Top Engineers – Richard Dashut

Fleetwood Mac – Rumours

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Reviews and Commentaries for Rumours

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  • This outstanding pressing boasts solid Double Plus (A++) sound from start to finish
  • Tubey Magical Analog – the sound is open, spacious and transparent, with a huge three-dimensional soundfield
  • A Better Records Top 100 title – when you hear it sound as good as it does here, you’ll know why we’ve long considered Rumours an Audiophile Demo Disc
  • If you own the album on two 45 RPM discs (you know the one), allow us to send you a copy that will beat the pants off that modern mediocrity — this one!
  • 5 stars: “Each tune, each phrase regains its raw, immediate emotional power—which is why Rumours touched a nerve upon its 1977 release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time.”

When you hear a good copy of Rumours, it’s very easy to understand why this is one of the best-selling pop music albums of all time. Just about everyone knows how great these songs are, but I bet you didn’t know they could sound like this!

It’s tough finding Hot Stamper copies of this album. With over 75 sets of stamper numbers for each side, it’s an extremely taxing project, even for us. We know some of the better stampers and have been acquiring them since then in preparation for this shootout. (more…)

Lindsey Buckingham / Law and Order

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  • An outstanding copy of Buckingham’s first solo album with solid Double Plus (A++) sound from first note to last
  • The sound here is rich, full-bodied and lively, with solid and present vocals, as well as excellent clarity all around
  • You can thank Richard Dashut for the superb recording quality, and Better Records for finding a copy of the record that sounds as good as this one does
  • September Song was an inspired choice – it might just be the best song on the album
  • “. . . this album to me covers a wide spectrum of emotion and musicality that is hard to find in solo departures like this one. The music carries a funny, kind of goofy vibe throughout . . . but Buckingham isn’t afraid to get serious and pull out dramatic day-to-day human circumstances . . . and let the audience become captivated by his minimalist approach that seems to fit in each time.”

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Fleetwood Mac – Tusk

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  • This outstanding copy of Tusk boasts solid Double Plus (A+) sound or BETTER on all FOUR sides – exceptionally quiet vinyl too
  • The best sounding tracks are killer here – clear, rich, warm, full-bodied, with all the hallmarks of high-production-value analog throughout
  • This vintage pressing has the MIDRANGE MAGIC that’s surely missing from whatever 180g reissue has been made from the 40 year old tapes (or, to be clear, a modern digital master copy of those tapes)
  • 5 stars: “McVie and Nicks don’t deviate from their established soft rock and folk-rock templates, and all their songs are first-rate… Because of its ambitions, Tusk failed to replicate the success of its two predecessors, yet it earned a dedicated cult audience of fans of twisted, melodic pop.”

(more…)

Fleetwood Mac – Tusk – Some of Our Favorite Twisted Melodic Pop

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Tusk For Sale

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  • A MONSTER pressing that simply cannot be beat – all four sides (well, almost) earned our highest sonic grade of Triple Plus (A+++)
  • Staggering Demo Disc Quality sound on the more highly produced tracks, of which there are plenty spread across these two discs
  • The power of the bottom end is especially impressive on all the sides (and John McVie kills it on bass as usual)
  • 5 stars: “Because of its ambitions, Tusk failed to replicate the success of its two predecessors … yet it earned a dedicated cult audience of fans of twisted, melodic pop.” Twisted melodic pop? Sign me up!

This copy is absolutely KILLER, with the kind of transparency, space and openness you simply cannot find on most copies. When the soundstage is as wide and three-dimensional as it is here, it’s amazing how much more SENSE the music starts to make.

And the clarity is not the phony “audiophile” kind that’s the result of too much treble. The tonality is correct throughout, and there’s no lack of richness or warmth to the sound. They just don’t get any better. (more…)

Buckingham Nicks – Buckingham Nicks

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  • An incredible copy with both sides earning Shootout Winning Triple Plus (A+++) grades; exceptionally quiet vinyl too
  • Rich and Tubey Magical with a massive bottom end – this is a true Demo Disc for bass (much like the first Mac album they sang on)
  • Recording Engineer great Keith Olsen mastered the perfect mix, with rich, full sound, in the great tradition of English 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.

Those of you who read our commentary for Commoner’s Crown will recognize this bit, lifted practically in its entirety from that listing.

The British Sound? This record has it in spades:

The sound is rich and full in the best tradition of English Rock, with no trace of the transistory grain that domestic rock pressings so often suffer from. The bass is deep, punchy, full up in the mix and correct. There’s plenty of it too, so those of you with less than well-controlled bass will have a tough time with this one.

But never fear; it’s a great record to tweak with and perfect for evaluating equipment.

Things have changed as we never tire of saying here at Better Records, but in a way you could say they have stayed the same. This used to be a demo disc, and now it’s REALLY a Demo Disc. You will have a very hard time finding a record with a punchier, richer, fuller, better-defined, dare I say “fatter” bottom end than the one found on both these sides.

Notice how there is nothing — not one instrument or voice — that has a trace of hi-if-ishness. No grain, no sizzle, no zippy top, no bloated bottom, nothing that reminds you of the phony sound you hear on audiophile records at every turn. Silky-sweet and Tubey Magical, THIS IS THE SOUND WE LOVE.

What We’re Listening For on Buckingham Nicks

There are a couple of qualities that set that better copies apart from the pack. The biggest problem with this record is sound that gets too fat and too rich. There has to be transparency to the sound that lets us listen into the studio. When Stevie is singing, almost always double-tracked by the way, Lindsay is often doing harmony vocals well behind her, double-tracked as well. You want to be able to hear PAST her all the way back to him and hear exactly what he’s doing. Most copies don’t let you do that.

Another problem is smeary guitar transients. The multi-tracked acoustic guitars tend to be rich and sweet on practically every copy you can find; this is not the problem. When they lack transient information, or “pluck”, they also tend to lack harmonic information, the overtones of the notes. Put those two together and you get a blobby mass of smeared guitars overlaid onto one another — not an irritating sound, but not an especially pleasing one either.

And, lastly, we take off lots of points for copies that have the edgy, boosted upper mids we mentioned earlier.

In these shootouts, we are always trying to find copies with the right BALANCE. When everything fits together nicely, when the mix sounds right and all the parts are working their magic separately and together, you know you are on the road to Hot Stamperville. You may not be hearing the best copy ever pressed, but you are undoubtedly hearing a copy that has The Kind of Sound You Want This Music to Have.

(more…)

Fleetwood Mac – Mirage

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  • An outstanding copy of Mirage, with solid Double Plus (A++) sound from top to bottom – fairly quiet vinyl too
  • Most copies are washed-out, recessed, and lack weight, but this one will show you just how right this music can sound
  • The producing-engineering team of Ken Caillat and Richard Dashut return to provide top quality Rumours-like production
  • The album spent five weeks at Number One, probably on the strength of the amazingly fun single “Hold Me.”

It’s a surprisingly good album if you can find the right copy, with mids and highs that are really silky and sweet. The whole album has that glossy sound, clearly the influence of Lindsay Buckingham and his production team. The sound of Fleetwood Mac in this period is their doing, and with a phenomenal run of success that’s rarely been seen in pop history, it’s hard to argue with either their approach to the material or the sound. It sounds like they used every track on the multi-track recorder and then some. (more…)

Buckingham Nicks – Buckingham Nicks – Our Shootout Winner from 2012

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

TWO WHITE HOT A+++ SIDES! The overall sound is UNBELIEVABLY rich, sweet, open, spacious, and transparent. Most copies suffer from a seriously bloated bottom end, but the bass on this one is nice and tight. The other big problem with the typical copy is a harsh top end, but the highs here are much sweeter and never aggressive.

Those of you who read our commentary for Commoner’s Crown will recognize this bit, lifted practically whole from the listing. The British Sound? This record has it in spades:

The sound is rich and full in the best tradition of English Rock, with no trace of the transistory grain that domestic rock pressings so often suffer from. The bass is deep, punchy, full up in the mix and correct. There’s plenty of it too, so those of you with less than well controlled bass will have a tough time with this one.

But never fear; it’s a great record to tweak with and perfect for evaluating equipment.

Things have changed as we never tire of saying here at Better Records, but in a way you could say they have stayed the same. This used to be a demo disc, and now it’s REALLY a Demo Disc. You will have a very hard time finding a record with a punchier, richer, fuller, better-defined, dare I say “fatter” bottom end than the one found on both these sides.

Notice how there is nothing — not one instrument or voice — that has a trace of hi-if-ishness. No grain, no sizzle, no zippy top, no bloated bottom, nothing that reminds you of the phony sound you hear on audiophile records at every turn. Silky-sweet and tubey-magical, THIS IS THE SOUND WE LOVE.

We Love The Music Too Of Course

We really enjoy this album here at Better Records. It’s a wonderful preview of things to come for these two. Check out the wonderful early version of Crystal. On the best copies, it is warm, rich, and sweet — just like it is on the best 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.

What We’re Listening For

There are a couple of qualities that set that Top Copies apart. The biggest problem with this record is sound that gets too fat and too rich. There has to be transparency to the sound that lets us listen into the studio. When Stevie is singing, almost always double-tracked by the way, Lindsay is often doing harmony vocals well behind her, double-tracked as well. You want to be able to hear PAST her all the way back to him and hear exactly what he’s doing. Most copies don’t let you do that.

The other problem is smeary guitar transients. The multi-tracked acoustic guitars tend to be rich and sweet on practically every copy you can find; this is not the problem. When they lack transient information, the right amount of “pluck”, they also tend to lack harmonic information, the overtones of the notes. Put those two together and you get a blobby mass of smeared guitars overlaid onto one another — not an irritating sound, but not a pleasing one either.

TRACK LISTING

Side One

Crying In The Night
Stephanie
Without A Leg To Stand On
Crystal
Long Distance Winner

Side Two

Don’t Let Me Down Again
Django
Races Are Run
Lola (My Love)
Frozen Love

AMG Review

While it will be hard to find, this lone album cut by a young and ambitious (and still romantically attached) Stevie Nicks and Lindsey Buckingham a short two years before joining Fleetwood Mac is well worth digging out for your turntable… Buckingham Nicks is 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 (using the talents of Waddy Watchel, Jim Keltner, and Jerry Scheff) framed the pair’s songs in a sound something akin to FM-ready folk-rock. Lesser known tracks like the glistening opener, “Crying in the Night,” from Nicks and Buckingham’s lonely-guy lament, “Without a Leg to Stand On,” are on a par with their later mega hits.

Buckingham Nicks – Watch Out for Too Fat and Too Rich

More Buckingham Nicks / More Fleetwood Mac

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Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your copy of the album. 

The biggest problem with this record is sound that gets too fat and too rich. There has to be transparency to the sound that lets us listen into the studio. When Stevie is singing, almost always double-tracked by the way, Lindsay is often doing harmony vocals well behind her, double-tracked as well.

You want to be able to hear PAST her all the way back to him and hear exactly what he’s doing. Most copies don’t let you do that. 

The other problem is smeary guitar transients. The multi-tracked acoustic guitars tend to be rich and sweet on practically every copy you can find; this is not the problem. When they lack transient information, the right amount of “pluck”, they also tend to lack harmonic information, the overtones of the notes. Put those two together and you get a blobby mass of smeared guitars overlaid onto one another — not an irritating sound, but not an especially pleasing one either.

Hotstamperville

What we’re always trying to find in these shootouts are copies with the right BALANCE. When everything fits together nicely, when the mix sounds right and all the parts are working their magic separately and together, you know you are on the road to Hot Stamperville. You may not be hearing the best copy ever pressed, but you are undoubtedly hearing a copy that has The Kind of Sound You Want.

British Sound from Yanks

Those of you who read our commentary for Commoner’s Crown will recognize this bit, lifted practically whole from the listing. The British Sound? This record has it in spades:

The sound is rich and full in the best tradition of English Rock, with no trace of the transistory grain that domestic rock pressings so often suffer from. The bass is deep, punchy, full up in the mix and correct. There’s plenty of it too, so those of you with less than well controlled bass will have a tough time with this one.

But never fear; it’s a great record to tweak with and perfect for evaluating equipment.

Things have changed as we never tire of saying here at Better Records, but in a way you could say they have stayed the same. This used to be a demo disc, and now it’s REALLY a Demo Disc. You will have a very hard time finding a record with a punchier, richer, fuller, better-defined, dare I say “fatter” bottom end than the one found on both these sides.

Notice how there is nothing — not one instrument or voice — that has a trace of hi-if-ishness. No grain, no sizzle, no zippy top, no bloated bottom, nothing that reminds you of the phony sound you hear on audiophile records at every turn. Silky-sweet and tubey-magical, THIS IS THE SOUND WE LOVE.

We Love The Music Too Of Course

We really enjoy this album here at Better Records. It’s a wonderful preview of things to come for these two. Check out the early version of Crystal. On the best copies, it is warm, rich, and sweet — just like it is on the best 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.

Fleetwood Mac – Rumours – Listening in Depth

More Fleetwood Mac

More Rumours

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  • A KILLER copy with Triple Plus (A+++) sound or close to it on both sides
  • Tubey Magical Analog – The sound is open, spacious and transparent, with a huge three-dimensional soundfield 
  • When you hear it sound as good as it does here, you’ll know why we consider Rumours a Better Records Top 100 Demo Disc
  • 5 stars: “Each tune, each phrase regains its raw, immediate emotional power—which is why Rumours touched a nerve upon its 1977 release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time.”

When you hear a good copy of Rumours, it’s very easy to understand why this is one of the best-selling pop music albums of all time. Just about everyone knows how great these songs are, but I bet you didn’t know they could sound like this!

It’s tough finding Hot Stamper copies of this album. With over 75 sets of stamper numbers for each side, it’s an extremely taxing project, even for us! We know some of the better stampers and have been acquiring them since then in preparation for this shootout.

Demo Disc Sound

This is a rock album — it needs to be played LOUD and it needs to be played on a DYNAMIC system. Case in point: consider how quietly The Chain starts out and how loud it is by the end. Those kinds of macro-dynamics are very rare on a pop recording. Rumours has the kind of dynamics you just don’t hear anymore, which is why the killer copies are a such a THRILL to play on a big dynamic system fitted with a top-notch turntable! (more…)

Buckingham Nicks and the British Rock Sound


More Buckingham Nicks
 

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  • A wonderful sounding copy with two superb sides: Triple Plus (A+++) on the second and Double Plus (A++) on the first
  • The sound is excellent throughout – super rich and full-bodied yet still clean, clear and open with a massive bottom end
  • This is an album we almost never find and very rarely have on the site — don’t miss this one!
  • Features the early version of Crystal that they later brought with them to Fleetwood Mac

British Sound from Yanks

Those of you who read our commentary for Commoner’s Crown will recognize this bit, lifted practically whole from the listing. The British Sound? This record has it in spades: (more…)