- With superb sound on all six sides, this early British box set of All Things Must Pass will be very hard to beat
- Exceptionally quiet vinyl for this set – most of the copies we see are heavily played and prone to marks that repeat
- If you’ve struggled with domestic pressings and later imports or Heavy Vinyl reissues, your troubles are over – here is the sound you were looking for
- 5 stars: “Without a doubt, Harrison’s first solo recording is his best. Drawing on his backlog of unused compositions from the late Beatles era, Harrison crafted material that managed the rare feat of conveying spiritual mysticism without sacrificing his gifts for melody and grand, sweeping arrangements.”
- A Must Own Title from 1970
- The complete list of titles from 1970 that we’ve reviewed to date can be found here
- Honky Chateau contains some of the most Tubey Magical High-Production-Value rock music ever recorded – thanks Ken Scott!
- Not the quietest copy we’ve ever played – Mint Minus Minus to EX++ on both sides – but obviously one of the better sounding
- 5 stars: “The most focused and accomplished set of songs Elton John and Bernie Taupin ever wrote … It’s one of the finest collections of mainstream singer/songwriter pop of the early ’70s.”
If you doubt that Elton John was an unusually gifted Pop Music Genius for much of the ’70s, just play this record. These eleven tracks should serve as all the proof you could possibly need. There’s not a dog in the bunch, and most of these songs are positively brilliant. Drop the needle on any track, you simply can’t go wrong.
Honky Chateau has to be one of the best sounding rock records of all time — certainly worthy of a prized spot on our Rock and Pop Top 100 List. It’s a shining example of just how good High-Production-Value rock music of the ’70s can be.
The amount of effort that went into the recording of Honky Chateau is comparable to that expended by the engineers and producers of bands like Supertramp, The Who, Jethro Tull, Ambrosia, Pink Floyd and far too many others to list. It seems that no effort or cost was spared in making the home listening experience as compelling as the recording technology of the day permitted.
The sides that had sound that jumped out of the speakers, with driving rhythmic energy, worked the best for us. They really brought this music to life and allowed us to make sense of it. This is yet another definition of a Hot Stamper — it’s the copy that lets the music work as music.
Big Production Tubey Magical British Rock just does not get much better than Honky Chateau. (more…)
- One of our favorite Hippie Folk Rock albums – the instruments and voices are so well recorded they will seem to be floating right in front of you
- The Tubey Magical acoustic guitars on this record are a true test of stereo reproduction – thanks Ken Scott!
- A tough record to find these days on the early Green Label with sound this good and audiophile playing surfaces that are this quiet
- 4 stars: “America’s debut album is a folk-pop classic, a stellar collection of memorable songs that would prove influential on such acts as the Eagles and Dan Fogelberg…”
This is clearly America’s best album, and on the better pressings like this one, the sound is worthy of Demo Disc status. You’ll find the kind of immediacy, richness and harmonic texture that not many records (and even fewer CDs) are capable of reproducing.
The version we are offering here has the song A Horse With No Name. Some copies without that song can sound very good as well, but with grades this good, this copy is going to be very hard to beat.
Interestingly, A Horse With No Name never sounds quite as good as the rest of the album. It was recorded in 1971, after the album had already been released, and subsequently added to newer pressings starting in 1972. Unlike the rest of the album, it was not engineered by Ken Scott at Trident, but by a different engineer at Morgan Studios. The engineer of that song took a different approach to the one that Scott had, and we leave it to you to decide how well that approach worked.
- Easily – and by a wide margin – the best sounding record Jeff Beck ever made – thanks Ken Scott! (And thank you, CBS, for the exceptionally quiet vinyl)
- This pressing embodies the Big Rock Sound, the kind we go crazy for here at Better Records
- Really fun music – it’s a blast to hear Rod Stewart fronting such a heavy rock band
- AMG 5 Stars “…almost as groundbreaking and influential a record as the first Beatles, Rolling Stones, or Who albums.”
Vintage covers for this album are hard to find in clean shape. Most of them will have at least some amount of ringwear, seam wear and edge wear. 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 cover for you.
This is a SHOCKINGLY good sounding pressing of Truth, Beck’s As-Heavy-As-I-Can-Make-It Rock debut, the kind of record that would define Classic Rock for the next forty plus years.
The soundstage is absolutely HUGE, while the presence and transparency of this copy go way beyond most pressings. Great rock and roll energy too of course — without that you have nothing on this album.
Note how spacious, big, full-bodied and DYNAMIC both sides are. That’s why they’re Super Hot. I am pleased to report that the whomp factor on these sides was nothing short of MASSIVE. With tons of bass these sides have what it takes to make the music ROCK. (more…)
This commentary was written about 15 years ago. Unlike some of the things I used to say about records and audio, every word of this commentary still holds true in my opinion.
The sound of the best pressings of The Beatles — when cleaned with the Walker Enzyme fluids on the Odyssey machine — are truly revelatory.
So much of what holds their records back is not bad mastering or poor pressing quality or problems with the recording itself. It’s getting the damn vinyl clean. (It’s also helpful to have high quality playback equipment that doesn’t add to the inherent limitations of the recordings.)
Know why you never hear Beatles vinyl playing in stereo stores or audio shows?*
Because they’re TOO DAMN HARD to reproduce. You have to have seriously tweaked, top-quality, correct-sounding equipment — and just the right pressings, natch — to get The Beatles’ music to sound right, and that’s just not the kind of stuff they have at stereo stores and audio shows. (Don’t get me started.)
However, you may have noticed that we sell tons of Beatles Hot Stamper Pressings. We have the stereo that can play them, we have the technology to clean them, and we know just how good the best pressings can sound. The result? Listings for Beatles Hot Stampers on the site all the time.
Five of their titles — the most of any band — are on our Rock and Pop Top 100 List. That ought to tell you something. (Let It Be and Revolver would easily make the list as well, but seven albums from one band seemed like overkill, so we’re holding firm at five for now.)
A True Pass/Fail Test for Equipment
I’ve been saying for years that an audiophile system that can’t play Beatles records is a system that has failed a fundamentally important test of musicality. Everyone knows what The Beatles sound like. We’ve been hearing their music our whole lives.
We know what kind of energy their songs have.
What kind of presence.
What kind of power.
When all or most or even just many of those qualities are missing from the sound coming out of the speakers, we have no choice but to admit that something is very very wrong.
I’ve heard an awful lot of audiophile stereos that can play audiophile records just fine, but when it comes to The Beatles they fall apart, and badly. Embarrassingly badly.
Super Detailed may be fine for echo-drenched Patricia Barber records, but it sure won’t cut it with The Beatles. Of course the owners of these wacky systems soon start pointing fingers at the recordings themselves, but we at Better Records — and our Hot Stamper customers — know better.
You can blame the messenger as much as you want — it’s a natural human tendency, I do it myself on occasion — but that sure won’t help you get your stereo working right.
The Beatles albums are the ultimate Audiophile Wake Up Call. It’s the reason practically no equipment reviewers in the world have ever used recordings by The Beatles as test records when making their judgments. The typical audiophile system — regardless of price — just can’t cut it.
Reviewers and the magazines they write for don’t want you to know that, but that doesn’t make it any less true.
* (Love doesn’t count; give me a break. I hope we’re over that one by now. Couldn’t stand to be in the room with it.)
- A KILLER copy of Elton John’s 1973 release with Shootout Winning Triple Plus (A+++) sound or very close to it from start to finish
- Forget the dubby, closed-in and transistory domestic pressings – here is the relaxed, rich, spacious, musical, lifelike sound that only the best imports can show you
- Thanks to Ken Scott’s brilliant engineering and Gus Dudgeon’s production savvy, every song here sounds better than you imagined, because finally you are hearing it right
- 4 stars: “His most direct, pop-oriented album… a very enjoyable piece of well-crafted pop/rock.”
The amazing engineer Ken Scott (Ziggy Stardust, Magical Mystery Tour, Honky Chateau, Crime of the Century, Truth, Birds of Fire) is the man responsible for the stunning sound here.
The kind of Tubey Magical richness, smoothness and fullness he achieved at Trident in the early ’70s, as well as here at a certain French country estate, have never been equaled elsewhere in our opinion. (more…)
Sonic Grade: C-
The MoFi pressing is decent, probably better than the average domestic copy I suppose. The colorations and the limitations of their cutting system make it painful for me to listen to it though, especially the sloppy bass and dynamic compression.
You can do worse but you sure can do a lot better.
MoFi did two of the greatest Bowie albums of all time, Ziggy and Let’s Dance, and neither one can hold a candle to the real thing. If you want to settle for a pretty poor imitation of either or both of those albums, stick with your MoFi. If you want to hear the kind of Demo Disc sound that Bowie’s records are capable of, try a Hot Stamper. (more…)
- An outstanding British pressing of The White Album, with solid Double Plus (A++) sound on all four sides
- This copy of the Beatles’ Masterpiece (my personal favorite of all their albums) is going to thrill and delight the lucky person who snags it
- If you’ve heard the half-speed and Heavy Vinyl versions of The White Album, then you know how riddled they are with unacceptable flaws and not enjoyable on high-quality equipment, unlike this copy which is guaranteed to be an unalloyed joy to play
- “If there is still any doubt that Lennon and McCartney are the greatest song writers since Schubert, then next Friday – with the publication of the new Beatles double LP – should surely see the last vestiges of cultural snobbery and bourgeois prejudice swept away in a deluge of joyful music making…” Right On!
Our Hot Stampers have always been a BIG hit with the folks who’ve been lucky enough to snare them. If you’re ready for a High-Quality copy of The White Album that’s sure to massacre all the pressings you’ve heard until now, you should jump right on this bad boy. (more…)
- An outstanding vintage UK pressing of Bowie’s 1973 post-Ziggy classic with solid Double Plus (A++) sonic grades – exceptionally quiet vinyl too
- Remarkable for the richness, smoothness and warmth that the best Ken Scott Tube Recordings are renowned for
- Plenty of Bowie Classics: Watch That Man; Aladdin Sane; Panic in Detroit; Cracked Actor; The Jean Genie; Lady Grinning Soul and more
- “Bowie encyclopedist Nicholas Pegg describes it as ‘one of the most urgent, compelling and essential’ of his releases.”
- Fun fact: Bowie “ruled the (British) album chart, accumulating an unprecedented 182 weeks on the list in 1973 with six different titles.”
THE BIG BOWIE SOUND for this wonderful follow-up to Ziggy Stardust! We just finished shooting out a number of import pressings of the album, and this import was one of the better copies we heard. This one’s got the kind of Tubey Magical Richness that takes these Glam Rockers to a whole new level. (more…)
Yet another in the long list of recordings that really comes alive when you Turn Up Your Volume.
The bass on the best copies is AWESOME. Playing a Hot Stamper copy at loud levels with big woofers will have your house quaking. Add to that the kind of ENERGY that the better pressings have in their grooves and the result is an album guaranteed to bring most audiophile systems to their knees, 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 Crime of the Century the way Ken and the boys wanted you to. The album wants to rock your world, and that’s exactly what our Hot Stamper pressings are capable of doing.
The typical Brit copy is dull, and that quality just takes all the magic out of the recording. The three dimensional space and clarity of the recording rely heavily on the quality of the top end. The MoFi, on the best copies, shows you what is missing from the typical Brit, domestic or other import LP. This is what impressed me back in the ’70s when I bought my MoFi. It was only years later that I realized what was missing and what was wrong. (more…)