- A Secret Place makes its Hot Stamper debut with KILLER Shootout Winning Triple Plus (A+++) grades or close to them throughout this original Kudu pressing
- The sound is everything that’s good about Rudy Van Gelder‘s recordings – it’s present, spacious, full-bodied, Tubey Magical, dynamic and, most importantly, ALIVE in that way that modern pressings never are
- You’d be hard-pressed to find a copy that’s this well balanced, big and lively, with wonderful clarity in the mids and highs and Washington’s sax front and center
- 4 stars: “The bottom line on A Secret Place is that while the set did well commercially, it got nowhere near the critical praise of its predecessors. That’s a shame, because it is a truly fine album whose grooves and pleasures stand the test of time easily. It’s ripe for reappraisal.”
- If you’re a Grover Washington fan, this title from 1976 is surely of interest, assuming you already have his best masterpiece, All the King’s Horses.
- This vintage London pressing of Tchaikovsky’s complete Sleeping Beauty boasts outstanding Double Plus (A++) Demo Disc sound on all SIX sides
- These sides are doing pretty much everything right – they’re rich, clear, undistorted, open, spacious, and have depth and transparency to rival the best recordings you may have heard
- Ansermet is of course a master of the ballet and the performance here by the Suisse Romande is outstanding, perhaps even definitive
- If you’re a fan of Ansermet’s performances of Tchaikovsky’s famous ballets, this superb All Tube Recording from 1959 belongs in your collection.
- The complete list of titles from 1959 that we’ve reviewed to date can be found here.
Big Decca sound! Powerful deep bass. Beautiful string tone and sharply articulated brass sound. This is a wonderful record.
Ansermet is surely the man for this music, and the famously huge hall he recorded in just as surely contributes much to the wonderful sound here.
- This wonderful early Columbia pressing boasts incredible Nearly Triple Plus (A++ to A+++) sound from start to finish – just shy of our Shootout Winner
- Just drop the needle on “Bridge Over Troubled Water” to hear Willie and his bandmates doing what they do best
- Fans of Stardust are going to love this one – it’s another solid album full of Willie’s heartfelt renditions of modern classics
- Winner of the Album of the Year at the 1982 Country Music Association Awards
- “…Throughout the late ’70s, Nelson’s freewheeling, organically eclectic music was not just the biggest thing in country, it was also some of its best, most adventurous music… At the time, it was a huge, huge hit — his biggest ever, actually, spending 22 weeks at the top of the country charts…”
This is one of Willie’s best-known and best-loved albums, and when you get the right copy the sound can truly be excellent. This copy is guaranteed to be a big step up from any other copy you’ve heard. With these grades, at these kinds of prices, it had better be!
Fans of Stardust are going to go crazy over this one. It’s another solid album full of Willie belting out heartfelt renditions of standards. Once again, he’s backed by a top-notch backing band of industry session masters. The arrangements are splendid — just drop the needle on “Bridge Over Troubled Water” to hear these guys doing what they do best.
Much like Stardust, a top quality pressing of this record is a real treat for the audiophile, no matter where they may be on the audio scale. The transparency and clarity on the best copies will be nothing less than astonishing. Even if your system isn’t at its best, a great copy of this record will still be musical and involving. On the other hand, if you’ve spent the time and energy to really get your stereo cooking, you’re going to be in for some amazingly soulful country-tinged midrange magic!
- With excellent Double Plus (A++) sound from start to finish, this Back In Black ROCKS like nothing you’ve heard
- Both sides play with exceptionally (and unusually) quiet surfaces for a Robert Ludwig original
- RL is the king on this title, which means the conventional wisdom is right for once!
- It’s been years since we got hold of a copy that sounds this good and plays this quietly – it’s one of only a handful to hit the site with both sides graded Mint Minus to Mint Minus Minus
- Top 100, and if you turn it up good and loud, one of the biggest, boldest, hardest rockin’ records ever made
- 5 stars: “… tawdry celebration of sex is what made AC/DC different from all other metal bands — there was no sword & sorcery, no darkness, just a rowdy party, and they never held a bigger, better party than they did on Back in Black.”
- Robert Ludwig used humungous amounts of tube compression on Back in Black, and we’re glad he did. All that compression is at least partly responsible for it being a Rock Demo Disc of the highest order.
You probably never thought you’d ever use an AC/DC LP as a Demo Disc, but this copy will have you reconsidering that notion — it’s ALIVE with Rock and Roll Power Chords like nothing you have ever heard.
For Riff Rock you just can’t do much better than Back In Black. AMG gives it 5 Stars and rightfully so. Musically it’s got everything you’d want from this genre of heavy rock — a tight, punchy rhythm section; raging guitar riffs; and deliciously decadent lyrics screamed to perfection.
What took us by surprise was how amazing this music sounds on the right copy. You’ve probably heard these songs a million times, but we bet you haven’t heard them sound like this. This is the kind of record that you’ll want to keep turning up. The louder you play it, the better it gets — but only if you’ve got a pressing that rocks like this one.
The transparency and clarity are shocking — we heard texture on the guitars and room around the drums that simply weren’t to be found on most copies, plus tons of lovely analog reverb and natural studio ambience.
And of course the bottom end is big, beefy, and rock-solid, just the way we like it. I ask you, what album from 1980 sounds better than Back in Black?
- A vintage Asylum pressing that earned outstanding Double Plus (A++) grades or close to them from first note to last
- This copy is doing pretty much everything right, particularly on side two — huge, rich and lively, with Linda’s vocals reproduced to near perfection
- “Her big but pretty voice is a stunning instrument for expressing feelings, particularly intense feelings that require a slightly understated delivery… a fine album that begs closer inspection than, I fear, many of us are willing to give to Linda Ronstadt’s art. Like the best moments of the preceding nine, though, the best moments of Hasten Down the Wind will be with us a long, long time.”
- If you’re a fan of the lovely Ms Ronstadt, her 1976 release is surely one that belongs in your collection
- The complete list of titles from 1976 that we’ve reviewed to date can be found here
The sound is rich, smooth, full-bodied and natural on both sides. In other words, this is Classic Analog from the ’70s, recorded by none other than Val Garay, one of our favorite engineers.
Most pressings of this album have quite obvious problems. If you own the record see if you don’t notice some of them on your own copy.
Some have a phony boosted top end, a subject we have discussed on Linda’s records before.
Some are just too fat and Tubey. Perhaps the result of too much Aphex Aural Excitement?
Some are thick, some are thin, some are too clean, some are not clean enough, every sonic issue you can imagine can be heard on this album if you have enough copies to play, and we had plenty.
We know that this copy is about as correct as can be. We know because we cleaned and played it and listened to it critically in comparison to other copies, and we did it all by ourselves. (Of course we did. There’s really no other way to do it.)
- This copy is guaranteed to handily beat any pressing of Gaucho you have ever played, especially the awful Ron McMaster Heavy Vinyl LP
- This superb pressing has three-dimensional ambience, tubey richness, you-are-there immediacy, tight bass, clear guitar transients, silky highs, and truckloads of analog magic on every track
- 4 stars in the AMG, 4 1/2 in Rolling Stone, and one of this exceptionally well recorded band’s Three Best Sounding Albums – a true Must Own
- “Despite its coolness, the music is quite beautiful. With its crystalline keyboard textures and diaphanous group vocals, ”Gaucho” contains the sweetest music Steely Dan has ever made.” New York Times
- If you’re a Steely Dan fan, and what audiophile wouldn’t be?, this title from 1980 is surely a Must Own
- The complete list of titles from 1980 that we’ve reviewed to date can be found here.
This Hot Stamper original Columbia is THE KING, the Best Sounding Copy we have ever played — the sound was OUT OF THIS WORLD! In fact, side two went so far beyond what we’ve come to expect from this album that we had to award it the rare Four Plus (A++++) grade.
We no longer give Four Pluses out as a matter of policy, but that doesn’t mean we don’t come across records that deserve them from time to time.
Even recordings that are as heavily processed as this one. We don’t have a problem with that approach when it works as well as it does here. Mud Slide Slim this is not. It’s also 1981, not 1971. We prefer the recordings from 1971, undeniably the Golden Age for rock and pop recording quality, but we know that to expect the sound of the ’70s in 1981 would simply be setting oneself up for disappointment.
Those days are gone, as are the amazing sounding pressings that came out then, and nobody, repeat nobody, pressing records today can figure out how they did it.
The soundstage and depth on our best Hot Stamper copies is HUGE — this is without a doubt the most spacious recording by James Taylor we’ve ever heard. If you want your speakers to disappear, replaced by a huge studio full of musicians playing their hearts out, this is the album that can do it.
But of course there’s a lot more to the sound of the best copies than a big soundstage.
Tonality is key.
As usually happens in these shootouts, we learned that there’s so much more to this album than just great songs. What really makes this music work on the best copies was the result of two qualities we found were in fairly short supply:
(1) Correct Tonality
Most copies have a phony MoFi-like top end boost in the 10k region that we found irritating as hell. The longer we listened the less we liked the copies that had that boost, which adds a kind of “sparkle” to cymbals and guitars that has no business being there.
Now if you’re a MoFi fan and you like the boosted highs that label is famous for, don’t waste your money buying a Hot Stamper copy from us. Our copies are the ones with the correct and more natural-sounding top end. The guitars will sound like real guitars and the voices will sound like real voices.
(2) Lower Midrange and Bottom End Weight
When the vocals sound thin, bright and phony, as they do on so many copies of this album (partly no doubt the result of the grainy crap vinyl Columbia is infamous for) that hi-fi-ish sound takes all the fun out of the music. Many tracks have background vocals and big choruses, and the best copies make all the singers sound like they are standing in a big room, shoulder to shoulder, with the full lower midrange weight that that image implies.
The good copies capture that energy and bring it into the mix with the full-bodied sound it no doubt had live in the studio. When the EQ or the vinyl goes awry, causing Taylor and crew’s voices to take on a lean or gritty quality, the party’s over.
Transparency and That Feeling of Reality
Transparency is always a big deal on pop recordings such as this. Of course this has to be a multi-miked, multi-tracked, overdubbed pop record — they don’t make them any other way — but it doesn’t have to FEEL like one.
When you get a good copy it feels like all these guys are live in the studio. They may have their own mics, and are certainly being placed artificially in the soundfield to suit the needs of the track (kick drum here, hand-claps over there), but the transparency of the killer pressings makes them sound like they are all in the same room playing together, clearly occupying their own share of the space in the studio.
This is one of our favorite Taylor albums here at Better Records. It’s the last album by the man that bears any resemblance to the genius of his early work. It’s steeply, steeply downhill after DLHW. (Case in point: His specials for PBS of the last few years are a positive cure for insomnia, with every song slowed down and all the energy drained from the material.)
But he still had fire in his belly when he made this one — one listen to Stand and Fight is all the evidence you need; the song rocks as hard as anything the guy ever did. (And it’s got plenty of cowbell, always a good sign.)
On many copies the strings are somewhat dry, lacking some of the Tubey Magic heard on the better copies.
This is decidedly not our sound, although it can easily be heard on many London pressings, the kind we’ve played by the hundreds over the years.
If you have a rich sounding cartridge, perhaps with that little dip in the upper midrange that so many moving coils have these days, you will not notice this tonality issue nearly as much as we do.
Our 17Dx is ruler flat and quite unforgiving in this regard.
It makes our shootouts much easier, but brings out the flaws in even the best pressings, exactly the job we require it to do.
We discussed the issue in a commentary entitled Hi-Fi Beats My-Fi If You Are At All Serious about Audio.
Here are some of the other records we’ve discovered that are good for testing string tone and texture.
Can we really be hearing all these things that nobody else seems to be hearing? Things like:
- The Opacity of Londons from the Seventies
- Smear on Violin Concerto Records
- Acoustic Guitars with a Bit Too Much Sparkle
- Boosted, Sloppy Bass on Half-Speeds and Modern Heavy Vinyl LPs
- Shrillness on EMI Recordings from the ’70s
- Records that Have No Business Being on the TAS List
- Bad Sounding Shaded Dogs
- Bad Sounding Londons and Deccas
If audiophiles and audiophile reviewers are noticing these things on the records they review, whether it be in magazines, websites or audiophile forums, why aren’t they discussing them?
You, dear reader, know the answer to that one, since you are reading the only writer that has been criticizing these know-nothings going on three decades.
The frequency response of the 17DX is shown below. Hard to draw a line much flatter than that.
Some cartridges are known to have ridiculous response curves. Here’s one, and there are lots more like it.
- Huge hall, massive weight and powerful energy, this is DEMO DISC QUALITY SOUND by any standard
- The sound here is glorious, full of all of the qualities that make listening to classical music in analog so involving
- There are many great recordings of the work, and we had plenty to choose from, but for sonics and performance combined, Solti’s Decca recording from 1965 could not be beat
- “Solti’s Concerto for Orchestra with the LSO was one of the finest of its day and remains so. Highly recommended.”
- If you’re a fan of Bartok’s orchestral masterpiece, this London from 1965 belongs in your collection.
- The complete list of titles from 1965 that we’ve reviewed to date can be found here.
- Watch out for Solti’s later recordings for Decca – they usually have an obvious shortcoming which we cannot abide in the classical records we play
Solti breathes life into these works as only he can and the Decca engineering team led by Kenneth Wilkinson do him proud.
“Solti was regarded as, above all, a superb Wagnerian. His performances and countless recordings of other nineteenth century German and Austrian music were also well-regarded, as were his Verdi and his frequent forays into such twentieth century repertory as Bartók, Shostakovich, and Stravinsky.”
There are about 150 orchestral recordings we’ve awarded the honor of offering the Best Performances with the Highest Quality Sound, and this record certainly deserve a place on that list.
This review for a killer copy of Thriller that we discovered in our 2006 shootout gave us a whole new appreciation for just how good the record could sound. It was a real breakthrough, and proof that significant progress in audio is just a matter of time and effort, the more the better.
Our review from 2006
I remember twenty years ago playing Thriller and thinking they were all so transistory, spitty, and aggressive sounding.
Well, I didn’t have a Triplanar tonearm, a beautiful VPI table and everything that goes along with them back then. Now I can play this record. I couldn’t back then. All that spit was simply my table not being good enough as well as all the garbage downstream from it that was feeding the speakers.
The record is no different, it just sounds different now. In other words, this record is a great test. If you can play this record, you can play practically anything.
This pressing has a side two that is so amazing sounding that it COMPLETELY CHANGED my understanding and appreciation of this album. The average copy is a nice pop record. This copy is a MASTERPIECE of production and engineering.
After playing a bunch of these we noticed some recurring shortcomings on most of the pressings. Either they lacked extension on the top end or they lacked bass definition and weight, or both. When this copy hit the table, the first thing we noticed was that the top end was Right On The Money and the bottom end was also Right On The Money. Not surprisingly, the middle fell right into place.
It ended up having the most ambience, the most transparency, the most resolution, the most dynamic contrasts, the most presence — in short, it had more of EVERYTHING than any copy we’ve ever heard. The lesson to be learned there may be that when the extremes are somehow properly transferred to the vinyl, the middle will take care of itself. Since the extremes seem to be the hardest thing to get right, at least on this record, that might explain why so many copies don’t quite cut the mustard.
Side one fits perfectly into this theory. The bottom end is MEATY with plenty of punchy, solid bass, but the top end is lacking a bit of extension compared to the very best. The result is that there’s a trace of hardness in the vocals that shouldn’t be there. If you can add a dB or two of extreme highs, EVERYTHING will sound right on side one. It all comes back to life.