This WHITE HOT Stamper side one shows you just how good this record can sound, which is surprisingly good, considering how many copies of the album are just plain awful. Finally, most of the grit, grain and transistory opacity have fallen away, leaving in its place the rich, full-bodied and Tubey Magical ’70s sound one would expect.
As obvious as it may sound (especially to anyone on this site), the master tape is a whole lot better than the average copy of the record would have you think. This side one is proof positive. And side two is nearly as good, earning a solid Super Hot stamper grade of A++. Without a doubt this is by far the best copy of the album we have ever heard.
It’s also the only Loggins solo album that I’ve ever liked; it was actually a favorite of mine back in the day. I’ve owned this very copy for more than twenty years (bought it in 1988 according to the price sticker). Seems like a good time to send it on its way to find a new home.(more…)
One of the best copies to ever hit the site and boy is it killer — Triple Plus (A+++) sound, or close to it, from start to finish
Both sides here are rich, full and Tubey Magical with a massive bottom end and lots of space around the instruments
It’s also one of the only Loggins solo albums I’ve ever liked; it’s a favorite of mine from back in the day
Allmusic 4 Stars: “Loggins is in good form throughout the record, and if even only the title track entered his readily-acknowledged canon, this has a fine, sustained mood: a soft late ’70s vibe that makes it a nice artifact of its time, as well as one of his stronger records, as illustrated by its platinum status — something it achieved without any blockbuster singles.”
This killer copy shows you just how good this record can sound, which is surprisingly good, considering how many copies of the album are just plain awful. Finally, most of the grit, grain, and transitory opacity have fallen away, leaving in its place the rich, full-bodied and Tubey Magical ’70s sound one would expect.
As obvious as it may sound (especially to anyone on this site), the master tape is a whole lot better than the average copy of the record would have you believe. This copy is proof positive. Without a doubt this is one of the best pressings of the album we have ever heard.
Two Amazing Sides
The best copies take top honors for rhythmic energy and real frequency extension both high and low. Most copies have no real top end; if you own one give it a listen and we think you’ll agree with us.
Great bass, plenty of Tubey Magic, clarity and richness — no other copy in our shootout could do what this one was doing.(more…)
An outstanding copy of Simon’s second solo album, with solid Double Plus (A++) sound from start to finish – exceptionally quiet vinyl too
The sound is big, warm and full-bodied – it’s present and clear, never harsh or gritty the way so many are
Great songs including Kodachrome, Loves Me Like a Rock, Was a Sunny Day (and you probably know most of the other 7)
5 stars: “Retaining the buoyant musical feel of Paul Simon, but employing a more produced sound, There Goes Rhymin’ Simon found Paul Simon writing and performing with assurance and venturing into soulful and R&B-oriented music.”
Most pressings don’t have anywhere near this kind of openness and transparency — and they don’t have this kind of richness or warmth either. It’s a real treat to hear these great songs finally get the sound they deserve.
On most pressings, Simon’s voice is a spitty, gritty mess — sure it’s present, but where is the sweetness and warmth? Well, as a copy like this proves, more of those qualities made it to the tape than you might think.(more…)
One-Trick Pony makes its Hot Stamper debut here with STUNNING Shootout Winning Triple Plus (A+++) sound throughout – exceptionally quiet vinyl too
Notably richer and livelier than every other pressing we played, with plenty of Tubey Magic and good weight down low
We guarantee there is dramatically more richness, presence and energy on this copy than anything else around, and that’s especially true for whatever godawful Heavy Vinyl pressing is currently being foisted on an unsuspecting record buying public
“Tasty licks abound from the fretwork of Eric Gale, Hiram Bullock, and Hugh McCracken, and the rhythm section of Steve Gadd, Tony Levin, and Richard Tee is equally in the groove. This is the closest thing to a band album Simon ever made, and it contains some of his most rhythmic and energetic singing. . .”
Yet another in the long list of recordings that really comes alive when you Turn Up Your Volume.
Most copies of this album do not have a boosted bottom or top, which means that at normal listening levels — depending on how you define that term — they can sound pretty flat. This is one album that needs to be turned up, obviously not to the levels of a live rock concert, but up about as loud as you can until you can get the bass and the highs to come out. We found ourselves adding more and more level in order to get the sound to come to life, and it was playing pretty loud before the sound was right.
But it’s SO GOOD when it’s loud. Why the hell would you not want to crank it up and ROCK OUT?(more…)
This superb collaboration debuts with STUNNING Shootout Winning Triple Plus (A+++) sound from start to finish and ’60s vinyl that’s about as quiet as any we can find
Smooth, full-bodied and Tubey Magical, the brilliant Ray Hall engineered this Demo Disc using an All Tube chain back in 1963, and it’s glorious to hear that sound reproduced on modern hi-rez equipment
4 stars: ” Getz relies mostly upon native Brazilians for his backing. Thus, the soft-focused grooves are considerably more attuned to what was actually coming out of Brazil at the time… Two bona fide giants, Antonio Carlos Jobim and Luiz Bonfá (who gets co-billing), provide the guitars and all of the material, and Maria Toledo contributes an occasional throaty vocal.”
The Rhythm of the Saints finally makes its Hot Stamper debut here with a Shootout Winning Triple Plus (A+++) side two married with an outstanding Double Plus (A++) side one
Richer, warmer, more natural, more relaxed, this is what vintage analog is all about, that smooth sound that never calls attention to itself and just lets the music flow
4 stars: “Though he recorded the album’s prominent percussion tracks in Brazil, Paul Simon fashioned The Rhythm of the Saints as a deliberate follow-up to the artistic breakthrough and commercial comeback that was the South Africa-tinged Graceland.”
With shootout-winning Triple Plus (A+++) grades on both sides, it just doesn’t get any better than this copy of Mulligan’s superb sounding and Hard To Find 1963 release on Philips
Quincy Jones directed, and Phil Ramone made sure the album would be exceptionally well-recorded, which it is!
Big, rich, and Tubey Magical, this pressing let us hear Mulligan’s quartet with the energy and clarity these classic jazz performances deserve
4 Stars: “Mulligan and Brookmeyer always seem to stimulate one another’s playing to a high level, and this album is no exception. The group gets into a swinging groove right away with its updated treatment of a Count Basie favorite, “Jive at Five,” followed by Mulligan’s brisk yet intricate jazz waltz “Four for Three.””
Clean and Clear Yet Rich and Sweet
This copy managed to find the ideal balance of these attributes. You want to find that rare copy that keeps what is good about a Tubey Magical analog recording from The Golden Age of ’60s Jazz while managing to avoid the pitfalls so common to them: compression, opacity, and blubber.(more…)
This is a Minty looking Verve Japanese Import LP. It’s not competitive with the best domestic pressings but you could definitely do worse. Trying to find domestic copies that aren’t trashed is virtually impossible, so if you’re a click and pop counter, this copy may be the ticket! Stan Getz is a truly great tenor saxophonist, the cool school’s most popular player. This LP is all the evidence you need. Side 1 has those wonderfully relaxed Brazilian tempos and the smooth sax stylings of Stan Getz.
Side two for me is even more magical. Getz fires up and lets loose some of his most emotionally intense playing. These sad, poetic songs are about feeling more than anything else and Getz communicates that so completely you don’t have to speak Portugese to know what Jobim is saying. Call it cool jazz with feeling.