- Supertramp’s self-titled debut finally arrives on the site with Shootout Winning Triple Plus (A+++) sound or close to it throughout
- It’s even more Tubey Magical than an album like ’Crime Of The Century,’ which is more about slam and presence than a record like this, which has amazingly sweet, natural sounding acoustic guitars
- Condition was the problem with these original British pressings – none of the best sounding copies did not have issues, hence the exceptionally low price for our Shootout Winner here
- “Harmonious in themes but varied in tones, alternating short and lengthy pieces with a sophisticated sound and classy arrangement, it features all the distinctive elements of prog rock. And as with any prog album, it only makes full sense when listened to in its entirety.”
Thick As A Brick is quite possibly the BEST SOUNDING ALBUM Jethro Tull ever made. It’s dynamic; has really solid, deep punchy bass; transparency and sweetness in the midrange; Tubey Magical acoustic guitars and flutes; in other words, the record has EVERYTHING that we go crazy for here at Better Records. I can guarantee you there is no CD on the planet that could ever do this recording justice. The Hot Stamper pressings have a kind of MAGIC that just can’t be captured on one of them there silvery discs.
We play quite a few original British and domestic copies of this record when we do these shootouts and let me tell you, the sound and the music are so good I can’t get enough of it. Until about 2007 this was the undiscovered gem (by me, anyway) in the Tull catalog. The pressings I had heard up until then were nothing special, and of course the average pressing of this album is exactly that: no great shakes. But with the advent of better record cleaning fluids and much better tables, phono stages and the like, some copies of Thick As A Brick have shown themselves to be AMAZINGLY GOOD SOUNDING. Even the All Music Guide could hear how well-engineered it was.
- A KILLER copy of Tull’s debut with a Shootout Winning Triple Plus (A+++) side two mated with an outstanding Double Plus (A++) side one
- We’ve only had a handful of copies go up since 2013 – it’s tough to find these vintage UK pressings in clean condition with this kind of sound
- Guaranteed to soundly trounce any Pink Label Island original you may have heard – these are the Hot Stampers and it doesn’t take a pair of golden ears to hear it
- Melody Maker thoroughly recommended the album in 1968 for being “full of excitement and emotion” and described the band as a blues ensemble “influenced by jazz music” capable of setting “the audience on fire.” Wikipedia
Well, it certainly can be, but sometimes it isn’t, and failing to appreciate that possibility is a classic case of misunderstanding a crucially important fact or two about records. Audiophile analog devotees would do well to keep these facts in mind, especially considering the prices original British pressings are fetching these days.
Simply put: Since no two records sound alike, it follow that the right label doesn’t guarantee the right sound. A recent shootout illustrated both of these truths.
We had a number of Pink Island British pressings to play — if you hit enough record stores often enough, in this town anyway, even the rarest pressings are bound to show up in clean condition from time to time — along with Sunrays (aka Pink Rims), Brits, early Two Tone domestics and plain Brown Label Reprise reissues. All of them can sound good. (We do not waste time with German and Japanese pressings, or any of the later Chrysalis label LPs. Never heard an especially good one.)
What surprised the hell out of us was how bad one of the Pink Label sides sounded. It was shockingly thin and hard and practically unlistenable. Keep in mind that during our shootouts the listener has no idea which pressing is being played, so imagine hearing such poor reproduction on vinyl and then finding out that such bad sound was coming from a copy that should have been competitive with the best, on the legendary Pink Island label no less. (Of course the other Pinks were all over the map, their sides ranging from good to great.)
Hearing one sound this bad was completely unexpected, but hearing the unexpected is what we do for a living, so I suppose it shouldn’t have been. Having dubious looking reissues and the “wrong” pressings beat the originals and the so-called “right” pressings from the “right” countries is all in a day’s work here at Better Records. (more…)
- An outstanding British copy of this shockingly well recorded album with solid Double Plus (A++) sound or BETTER on both sides
- These sides have presence, size and space we guarantee you have never heard on this album in all your born days
- An audiophile Demonstration Quality Recording on a par with Dark Side of the Moon, which is really saying something!
- A mark plays during the opening “pinging” on side two, but find me a good sounding copy with a quiet intro for side two and I will eat it
- 4 1/2 stars:”Pink Floyd were nothing if not masters of texture, and Meddle is one of their greatest excursions into little details, pointing the way to the measured brilliance of Dark Side of the Moon and the entire Roger Waters era.”
- Triple Plus (A+++) on side two and nearly as good on side one – this is one of the best copies to EVER hit the site
- We haven’t had any copies of this album at all up since 2013, and no White Hot copies since 2008 – it’s that tough to find
- Guaranteed to MURDER any Pink Label Island original you have ever heard – these are the Hot Stampers
- Melody Maker thoroughly recommended the album in 1968 for being “full of excitement and emotion” and described the band as a blues ensemble “influenced by jazz music” capable of setting “the audience on fire”. Wikipedia
Folks, this is the best copy we are going to have on the site for a very long time. It took years and hundreds upon hundreds of dollars to get this shootout going and this killer copy is the result. (more…)
- This superb copy of Thick As A Brick offers outstanding Double Plus (A++) sound from first note to last – exceptionally quiet vinyl too
- A Top 100 title and the BEST SOUNDING ALBUM Jethro Tull ever recorded – allow us to make the case
- A stunning Demo Disc to Rule Them All — sure to be the best you’ve ever heard Tull sound if you have the system for it
- 4 1/2 stars: “A masterpiece in the annals of progressive rock – a dazzling tour de force, at once playful, profound, and challenging, without overwhelming the listener.”
- Incredible sound for this early British pressing, with huge and dynamic Shootout Winning Triple Plus (A+++) sound throughout
- The Tubey Magical Richness of this recording must be heard to be believed
- Some of the best English Folk Rock Music ever recorded on analog tape and preserved on this lovely vinyl disc!
- Allmusic gives it 4 1/2 stars: “Now a full-fledged rock group, competing with the likes of Jethro Tull and pumping out higher amperage than Fairport Convention, Steeleye engages in heavy riffing, savage attacks on their instruments, and generally kicks out the jams on this album.”
This original Porky/Pecko mastered British Chrysalis pressing has insanely good sound on both sides and, even more importantly, some of the best English Folk Rock Music ever recorded on analog tape (and preserved on this lovely vinyl disc!). (more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
This is a SUPERB SOUNDING British A&M LP. I don’t think this record can sound any better than it does here. The recording is on a par with the best I’ve ever heard for this band, which is saying a lot. In fact it’s even more tubey magical than an album like ’Crime Of The Century’, which is more about slam and presence than a record like this, which has amazingly sweet, natural sounding acoustic guitars.
“There are some attractive moments, such as the mixture of ardor and subtlety that arises in “Words Unspoken,” “Surely,” and “Nothing to Show,” and some of the fusion that erupts throughout the 12 minutes of “Try Again” is impressive… – AMG
Thick As A Brick is surely the BEST SOUNDING ALBUM Jethro Tull ever recorded. Allow us to make the case.
- The better copies are shockingly dynamic. At about the three minute mark the band joins in the fun and really starts rocking.
- Set your volume for as loud as your system can play that section. The rest of the music, including the very quietest parts, will then play correctly for all of side one. For side two the same volume setting should be fine.
- The recording can have exceptionally solid, deep punchy bass (just check out Barrie “Barriemore” Barlow’s drumming, especially his kick and floor toms. The guy is on fire).
- The midrange is usually transparent and the top end sweet and extended on the better pressings.
- The recording was made in 1972, so there’s still plenty of Tubey Magic to be heard on the acoustic guitars and flutes.
- The best copies can be as huge, wide and tall as any rock record you’ve ever heard, with sound that comes jumping out of your speakers right into your listening room.
- Unlike practically any album recorded during the ’80s or later, the overall tonal balance, as well as the timbre of virtually every instrument in the soundfield is exceedingly correct.
That kind of accuracy practically disappeared from records about thirty years ago, which explains why so many of the LPs we offer as Hot Stampers were produced in the ’70s. That’s when many of the highest fidelity recordings were made. In truth this very record is a superlative example of the sound the best producers, engineers, and studios were able to capture on analog tape during that time.