recording from The Golden Age of Rock while avoiding the pitfalls so common to them:

  • poor resolution,
  • heavy compression,
  • thickness,
  • opacity,
  • blubber,
  • compromised frequency extremes,
  • lack of space and
  • lack of presence.

How’s that for a laundry list of all the problems we hear on old rock records, old classical records, and old jazz records?

All records when you stop to think about it.

What record doesn’t have at least some of these faults? Not many in our experience. A copy with few or none of these problems would do very well in our Hot Stamper shootouts indeed.

This is, of course, a list of all the faults we hear just as often in the Heavy Vinyl pressings we audition.

Records are records. Thick ones have the same problems as thin ones. Why wouldn’t they?

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The Doors – Morrison Hotel

More of The Doors

  • A wonderful early pressing of this hard-rockin’ Doors album, with top quality sound from start to finish
  • Rich, big and full-bodied, with clarity and energy to spare, this is the way you want to hear the Doors’ Bluesy Rock
  • Roadhouse Blues, Waiting For The Sun and Maggie McGill are KILLER on this pressing – all you Doors fans are gonna flip
  • Circus Magazine praised it as “possibly the best album yet from the Doors” and “Good hard, evil rock, and one of the best albums released this decade.”
  • If you’re a fan of Jim and the boys, this classic from 1970 deserves a place in your collection.
  • The complete list of titles from 1970 that we’ve reviewed to date can be found here.

A great many pressings are neither rich nor present enough to get Jim Morrison’s voice to sound the way it should. He’s The Lizard King, not The Frog Prince for crying out loud. When he doesn’t sound present, big, powerful, and borderline scary, what’s the point?

Not to worry. On these sides he sounds just fine. Just listen to him screaming his head off on “Roadhouse Blues” and projecting the power of his rich baritone on “Blue Sunday.” Nobody did it any better.

All the other elements are really working too — real weight to the piano, amazing punch to the bottom end, lovely texture to the guitars and so on. The sound is clean and clear but not overly so; you still get all the Tubey Magic you need.

The sound of the organ on “Blue Sunday” is really something, check it out. Where has that sound gone?

It’s hard to find clean Doors records at all these days, we find a small handful each year — not nearly enough to do these shootouts as often as we would like.

Both sides here have the deep, powerful bottom end this music absolutely demands. You’ve got to hand it to Bruce Botnick — he knows how to get real rock-’em, sock-’em bottom end onto a piece of magnetic tape.

And sometimes that bottom end whomp actually makes it onto the record, as is the case here, making for one helluva Demo Disc for Bass (if you have speakers big enough to play it, of course.)

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Eddie Money – A Killer Debut from 1977

A Well Recorded Album that Should Be More Popular with Audiophiles

More Debut Albums of Interest

  • Bruce Botnick‘s engineering ensures the sound is big and lively – this early pressing is full-bodied, with wonderfully present vocals, and plenty of punchy bottom end
  • “With much of the same urgency Money stands as perhaps a lighter but still gutsy-voiced Bruce Springsteen. His performance exudes a certain authenticity of main line rock without seeming derivative or repetitious.” – Billboard 
  • This is clearly Eddie Money’s best sounding album. Roughly 100 other listings for the Best Sounding Album by an Artist or Group can be found here.
  • In our opinion, his debut is the only Eddie Money record you’ll ever need. Click on this link to see more titles we like to call One and Done

The average copy is way too compressed, which kills the top end (by making the cymbals aggressive) and the vocals too midrangy. When you’ve got a copy of Eddie Money’s debut album that’s doing what it’s supposed to do, you know pretty quickly. The highs are sweet and extended, the vocals are present, but without any spit or strain, and there is solid bass and low end propelling everything forward.

Eddie Money has only made one good record in our opinion — this one. Fortunately, it’s a GREAT one and we don’t have to play any of his others. This guy had so much promise, based solely on his debut here. He lost his brilliant guitarist and arranger, Jimmy Lyon, soon after this first album was made, and that may account for his slide into mediocrity.

But this record is outstanding from first note to last. If at the end of the second track — a cover of You Really Got A Hold On Me — you are not rockin’ out, then Eddie Money is just not for you. I love this album and I played it countless times back in the day. (more…)

Love on Heavy Vinyl – Indefensible Dreck from Sundazed

More of the Music of Love

Reviews and Commentaries for the Music of Love

Sonic Grade: F

Two Audiophile Hall of Shame titles, and another two Sundazed records reviewed and found seriously wanting.

We got hold of a minty original pressing of the first Love album back around 2007, so in preparation for the commentary I pulled one of the Sundazed pressings off the shelf, (Forever Changes, the only one we ever bothered to sell), cracked it open and threw it on the turntable. 

Gag, what a piece of crap. When I had auditioned them all those years ago (2002), it was — I’m not kidding — the best of the bunch.

The sound to me back then was nothing special, but not bad. Knowing how rare the originals were, we gave it a lukewarm review and put it in the catalog, the single Sundazed Love album that (just barely) made the cut.

Now I wish I hadn’t, because no one should have to suffer through sound that bad. Here’s what I wrote for the shootout:

You’d never know it from those dull Sundazed reissues, but the right pressings of Love albums are full of Tubey Magic! With Bruce Botnick at the controls you can expect a meaty bottom end and BIG rock sound, and this recording really delivers on both counts.

With Sundazed mastering engineers running the show, you can expect none of the above.

No Tubey Magic, no meaty bottom end, no big rock sound.

After the shootout, I took the two copies we had in stock right down to my local record store and traded them in. I didn’t want them in my house, let alone on my site.

I’m glad that title didn’t sell very well because now I feel I owe a personal apology to anyone who might have bought one from me, thinking they were getting a half-way decent record.

They were getting no such thing. They were getting a piece of garbage. 

A textbook case of Live and Learn.

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