- Herbie Mann’s 1963 release makes its Hot Stamper debut on this early Atlantic Blue & Green label pressing with phenomenal you-are-there sound
- You won’t believe how good the Live Jazz Club sound captured on this album is, but it might take a White Hot Stamper pressing like this one to really make the case
- This is an exceptionally well recorded jazz flute album, and if you want to hear this kind of sound, you going to need an early ’60s pressing, because none of the reissues we played even came close
- “By 1961, flutist Herbie Mann was really starting to catch on with the general public. This release, a follow-up to his hit At the Village Gate…features Mann in an ideal group with either Hagood Hardy or Dave Pike on vibes, Ahmed Abdul-Malik or Nabil Totah on bass, drummer Rudy Collins and two percussionists. Mann really cooks on four of his own originals, plus ‘Bags’ Groove,’ blending in the influence of African, Afro-Cuban and even Brazilian jazz.”
- A Jazz Classic from 1963 that should appeal to any fan of Bossa Nova music
- The complete list of titles from 1963 that we’ve reviewed to date can be found here.
In 2006 we put up a copy with with what we implied were Hot Stampers (before we were using the term regularly) on at least one side:
“Side One sounds tonally right on the money! This is as good as it gets… Robert Ludwig mastered all of the originals of these albums, but some of them have bad vinyl and don’t sound correct.
“I only played side one of the album, so I can’t speak for the other sides, but what I heard was sound about as good as I think this album can have.”
There are some truths along with some half-truths in the above comments, and let’s just say we would be quite a bit more careful in our language were we writing about that copy today.
One side is no indication whatsoever as to the quality of the other three, and without the kind of cleaning technologies we have available to us today, I wouldn’t want to make a “definitive” sonic assessment for any of them.
When you play uncleaned or poorly cleaned records, you’re hearing a lot of garbage that has nothing to do with the sound of the vinyl itself.
Note that we are joking above: there is no such thing as a definitive sonic assessment of a record, from us or anybody else.
Bad Audiophile Thinking? We’ve done our share and then some.
We are firm believers in the idea that plenty of Audio Progress awaits you, but you must approach the problem rationally and put the necessary time and effort into it.
It is axiomatic with us that the more skeptical you become, the more successful you will be in pursuing this hobby of ours.
- A stunning sounding copy with Triple Plus (A+++) sound throughout, making this one of the best copies to ever hit the site
- Forget whatever Heavy Vinyl imposter is in print – this vintage Verve stereo pressing has the kind of High-Rez Tubey-Magical Midrange that will bring Astrud’s soft samba music to life in your very own listening room
- “… Windy nevertheless proves one of Astrud Gilberto’s most consistent and sublime efforts, artfully straddling the division between Brazilian bossa nova and American sunshine pop.”
Credit engineer Phil Ramone for correctly capturing the sound of every instrument here: the guitars, piano, flutes, strings, drums, percussion instruments — everything has the natural timbre of the real thing. I used to think this recording erred on the bright side, but not the Hot Stamper copies. They are tonally Right On The Money.
When the balance lacks lower midrange the sound gets lean, which causes the strings to seem brighter than they really are, a not uncommon problem with some of the pressings we heard.
We had quite a batch of these to play, including imports, originals, reissues (all stereo), and one lone mono, which was so ridiculously bad sounding we tossed it right out of the competition and into the trade pile.
For those of you playing along at home, we are not going to be much help to you here in finding your own Hot Stampers. Every version had strengths and weaknesses and all are represented in the three listings we are putting up today.
The sound of this side one blew our minds — no other copy could touch it. So open and airy, yet with real weight to the piano and a clear and strong bass line, this copy did EVERYTHING right. The strings are very much part of the ensemble on this album, and getting good string tone, with just the right rosiny texture, the least amount of smear, freedom from shrillness or hardness — this is not easy to do. On the strings, this copy KILLED.
- A superb vintage Capitol pressing of Rock of Ages with Double Plus (A++) sound or BETTER on all FOUR sides
- The best copies are surprisingly TRANSPARENT – just listen to all the “room” around the vocals on these four sides
- With tracks from their first four albums, as well as a few handpicked favorites (“Don’t Do It”), not to mention killer horn charts on 11 songs, this is a superb overview of the group’s uniquely rootsy rock
- A classic double live album with a consistently well-arranged and energetically performed set of songs – if you could only have one album by The Band, wouldn’t it have to be this one?
- 4 stars: “It could be argued that it captured the spirit of the Band at the time in a way none of their other albums do.”
The performances are uniformly excellent, and the live five-piece horn section adds a lot to the fun and energy of the music. (The same can be said for Little Feat’s live album, Waiting for Columbus. We’ve been offering Hot Stampers on that album for years; it’s the best way to hear the band at their best, outside the studio.)
There’s real Tubey Magic on this album, along with breathy vocals, in-your-listening-room presence, and plenty of rock and roll energy.
All four sides here are just plain bigger, richer, clearer and smoother than the other copies we played. The energy level is off the charts. This is The Band playing live at the peak of their powers. Hearing this outstanding pressing should be unlike anything you have experienced before, unless you saw them back in the day, some fifty years ago, and how many of us can honestly say we did? (“Honestly” being the operative word there.)
It should go without saying that this is music that belongs in any popular music collection. My favorite song here is “I Don’t Want To Hang Up My Rock And Roll Shoes.” It’s The Band at their best — LIVE.
- The sound is big, warm and full-bodied – it’s much more present and clear, and not nearly as harsh or gritty as far too many of the copies we played were
- 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.”
- If you’re a Paul Simon fan, this has to be considered a Must Own Title of his from 1973.
- The complete list of titles from 1973 that we’ve reviewed to date can be found here.
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
- One-Trick Pony is back 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. . .”
- If you’re a Paul Simon fan, a killer copy like this of his album from 1980 belongs in your collection
- This vintage pressing of McCartney’s 1971 Classic boasts outstanding sound and exceptionally quiet vinyl on both sides
- A copy like this is a real audiophile treat – here is the rich, warm, clear, natural and lively sound you want for Ram
- Many of the man’s most memorable songs are here: Too Many People, Uncle Albert/Admiral Halsey, Monkberry Moon Delight, Heart Of The Country and more
- 5 stars: “These songs may not be self-styled major statements, but they are endearing and enduring, as is Ram itself, which seems like a more unique, exquisite pleasure with each passing year.”
I remember this album being dismissed as lightweight back in the day and I may have even felt the same to be honest. Heck, compared to Abbey Road and The White Album, the very same thing could be said about most of McCartney’s albums.
McCartney isn’t out to blow you away with high-production value rock here, apart from Uncle Albert/Admiral Halsey. He’s making some lovely pop music with his wife and sharing it with the world. And what’s so wrong with that? (more…)
- An outstanding copy of Chicago VI, with solid Double Plus (A++) sound from first note to last – fairly quiet vinyl too
- The sound of the brass on any Chicago album is key and these sides have the horns sounding clear and really jumping out of the speakers
- VI was propelled to the top of the charts for five full weeks by two of the band’s best tracks: “Just You ‘n’ Me” “Feelin’ Stronger Every Day”
- 4 stars: “Chicago VI is an undeniably strong effort – supported at the time by its chart-topping status…”
The background vocals on these sides are breathy and clear, a far cry from the typically smeary, dark voices we heard on most of the pressings we played, all originals in this case.
More often than not the brass lacks bite and presence, but these sides had the Chicago horns leaping out of the speakers. What is a Chicago record without great horns? Without that big bold sound you may have something, but it sure ain’t Chicago.
The sound of the brass on any Chicago album is key — it has to have just the right amount of transient bite yet still be full-bodied and never blary. In addition, on the best of the best pressings you can really hear the air moving through the horns.
- This outstanding pressing boasts solid Double Plus (A++) sound from start to finish – exceptionally quiet vinyl too
- An extremely tough album to find with the kind of big, spacious, Tubey Magical sound this pressing offers
- Clean, clear and open are nice qualities to have, but the richer, smoother, more natural sounding copies are the ones that win our shootouts
- 4 1/2 stars: “…he was never more in tune with his audience: Still Crazy topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance.”
- If you’re a Paul Simon fan, this has to be considered a Must Own Title of his from 1975.
- The complete list of titles from 1975 that we’ve reviewed to date can be found here.
The overall sound here is big and rich. You get texture to the instruments (check the strings in the title track) but a smooth quality to the vocals instead of the grit and strain you hear on most copies. There’s extension up top and weight down low. (more…)