Top Producer-Engineers – Phil Ramone

Burt Bacharach – What to Listen For

More of the Music of Burt Bacharach

More Records with Advice on What to Listen For

We played a good-sized stack of these recently, but not many of them sounded the way we wanted them to.

The majority of copies had a tendency to be bright, which is MURDER when the horns start blaring at the levels we play our records at.

In addition there are plenty of copies out there that lack energy, while others suffer from transient smearing, clearly audible on the brass.

And while we’re at it, what would a vintage A&M record be without a healthy amount of Tubey Magic? The best copies have loads of it, without ever becoming thick, fat, or overly smooth, or losing bass definition.

What to listen for? This list of problems that plague the average copy:

  • Brightness,
  • Blare,
  • Lifelessness,
  • Smear,
  • Tubey Magic.

It takes a special copy to make these easy listening numbers sound as fresh and invigorating as they no doubt did in the studio, and that’s what the best Hot Stampers are all about.

Above all, this is simply a fun album of pop tunes, cleverly arranged and played with gusto. (I would be very surprised if these West Coast sessions weren’t Wrecking Crew to a man, or woman as the case may be. Bacharach is known to be a stickler so the best of the best session guys and gals are probably the only ones he would consider.)

When it sounds this good the music is positively wonderful. There are tons of Burt Bacharach hits here — The Look Of Love (sounding in some ways even better than it does on Casino Royale!), Message To Michael, Alfie, What The World Needs Now, I Say A Little Prayer and many more.

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Jobim and Ramone – The Strings on this Album Are a Tough Test

jobimthecomposerMore of the Music of Antonio Carlos Jobim

More Records that Are Good for Testing String Tone and Texture

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 can get 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. 

Side two was quite good at A+ to A++, but we found other copies that bested it, including one Triple Plus that was in a league of its own. Even so, this copy on side two would be hard to beat without a number of carefully cleaned pressings to choose from. 

Here are some records we’ve discovered that are good for testing string tone and texture.

Here are some records we’ve discovered that are good for testing midrange tonality.

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A.C. Jobim – Ramone and Ogerman Work Their Magic

More of the Music of Antonio Carlos Jobim

Reviews and Commentaries for the Music of Antonio Carlos Jobim

Although I have been a big fan of this album at least since the 90s, it took us years to get around to doing a shootout. We were pleasantly surprised at just how well recorded this album is.

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 played.)

Claus Ogerman

The string arrangements by the phenomenally talented producer/arranger Claus Ogerman surely contribute a great deal to the beauty of this music, and much of its “feel.”. This is the man who made Francis Albert Sinatra & Antonio Carlos Jobim such an original and powerful departure in Sinatra’s body of work. He continued to work with Jobim on a number of follow-up albums, including A Certain Mr. Jobim (1967) and Wave (1967). From 1963-67 he arranged some 60-70 albums for Creed Taylor’s Verve and then went on to work with him extensively at CTI.

And what would “Breezin’” be without Ogerman’s lush strings? Not to be too uinkind, but probably just another George Benson album.

His Best Album

I’m a HUGE fan of Jobim’s music. In my opinion this is the best album he ever made. If you find yourself loving these syncopated beats, you owe it to yourself to check out Sergio Mendes’ music. He did wonderful arrangements of many of Jobim’s songs, and the sound (at least on the Hot Stamper pressings) is out of this world! Astrud Gilberto does wonderful versions too, but her records are very difficult to find in audiophile condition. Believe me, we’ve tried.

Many Distinct Pressings

We’ve played a ton of different versions, 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 in finding your own Hot Stampers. Every version had strengths and weaknesses and all are represented in the listings we will be putting up on the site.

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A.C. Jobim – The Composer of ’Desafinado’ Plays

More Antonio Carlos Jobim

More Bossa Nova

  • You’ll find stunning Nearly Triple Plus (A++ to A+++) sound throughout this original Verve Stereo pressing – just shy of our Shootout Winner
  • Both of these sides are clean, clear and dynamic yet still full of rich, warm 1963 Tubey Magical Analog sound
  • We love the music of Antonio Carlos Jobim here at Better Records and we think this album is his best – no serious Jazz Collection should be without it
  • Marks and problems in the vinyl are sometimes the nature of the beast with these vintage LPs – there simply is no way around them if the superior sound of vintage analog is important to you
  • 4 1/2 stars: “A dozen songs, each one destined to become a standard — an astounding batting average.”

We’re big fans of Jobim here at Better Records, and this pressing was close to the best from our recent shootout. We had a wonderful time listening to a big pile of pressings — the sound (and music) were out of this world. We were shocked at just how well recorded this album is.

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Billy Joel – An Innocent Man

More Billy Joel

  • You’ll find outstanding Double Plus (A++) sound from first note to last on this copy of Joel’s ninth studio album
  • Dynamic and open, with driving rhythmic energy – this early pressing brings this great batch of songs to life
  • Jam packed with hits: An Innocent Man, The Longest Time, Tell Her About It, Uptown Girl, Leave a Tender Moment Alone, and more – seven singles in all
  • 4 stars: “[H]e’s effortlessly spinning out infectious, memorable melodies in a variety of styles, from the Four Seasons send-up “Uptown Girl” and the soulful “Tell Her About It” to a pair of doo wop tributes, “The Longest Time” and “Careless Talk.” Joel has rarely sounded so carefree either in performance or writing, possibly due to “Christie Lee” Brinkley, a supermodel who became his new love prior to An Innocent Man.”

Both of these sides have the huge soundstage and startling clarity and immediacy that characterizes this album, but they also add an ingredient missing from most we heard — a full, rich, musical midrange!

On many pressings, the vocals can get hard and harsh on the uptempo tracks (“Uptown Girl” is a notable offender, and never sounds quite as good as the rest of the album), but this copy manages to fix that problem (mostly) without sacrificing transparency or top end.

This was a monster in its day, generating a Number One hit and seven total single releases out of the ten songs that comprise it. Seven out of ten, not a bad track record. We couldn’t find a weak song on the album either, which is surely one of the reasons it sold seven million copies in the states alone. (more…)

Stan Getz & Joao Gilberto / Getz-Gilberto on Japanese Vinyl

Hot Stamper Pressings of Bossa Nova Albums Available Now

More Reviews and Commentaries for Japanese Pressings

Sonic Grade: C

This is a Minty looking Verve Japanese Import LP.

It’s not competitive with the best domestic pressings, but you could definitely do worse.

Trying to find domestic copies that aren’t trashed is getting harder every day, so if you’re a click and pop counter, this copy may be the ticket.

Stan Getz is a truly great tenor saxophonist, the cool school’s most popular player. This LP is all the evidence you need. Side 1 has those wonderfully relaxed Brazilian tempos and the smooth sax stylings of Stan Getz.

Side two for me is even more magical. Getz fires up and lets loose some of his most emotionally intense playing. These sad, poetic songs are about feeling more than anything else and Getz communicates that so completely you don’t have to speak Portugese to know what Jobim is saying. Call it cool jazz with feeling.

A Must Own Jazz Record

We consider this album a masterpiece. It’s a recording that should be part of any serious Jazz Collecton.

Others that belong in that category can be found here.

Further Reading

Burt Bacharach – Make It Easy On Yourself

More Burt Bacharach

More Pure Pop Recordings

  • Boasting INSANELY GOOD Shootout Winning Triple Plus (A+++) grades from top to bottom, this vintage A&M pressing is the BEST we have ever heard
  • The sound is big, tubey, balanced and above all, natural, with brass that is rich and full with the right amount of bite, not to mention lively and dynamic
  • With engineering by the legendary Phil Ramone, this is an exceptionally well-recorded album, as this pressing makes clear
  • “‘I’ll Never Fall in Love Again,’ and ‘Do You Know the Way to San Jose?’ are great songs that solidify Bacharach as a master of quirk.”

If you’re a fan of the Casino Royale soundtrack, you should definitely check out this crazy album. The best material on here is loads of fun, and when you get a great copy like this one the sound is wonderful.

This pressing is Tubey Magical — what A&M pressing from 1969 wouldn’t be? — but also highly resolving of subtle musical information, the kind you notice when you play a pile of copies one after another. Listen to the orchestra on “Do You Know The Way To San Jose” — you can really hear the sound of the rosiny bows being pulled across the strings.

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Stan Getz & Joao Gilberto / Getz-Gilberto

More Bossa Nova

More Jazz Recordings Featuring the Saxophone

  • A vintage Verve Stereo pressing of this Brazilian-flavored cool jazz classic with a STUNNING Shootout Winning Triple Plus (A+++) side two mated to a superb Double Plus (A++) side one
  • An impossibly difficult album to find in audiophile playing condition – we sunk a lot of time and dough into finding this copy, and it ain’t all that quiet, but it’s about as quiet as we can find them on vintage vinyl
  • If you want to hear this music right, the only way we know to do that is to get hold of as many copies as you can, clean them and play them and hope for the best, our business model in a nutshell
  • These sides have wonderful transparency and lovely presence – Astrud’s vocals sound breathy and Getz’s sax is full bodied, with fast transients
  • 5 stars: “This music has nearly universal appeal; it’s one of those rare jazz records about which the purist elite and the buying public are in total agreement. Beyond essential.”
  • You may be surprised to learn that the right reissues of this album consistently win the shootouts, something we’ve know for many years
  • Not that it does us much good, as they are so hard to find that our last shootout was, I kid you not, 2012
  • If I were to compile a list of The Best Non-Classical Albums from 1964, this album would obviously have to be on it

We have been trying to find great sound (on reasonable surfaces) for this album for years — I kid you not — which is why this is one of only a very small handful of Hot Stamper versions to hit the site in, oh, about ten years.

We have fired up this shootout multiple times since 2012 and been left empty-handed each and every time until the last go-around. We have sunk an insane amount of dough into trying to get a few killer copies because we love the music so much, but we just haven’t had much to show for it. If you love this Brazilian-flavored cool jazz as much as we do, you might want to snap this one up because who knows when or if we’ll find another one.

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Herbie Mann – Returns To The Village Gate

More Herbie Mann

Hot Stamper Pressings of Superb Jazz Recordings in Stock

  • 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 a White Hot Stamper pressing like this one is guaranteed to 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 to our good stereo originals
  • “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

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The Graceland Remastering Disaster, Part 2

More of the Music of Paul Simon

Analogplanet Visits Sterling Sound and Interviews Mastering Engineer Ryan K. Smith

The interviewer apparently does not know how bad the new version sounds, but we had no trouble recognizing its awfulness here at Better Records. As a public service, we soon set about describing what we heard when we put this remastered piece of junk to the test.

Up against a properly mastered, properly pressed early pressing, it earned a failing grade. Is it the worst version of the album ever pressed on vinyl? Hard to imagine it would have much competition. 

The title of our review gives away the game: What to Think When the New Version Is Completely Unrecognizable?

The reviewer who interviewed the remastering engineer responsible for this and no doubt many other awful sounding records has never been able to tell a good record from a bad one, and he carries on that tradition with Graceland.

Ryan Smith, the hack who cut this album, has done quite a lot of work for Analogue Productions. We can’t say we’ve played many of his recuts, but the ones we have played are hopelessly bad, with the overly smooth sound so much in vogue today.

We played his recut of Scheherazade, and rather than just give it the failing grade it deserved, we explained how any audiophile can use its mistaken EQ in order to recognize what is wrong with it and others like it.

(Contrary to popular opinion, it is no better than Bernie Grundman’s bad sounding version from the ’90s, the one he cut for Classic Records.)

One of my good customers read this rave review from this same reviewer for the Texas Hurricane Box Set and made the worst mistake any audiophile can make: he believed it.

“His overdriven Stratocaster sound is one that guitar aficionados never tire of hearing live or on record, especially when it’s well recorded. … Yet again, Chad Kassem sets high the box set reissue bar delivering a “must have” package for SRV fans, every bit the equal of the one Doors fans have come to cherish. …every one of these records betters the originals and by a considerable margin. It is not even close…You’ve never heard these albums sound like this. That is a 100 % guaranty. …this is an impeccably produced box set physically and especially sonically. It’s the best these albums have ever and probably will ever sound.” — Music = 9/11; Sound = 10/11 — Michael Fremer

Sure, he’s out $400, but on the bright side he’s now learned a lesson he is very unlikely to forget.

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