Hot Stamper Albums with Huge Choruses
- You’ll find excellent Double Plus (A++) sound throughout this vintage British EMI import pressing
- If you want to hear this music EXPLODE out of the speakers and come to life the way the band wanted you to hear it, this record will do the trick
- The emotional power of these songs is communicated so completely through this copy that the experience will be like hearing it for the first time
- “…it’s massive, earth-shaking rock & roll, the sound of a band beginning to revel in its superstardom.”
Side one starts out with Queen’s back-to-back anthemic classics, “We Will Rock You” and “We Are the Champions.” Does it get any better for a Queen fan? Hell no!
The stomps and claps that introduce the former should make you feel like you are in a stadium full of people with a single goal — to rock you. Those stomps and claps need weight and clarity, an unusual combination. One without the other is not going to cut it.
The record needs to be able to reproduce the room everybody is in, while still conveying the tremendous impact and power. Most domestic pressings are severely lacking in these areas. This kind of anemia can be frustrating — you want to rock but the sound won’t let you.
Another quality our better copies excelled in was the sound of Brian May’s guitar during his solo toward the end of the song. Here his tone is very boxy with no real highs or lows, but when that sound is exaggerated by bad mastering, it sounds like there are mattresses sitting in front of his amplifiers. The better copies had extension on the high end, restoring the clarity and complimenting his distinctive technique.
Pay close attention to John Deacon’s bass work underneath Freddie’s singing. The notes he plays should be very distinguishable and have a full, round tone.
When the tension reaches its climax right before the epic chorus begins, Roger Taylor does a huge drum roll that should let you hear what his toms really sound like – serious attack, high-pitched, and roomy.