CHRIS THOMAS is one of our favorite engineers and producers. Click on the links below to find our Chris Thomas engineered or produced albums, along with plenty of our famous commentaries.
- With two seriously good Double to Triple Plus (A++ to A+++) sides, this UK LP is sure to be one of the best sounding Roxy Music records you’ll ever play
- These sides are unbelievably rich and Tubey Magical – Roxy just does not get much better than this!
- We’ve been working on this shootout for over ten years – here is one of the better copies we have to show for our effort
- AMG 5 Stars: “…another extraordinary record from Roxy Music, one that demonstrates even more clearly than the debut how avant-garde ideas can flourish in a pop setting.”
This album is a MASTERPIECE of Art Rock, Glam Rock and Bent Rock all rolled into one. Spacious, dynamic, present, with HUGE MEATY BASS and tons of energy, the sound is every bit as good as the music. (At least on this copy it is. That’s precisely what Hot Stampers are all about.) (more…)
- The first Triple Plus (A+++) Shootout Winning copy to hit the site in over a year – we’ve never heard it sound better
- Both sides of this (very specific) German pressing were richer, clearer and more energetic than any of the others we played
- With Robbie McIntosh having joined the band this is first and foremost a guitar rock record; his jangly, grungy riffs drive every song
- 5 Stars: “While Hynde hardly held back in her emotionally potent songwriting in the Pretenders’ early work, on Learning to Crawl there’s a gravity to her lyrics that blended with her tough but wiry melodic sense and streetwise intelligence to create a set of truly remarkable tunes…”
This is where Chrissie Hynde matured into a top class songwriter; every track is good and many are brilliant. With Robbie McIntosh having joined the band, this is first and foremost a guitar rock record; his jangly, grungy riffs drive every song. Great songs and great guitar work — what more do you need in a rock record?
Think of Middle of the Road — everything that’s good about this band on this album is there in that song: it’s uptempo, with a driving beat, a rock solid rhythm section and a beautifully distorted guitar out front and high up in the mix.
German Pressings? Why Not British? (more…)
- Off the charts “Triple Triple” (A+++) sound for The Pretenders’ second album – both sides earned our top grade of A+++
- With loads of solid, punchy bass and the richest, smoothest vocal reproduction, this pressing simply could not be beat
- This original British pressing has the kind of Tubey Magical Midrange that modern records cannot even BEGIN to reproduce
- “What’s more the unique American voice of Hynde matched with the tribal beat of Martin Chambers and spangly guitar of Honeyman-Scott was as close to perfect as a band could get in the late 70s.”
If any of this commentary looks familiar there’s a simple explanation for that fact; it’s lifted practically wholesale from our listings for the first Pretenders album.
The two albums are twins, with the same engineer, the same producer, even the same band members, something that was regrettably and tragically to change soon enough.
Tubey Magic Is Key
This original British pressing has the kind of Tubey Magical Midrange that modern records cannot even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
Forget the dubby domestic vinyl, these Brit pressings are the only way to go. (more…)
More about The White Album
Another MoFi LP debunked.
The last time I played a copy of the MoFi I could not believe how ridiculously phony and compressed it was. And to think I used to like their version when it came out back in the ’80s!
A good example: on Yer Blues, the MFSL pressing positively wreaks havoc with all the added bass and top end The Beatles put on this track. The MoFi version is already too bright, and has sloppy bass to start with, so the result on this track is way too much BAD bass and way too much BAD spitty 10k-boosted treble, unlike the good imports, which have way too much GOOD bass and treble.
Yer Blues ROCKS! Listen to the big jam at the end of the song, where John’s vocal mic is turned off but his performance is still caught by a room or overheard mic. They obviously did this on purpose, killing his vocal track so that the “leaked” vocal could be heard.
Those crazy Beatles! It’s more than just a cool “effect”. It actually seems to kick the energy and power of the song up a notch. It’s clearly an accident, but an accident that works. I rather doubt George Martin approved. That kind of “throw the rule book out” approach is what makes Beatles recordings so fascinating, and The White Album the most fascinating of them all.
The EQ for this song is also a good example of something The Beatles were experimenting with, as detailed in their recording sessions and interviews with the engineers. They were pushing the boundaries of normal EQ, of how much bass and treble a track could have. This track has seriously boosted bass, way too much, but somehow it works!