- This Talking Heads LP boasts solid Double Plus (A++) sound or BETTER from start to finish
- I’d be hard-pressed to name another group from the era who put out more groundbreaking yet accessible records than the Talking Heads
- Producer Brian Eno wasn’t shy about adding multiple layers of effects and processing; the texture of Eno’s synthesizers gives the music depth and character
- 4 1/2 stars: “…the music is becoming denser and more driving… with lyrics that match the music’s power… its better songs are as good as any Talking Heads ever did”
- This pressing boasts very good Hot Stamper sound from the first note to last – exceptionally quiet vinyl too
- With Eno producing and Rhett Davies engineering, every track is (psycho) killer – truly this is a Must Own from 1978
- 5 stars: “Brian Eno brought a musical unity that tied the album together, especially in terms of the rhythm section, the sequencing, the pacing, and the mixing.”
- An outstanding pressing of My Life In The Bush Of Ghosts with solid Double Plus (A++) sound or close to it throughout – exceptionally quiet vinyl too
- Both sides here are spacious, full-bodied and Tubey Magical with a solid bottom end and driving rhythmic energy
- Rick Wright of Pink Floyd noted that the album “knocked me sideways when I first heard it – full of drum loops, samples and soundscapes. The way the sounds were mixed in was so fresh, it was amazing.”
- 5 Stars: “… a whirlwind 45 minutes of worldbeat/funk-rock … it’s a tremendously prescient record for the future development of music during the 1980s and ’90s.”
If you like Remain in Light as much as we do here at Better Records, you will surely have a blast with this record. I’ve been a big fan of the album since the day it came out. As an added bonus, it’s a much better recording than Remain in Light — sweet and spacious, not hard and brittle the way that can album can be, especially on the first track. (more…)
- An outstanding pressing with solid Double Plus (A++) sound or BETTER throughout – exceptionally quiet vinyl too
- Big and rich, with correct tonality from top to bottom, strong bass and plenty of space – this copy sounded just right to us
- Stunning sound for the album’s biggest hits, including With Or Without You, I Still Haven’t Found What I’m Looking For, and Where the Streets Have No Name
- 5 stars: “With the uniformly excellent songs… the result is a powerful, uncompromising record that became a hit due to its vision and its melody. Never before have U2’s big messages sounded so direct and personal”
The soundstage is huge, and the overall quality of the recording is big and bold. Most copies of this album are either thin, shrill and aggressive — like most U2 albums — or thick and veiled. This one is smooth and natural sounding, with the added benefit of some deep punchy bass! (more…)
This is a record that’s going to demand a lot from the listener, and we want to make sure that you feel you’re up to the challenge. If you don’t mind putting in a little hard work, here’s a record that will reward your time and effort many times over, and probably teach you a thing or two about tweaking your gear in the process (especially your VTA adjustment, just to pick an obvious area most audiophiles neglect).
A word of caution: Unless your system is firing on all cylinders, even our hottest Hot Stamper copies — the Super Hot and White Hot pressings with the biggest, most dynamic, clearest, and least distorted sound — can have problems . Your system should be thoroughly warmed up, your electricity should be clean and cooking, you’ve got to be using the right room treatments, and we also highly recommend using a demagnetizer such as the Walker Talisman on the record, your cables (power, interconnect and speaker) as well as the individual drivers of your speakers.
This recording ranks high on our Difficulty of Reproduction Scale. Do not attempt to play it using any but the best equipment.
It’s not easy to find a pressing with the low end whomp factor, midrange energy and overall dynamic power that this music needs, and it takes one helluva stereo to play one too.
As we’ve said before about these kinds of recordings — Ambrosia; Blood, Sweat and Tears; The Yes Album; Dark Side of the Moon, Led Zeppelin II — they are designed to bring an audio system to its knees.
If you have the kind of big system that a record like this demands, when you drop the needle on the best of our Hot Stamper pressings, you are going to hear some amazing sound .
A distinguished member of the Better Records Rock and Pop Hall of Fame.
HOT STAMPERS DISCOVERED AT LAST! We’ve been trying to find a great sounding copy of this album forever, and this is the week we finally succeeded. It takes an exceptional pressing to get all the elements correct — the funky bottom end; the processed, multi-tracked vocals; the Brian Eno production weirdness and so on.
This is a brilliant album but a typically problematic record. Most copies get some things right but fail miserably in other areas. There are smeary copies that can’t deliver the punchy bottom you need, grainy copies that make the vocals painful to listen to, and plenty of copies that are just too dark or flat sounding for anyone to enjoy. Note that the first track on both sides will sound the worst. The sound gets better, though, as you get further into the album. (more…)
A distinguished member of the Better Records Rock Hall of Fame.
THE BEST SIDE ONE WE’VE EVER HEARD — BAR NONE! I will stop short of awarding it more than three pluses, because the recording certainly has its share of limitations, but never before have we heard these songs sound so BIG, BOLD and ALIVE! Side two is darn good as well, rating a very strong A++. If you thought you’d never hear a truly great pressing of this album, here’s the copy that will prove you wrong!
This side one does it all. We’re crazy about this album — we’ve done this shootout many times and found some really exceptional copies, but I don’t remember ever hearing a side one quite like this. The top end is extended and sweet, the bottom end is big and punchy, and the overall sound is as rich and full-bodied as you could expect from this zany art-rock. Side two misses just a bit of the energy of side one, but it’s still much better than the average copy.
The vocals have the kind of presence that put David Byrne right there in your living room, and not under a blanket or behind the speakers as on a majority of pressings we’ve played.
You’ve got to play a whole lot of copies to find one with this kind of energy, clarity, and high resolution. The kick drum is really punchy, the synths and organ sound incredible, and the vocals sound just right.
The bass on this copy is the best we’ve heard for More Songs — tight, punchy, and as deep as it’s ever gonna get. We sure wouldn’t mind if some of the tracks were mixed with a bit more punch to the bottom end, but far be it from us to tell Brian Eno and Rhett Davies how to do their jobs! At least on this copy, the bass has the kind of power that brings a song like Take Me To A River to heights you probably wouldn’t have imagined before. (more…)
Sonic Grade: F
The Rhino Heavy Vinyl reissue of this album was Dead On Arrival the minute it hit my turntable. No top, way too much bottom, dramatically less ambience than the average copy — this one is a disaster on every level.
Rhino Records has really made a mockery of the analog medium. Rhino touts their releases as being pressed on “180 gram High Performance Vinyl.” However, if they are using performance to refer to sound quality, we have found the performance of their vinyl to be quite low, lower than the average copy one might stumble upon in the used record bins.
Presenting another entry in our extensive Listening in Depth series.
This album is all about sound, pure sound itself if you will: the sound of the instruments, their textures, and the textures of the soundscape Eno has created for them.
With the subtle harmonics of Eno’s treated sounds captured onto vinyl intact, the magic of the experience far exceeds just another batch of catchy songs with clever arrangements. It truly becomes an immersive experience; sounds you’ve never heard in quite that way draw you into their world, each sound more interesting than the next.
Only these British originals sound like they are made from fresh master tapes on rich, sweet tubey-magical, super high resolution cutting equipment.
In-Depth Track Commentary
(Which, by the way, is BRILLIANT from the opening guitars of Burning Airlines to the never-ending chirping crickets of The Great Pretender. I mean that literally: on these early British pressings the run-out groove has the sound of the crickets embedded in it so that the crickets chirp until you pick up the arm, much in the same way that Sgt. Pepper has sound in the run-out groove at the end of A Day In The Life.)
Burning Airlines Give You So Much More
Pure Pop for Now People. Listen to all those multi-layered harmonies! They’re sweet as honey, and only the best British copies get them to sound that way. You can make out practically every voice. This is what we mean by Midrange Magic. (more…)
A distinguished member of the Better Records Rock Hall of Fame.
This QUIET Original Sire LP has EXCELLENT SOUND! We just did a mini-shootout for this fun album, and this copy was the clear winner on both sides. It’s got the kind of deep, meaty, well-defined bass that’s absolutely critical to this music. The various instruments and noises have more room to breathe than on the other copies we played. The overall sound is airy, open, and spacious with excellent clarity. The percussion — a HUGE part of this album — sounds Right On The Money. You can really hear the sound of the skins! (more…)