Top Engineers – Keith Olsen

Buckingham Nicks / Self-Titled

More Lindsey Buckingham

More Stevie Nicks

  • A superb pressing of Lindsay Buckingham and Stevie Nicks’ one and only album, with Double Plus (A++) sound from start to finish – exceptionally quiet vinyl too
  • Rich and Tubey Magical with a massive bottom end – this is a true Bass Demo Disc (much like the first Mac album they sang on)
  • Recording Engineer great Keith Olsen went for a very rich, very smooth sound, in the tradition of Classic British Folk Rock
  • “An engaging listen and served as a proving ground of sorts for both artists’ songwriting chops and for Buckingham’s skills as an emerging studio craftsman. Crisp, ringing acoustic guitars and a bottom-heavy rhythm section framed the pair’s songs…”

We really enjoy playing this album here at Better Records. It’s an obvious preview of things to come for these two (and the engineer too!). Check out the wonderful early version of “Crystal.” On the better copies, it is warm, rich, and sweet — just like it is on the better copies of the Fleetwood Mac self-titled LP. In fact, many parts of this album bring to mind the best of ’70s Fleetwood Mac. Fans of the self-titled LP and Rumours are going to find A LOT to like here.

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Fleetwood Mac – A MoFi Winner

More of the Music of Fleetwood Mac

Reviews and Commentaries for Fleetwood Mac’s Self-Titled Album from 1975

Sonic Grade: B+

Another MoFi LP reviewed, and this one is actually pretty good. 

The Mobile Fidelity pressing of this album can actually sound quite good (if you get hold of a decent copy that is). Audio perfection it ain’t, but all in all it’s a very enjoyable record. Its strengths are many and its faults are few. Let’s give credit where credit is due; the MoFi is rich, transparent, sweet, and natural, and you won’t hear us saying that about very many MoFi pressings.

It belongs in their Top Ten, toward the bottom I would guess, due to its own sloppy bottom, but that’s half-speed mastering for you.

Like most new audio technologies it was a giant step in the wrong direction: backwards. (more…)

Foreigner – Double Vision

More Foreigner

More Rock Classics

  • This outstanding copy of Foreigner’s sophomore release boasts solid sound from beginning to end
  • If you own the Half-Speed or any modern reissue, you won’t believe how much bigger, clearer and more energetic this pressing is
  • Keith Olsen produced and engineered – he’s the man behind the amazing sound of Buckingham/Nicks and Fleetwood Mac (1975)
  • 4 stars: “Foreigner promptly followed up its blockbuster debut with the equally successful Double Vision LP in 1978, which featured the FM mega-hits “Hot Blooded” and the driving title track.”
  • If you’re an Arena Rock fan, this title from 1978 is surely a Must Own

As I’m sure you know, there is a Mobile Fidelity Half-Speed Mastered version of this album currently in print, and an older one from the days when their records were pressed in Japan (#1-052).

We haven’t played the latter in years; as I recall it was as lifeless and sucked-out in the midrange as most of the other MoFis of that period, notably The Doors (#051) and Trick of the Tail (#062). Is there any doubt that the new MoFi will be every bit as bad or worse? If any of our Hot Stamper customers have purchased the current release, I would be interested in hearing how you think it stacks up against this copy. (more…)

Foreigner – What’s Good About the Sound of Their Albums?

More of the Music of Foreigner

More Rock Classics

As I’m sure you know, there is a Mobile Fidelity Half-Speed Mastered version of this album currently in print, and an older one from the days when their records were pressed in Japan (#1-052).

We haven’t played the latter in years. As I recall it was as lifeless and sucked-out in the midrange as most of the other MoFis of that period, notably The Doors (#051) and Trick of the Tail (#062).

What’s key to the sound of Foreigner’s records?

Obviously, the big one would have to be ENERGY, a subject we have discussed at length here on the site.

Next would be punchy BASS, followed by clear, PRESENT vocals.

Those would be the big three.

But those are qualities that are almost never found on Half-Speed Mastered Records!

The remastering of those records usually leaves them lifeless and compressed, with sloppy bass and recessed vocals.

For some reason, audiophiles — including the audiophiles who produce them — like that sound.

We do not. In fact we can’t stand it. Which is why we will not be auditioning MoFi’s remastered pressing. If you are feeling adventurous (and have $30 to throw away) and want to do the shootout for yourself, please let us know how it went.

The sound of the best pressings were jumping out of our speakers. Have you ever heard a Half-Speed do that?

Almost never, and we’ve played them by the hundreds.

FURTHER READING

New to the Blog? Start Here

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Bob Weir – Heaven Help The Fool

More Bob Weir

More Grateful Dead

  • This outstanding pressing boasts solid Double Plus (A++) sound or BETTER from start to finish
  • A surprisingly well recorded album, this pressing is simply bigger, bolder and richer than most of the other copies we played
  • ” … showcases the special flavor that Weir added to Jerry [Garcia]’s genius, where 2 identities blend effortlessly. “
  • “Jazzy in places, soft and smooth in others. Out of the ordinary for the Grateful Dead’s co-founder, but easier for the uninitiated to absorb without losing the trademark oddity that Weir has always displayed. Top-notch stuff.”

What separated the best copies from the also-rans was more than just rich, sweet, full-bodied sound. The better copies make Bob’s voice more palpable — he’s simply more of a solid, three dimensional, real presence between the speakers. You can hear the nuances of his delivery much, MUCH more clearly on a copy that sounds as good as this one does.

Keith Olsen produced and co-engineered here, which should go a long way toward explaining why the sound is so good. He is of course the man helped make Fleetwood Mac’s 1975 album such a sonic blockbuster. (more…)

Grateful Dead – Terrapin Station

More Grateful Dead

More Hippie Folk Rock

  • This original pressing earned Shootout Winning Triple Plus (A+++) grades or very close to it throughout – you’ll have a hard time finding a copy that sounds any better than this!
  • Produced by Keith Olsen of Fleetwood Mac fame, it’s no surprise that the recording quality is quite a bit better than most of the records they had been making at the time
  • Pretty darn quiet throughout, Mint Minus to Mint Minus Minus, as quiet as we can find them
  • “Terrapin Station offers a few choice glimpses of the band doing what it does best. While the most prominent example is the album’s extended title suite, there are a few others such as the cover of the Rev. Gary Davis gospel-blues “Samson and Delilah” and a resurrection of the Martha & the Vandellas hit “Dancin’ in the Streets.” 

Most Dead studio albums after Workingman’s Dead are full of filler, but this one actually has some good songs: the extended title song suite, the hard-rockin’ Passenger mated Prophet. The cov(note the similarities to Fleetwood Mac’s Station Man), and the darkly funky Estier of Dancin’ In The Streets may have earned this album the epithet of Disco Dead, but it’s actually a good bit of fun if you don’t take it too seriously.

Terrapin Station marked the Dead’s return to a major label (Arista) and was only their second album ever to make use of an outside producer (Keith Olsen, who also worked on the two smash hit Fleetwood Mac albums of the era — Rumours and the self-titled LP, two records that can sound stunning on the right pressing). As such, the songs are a bit more concise than you might expect from these crazy guys — only the title song goes over five and a half minutes, and it’s one of the band’s most famous jams! (more…)

Fleetwood Mac – Self-Titled

More Fleetwood Mac

  • With superb Double Plus (A++) grades on both sides, this vintage Reprise pressing of the 1975 self-titled album boasts outstanding sound
  • A Rock and Pop Top 100 Title – their best recording bar none – the sound is Tubey Magical like no other Mac LP
  • Unlike the MoFi, the best early pressings have huge amounts of deep bass, and if you’ve got the speakers to play an album with a bottom this big, you are in for a thrill
  • 5 stars: “Fleetwood Mac is a blockbuster album that isn’t dominated by its hit singles, and its album tracks demonstrate a depth of both songwriting and musicality that would blossom fully on Rumours.”
  • Reviews and Commentaries for Fleetwood Mac’s Self-Titled Album from 1975

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Fleetwood Mac / Self-Titled – A Demo Disc for Bass

More of the Music of Fleetwood Mac

Reviews and Commentaries for Fleetwood Mac’s Self-Titled Album from 1975

Another in our series of Demo Discs for Bass.

One of the special qualities this album has is AMAZINGLY well-defined, punchy, deep BASS — the kind you just never hear on most records (or most pressings of this album for that matter).

The bass is typically bloated on most copies of this album, something that is especially true for the MoFi. When you get a copy with note-like, properly balanced bass, the whole album works. Bass is the foundation of the music. When the bass is blubbery and ill-defined, the music itself sounds blurred. It loses its focus.

It’s also very dynamic and punchy. The kick drum sounds exactly right — there’s a room around it, just exactly as you would hear it if you were in the studio with the band! It took a copy like this to show us what an amazing pop recording it is.

So few copies we ran across in our shootout had that “jump out of the speakers” sound we knew was possible from our previous shootouts of the album. When finally one did, boy did it ever. What a knockout. Hot Stampers? They’re on fire!

If you have a big speaker system and have taken advantage of the audio revolutions we discuss throughout the site, this is the kind of record that can help you chart your progress. When a record like this blows everything you’ve ever heard out of the water, you are definitely on the right track! (more…)

Dr. John – Dr. John’s Gumbo

  • Dr. John’s Gumbo is back, now with outstanding Double Plus (A++) sound from first note to last – exceptionally quiet vinyl too
  • Full, lively, and solid, this copy has just the right sound for this collection of quintessential New Orleans Rhythm and Blues tracks
  • The superbly talented Keith Olsen engineered – just one year later he would record Buckingham-Nicks, and two years after that Fleetwood Mac
  • 4 1/2 Stars: “Dr. John’s Gumbo bridged the gap between post-hippie rock and early rock & roll, blues, and R&B… that sly fusion of styles makes Dr. John’s Gumbo one of Dr. John’s finest albums.”

You may have read this commentary in our other Dr. John listing, the one for In The Right Place. The two recordings — and therefore the Hot Stamper pressings made from them — share much in common, so we’ve more or less copies the listing for that album into this one. What’s good about one is good about the other, and vice-versa.

Tubey Magic Is Key

This original Yellow Label Atco pressing has the kind of Tubey Magical Midrange that modern records cannot even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound. (more…)

Pat Benatar – Crimes of Passion

  • This impressive Double Plus (A++) copy is ROCKIN’ with Sound City Classic Rock energy like you will not believe
  • Credit engineer Keith Olsen, the man behind the Buckingham Nicks album and the even-more-amazing Fleetwood Mac self-titled release
  • All kinds of big hits can be found on this one, including Benatar classics such as Treat Me Right, You Better Run and Hit Me With Your Best Shot
  • “Benatar avoids the synth-happy trends of the early ’80s and delivers a hard rocking ten-song session of power pop tempered with a few ballads for balance.”

Credit for the sound must go to the brilliant engineer Keith Olsen, the man behind the amazing sounding Fleetwood Mac self-titled release from 1975. Is there a better sounding Fleetwood Mac album? I certainly can’t think of one. 

The man knows Big Rock sound as well as anyone in the business. The two recordings mentioned above and our Crimes of Passion here have too much in common for it to be a mere coincidence. All three have tons of bass (which is the sine qua non of live rock music), huge size and scope, richness, Tubey Magic, a smooth top and last but not least, hard-rockin’ energy. (more…)