- Simply phenomenal amounts of Tubey Magic can be heard on every strum of the guitars, along with the kind of richness, body and harmonic coherency that have all but disappeared from modern remasterings.
- Becker and Fagen spared no effort in the recording of this album – the mix is PERFECTION
- A Top 100 Album and our pick for The Best Sounding Steely Dan Recording of Them All
- 5 stars: “Steely Dan made more accomplished albums than Pretzel Logic, but they never made a better one.”
- With insanely good Shootout Winning Triple Plus (A+++) sound or close to it on both sides, 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
- This early Black Label Shootout Winning pressing boasts stunning Triple Plus (A+++) sound or close to it on both sides
- The only real rock album this band ever made actually ROCKS on this pressing, and that’s what makes listening to vinyl of the highest quality FUN
- Only 8 tracks (so the band can stretch out). and every one is guaranteed to sound better than you have ever heard it
- 5 stars: “Smart, conflicted bands from Weezer to the Eels owe Steely Dan big time… because on Countdown to Ecstasy, the band was human, not just brainy. Like Exile on Main Street, this is a record where Steely Dan let slip their extraordinary mask of sarcasm, and could not disguise the joy in these excellent songs, or the fact that they were having a blast playing them.”
- An outstanding copy of Steely Dan’s magnificent Jazzy Pop breakthrough album
- This one arrives with solid Double Plus (A++) sound or close to it from start to finish – exceptionally quiet vinyl too
- Punchy, full and smooth, with the kind of rhythmic energy that brings out the jazzy funk in the music
- A Better Records Rock and Pop Top 100 album and a true Demo Disc on an exceptional pressing like this
- 4 1/2 stars: “With Aja, Walter Becker and Donald Fagen’s obsession with sonic detail and fascination with composition reached new heights. A coolly textured and immaculately produced collection of sophisticated jazz-rock, Aja has none of the overt cynicism or self-consciously challenging music that distinguished previous Steely Dan records … a shining example of jazz-rock at its finest. “
Folks, there’s not much I can tell you about this copy of Aja that’s going to make you want this record, other than to say this: If you’re in the market for a superb pressing of what’s gotta be the most beloved Steely Dan record they made, look no further. It’s right here. (more…)
Speakers Corner Debunked
This has to be one of the worst sounding versions ever pressed. You think the average ABC or MCA pressing is opaque, flat and lifeless, not to mention compromised at both ends of the frequency spectrum? You ain’t heard nothin’ yet!
As bad as the typical copy of this album is, the Speakers Corner Heavy Vinyl is even worse, with not a single redeeming quality to its credit. If this is what passes for an Audiophile Record these days, and it is, it’s just one more nail in the coffin for Heavy Vinyl.
But that’s not the half of it. Go to Acoustic Sounds’ website and read all the positive customer reviews — they love it! Is there any heavy vinyl pressing on the planet that a sizable contingent of audiophiles won’t say something nice about, no matter how bad it sounds? I can’t think of one. (more…)
We have just recently moved our record business to our new Shopify store. None of the links to the old site will work anymore. We apologize for the inconvenience and hope to be able to rectify the situation soon. For now please check out Better Records, Mach II, home of the ultimate vinyl pressing, the White Hot Stamper.
Tom Port – Better Records
The Trick with Katy Lied Is to find the right balance between richness, sweetness and clarity.
Take three or four Katy Lied pressings, clean them up and play just one or two of the tracks we discuss below. You won’t find any two copies that get those tracks to sound the same. We do our shootouts with up to a dozen copies at a time and no two sound the same to us.
This is a very tough record to reproduce — everything has to be working at its best to even begin to get this complex music to sound the way it should. But if you’ve done your homework and your system is really cooking, you are in for the time of your Steely Dan life.
In-Depth Track Commentary
It’s positively criminal the way this amazingly well-recorded music sounds on the typical LP. And how can you possibly be expected to appreciate the music when it sounds like that?
The reason we audiophiles go through the trouble of owning and tweaking our temperamental equipment is we know how hard it is to appreciate good music which sounds bad. Bad sound is a barrier to understanding and enjoyment, to us audiophiles anyway.
In-Depth Track Commentary
Rikki Don’t Lose That Number
By far the biggest hit on this album and one of the biggest for the band, it’s also one of the clearest indicators of Hot Stamper Sound. The Horace Silver inspired intro is at its best when you can easily hear the acoustic guitar in the left channel doubling the piano. On most copies it’s blurry and dull, which causes it to get lost in the mix. Transparent copies pull it out in the open where it belongs.
That’s the first test, but the real test for this track is how well the (surprisingly) DYNAMIC chorus is handled. On a properly mastered and pressed copy, Fagen’s singing in the chorus is powerful and very present. He is RIGHT THERE, full of energy and drive, challenging the rest of the band to keep up with him. And they do! The best copies demonstrate what a lively group of musicians he has backing him on this track. (If you know anything about Steely Dan’s recordings, you know the guys in these sessions are the best of the best.)
Check out the big floor tom that gets smacked right before the first chorus. On the best copies the whomp factor is off the scale.
Shocking as it may seem, most copies of this album are DOA on this track. They’re severely compressed — they never come to life, they never get LOUD. The result? Fagen and the band sound bored. And that feeling is contagious.
Of course most audiophiles have no idea how dynamic this recording is because they’ve never heard a good pressing. Only a handful of the copies we played had truly powerful dynamics. These are Pretzel Logics with far more life than I ever dreamed possible. Hey, who knew?
(As an aside, back in 1976 I had my fifty favorite albums professionally cleaned on a KMAL record cleaning machine at the stereo store I worked at. They would give you a custom record sleeve along with the cleaning, and sure enough I found my original Pretzel Logic with its KMAL sleeve. My copy was pretty good but no Hot Stamper.)
So, yes, it really did take us thirty years to find the best copy!
A distinguished member of our Better Records Hall of Fame.
Your Steely Dan Hot Stamper Collection is far from complete without a killer copy of Gaucho, and I don’t think you’re going to be able to find a much better copy than this one no matter what you do! Both sides are wonderful, with side two boasting BIG, BOLD A+++ MASTER TAPE SOUND that’s sure to blow the minds of all you Steely Dan maniacs. From top to bottom I don’t think you could cut or press this album any better.
What do these high grades give you for this album? Mindblowing, DEMO QUALITY, Steely Dan Magic, baby! Tons of ambience, amazing richness, ‘you are there’ immediacy, note-like bass, clear guitar transients, silky highs, and truckloads of analog magic. The overall sound is airy, open, spacious, and lively. The bottom end is punchy and meaty, and even on this, their most famously laid-back album, with bass and energy like this it means these songs really ROCK!
Every instrument taking part in this complex, richly imagined sonic tapestry sits perfectly in its own place, and, more importantly for us audiophiles, its own SPACE.
The average pressing we auditioned was opaque and compressed, throwing a veil over the vocals. Not this knock-out: the transparency and dynamics are in a league of their own, highlighting Donald Fagen’s moody, emotive singing while his ensemble of Hand-Picked Studio Cats wails away behind him with abandon (but not too much abandon; can’t lose our Steely Dan cool don’t you know). Add a handful of Oh-So-Sultry Female Vocalists to sex it up and you have one trancendent musical experience.
A Special Feeling
No other copy gave us the feeling we got from this LP — that ethereal illusion of being in the room while the band is playing. This is what we refer to as Master Tape Sound. Once you’ve experienced it you’re never the same. Read some of our testimonials. People really go crazy over this kind of sound. Records like this are few and far between, but when you find one, the effect it can have on you may make you go a little overboard too.
You might even feel the need to write us a letter. It’s the kind of experience that compels you to find some way to share it with the world. The problem there is that those reading your letter don’t have a copy with the kind of sound you have, and they therefore can’t experience the music the way you can. If they haven’t heard it for themselves, it’s all just talk, the kind of crap you can read on any internet forum about any piece-of-junk record ever made.
That’s why we love to hear from people who’ve actually played the very same record we did. We know why they’ve flipped out. We flipped out too!
When you drop the needle on a record this good, you feel like you just threaded up the master tape and hit play. You quickly become so totally IMMERSED in the musical experience that you soon forget you’re listening to a record. You’re hearing the music exactly the way the musicians intended it to sound. You can’t ask for more than that. Records like that get the Triple Plus.
Three Demo Discs
Of all the great albums Steely Dan made, and that means their seven original albums and nothing that came after, there are only three in our opinion that actually support their reputation as studio wizards and recording geniuses. Chronologically they are Pretzel Logic, Aja, and Gaucho. Every sound captured on these albums is so carefully crafted and considered that it practically brings one to tears to comtemplate what the defective DBX noise reduction system did to the work of genius that is Katy Lied, their best album and the worst sounding. (Those cymbal crashes can really mess with your mind if you let them. To get a better picture of the DBX sound just bang two trash can lids together as close to your head as possible.)
The first two albums can sound very good, as can Royal Scam, but none of those can compete with The Big Three mentioned above for sonics. A Hot Stamper copy of any of them would be a serious DEMO DISC on anyone’s system full range system.
Sonic Grade: D
Check out our Heavy Vinyl Scorecard to read all about the latest winners and losers. When such records are clearly inferior to their mass-produced counterparts (Heavy Vinyl pressings are mass-produced too by the way), we put them in our Hall of Shame.
Reasonably good bass, we’ll give it that, but no top end and no Tubey Magic. More of Ron McMaster’s handiwork and the result is a record that simply has no reason to exist. The AVERAGE original pressing sitting in your local record store bin right now for probably all of five bucks will MURDER this piece of crap.
As we noted for Ron’s remastered Band album, “When you see that little RM in the dead wax of one of these new Heavy Vinyl reissues you know you’ve just flushed your money down the toilet. There should be a warning label on the jacket: Mastered by Ron McMaster. It’s only a warning to those of us familiar with his work of course; the general public, and that includes the general audiophile public, probably won’t have much of a problem with the sound of this record or anything else he does. He still has the job, doesn’t he? What does that tell you?”
A distinguished member of the Better Records Rock and Pop Hall of Fame.
This White Hot Stamper side one is an ABSOLUTE KNOCKOUT. Even our usual top grade of A Triple Plus was not enough to tell the story, so we awarded this side one the rare Four Plus (A++++) grade. The sound is HUGE — big, bold, dynamic, and lively. The clarity and transparency exceeded all our expectations; we felt as if we were hearing every last Steely Dan-sweated detail. The overall sound is natural, relaxed, and musical. The highs are as sweet as they come (which is not as sweet as they should have been, more about that later) and the bottom end has the weight and punch this music needs to rock.
(Although rocking is not quite what Steely Dan are up to here. Cameron Crowe calls it “…absolutely impeccable swing-pop”, a four word description that gets to the heart of the music far better than any combination of words containing the word “rock”. )
One quality this copy had that no other copy in our shootout managed to convey: on Chain Lightning the voices stretch from wall to wall and fill out the space between the speakers like we have never heard before! Wow. On this copy that song is a Demo Disc Quality Thrill like you will not believe.
A Tough Nut? You Better Believe It
This is one of the TOUGHEST NUTS TO CRACK in the entire Steely Dan catalog, if not THE toughest. We manage to do this album about once a year; it takes us at least that long to find a dozen or so clean, decent-sounding original copies. Most copies are beat and most copies don’t sound good anyway.
It’s easy to blame DBX for the bad sound of so many copies, but this is a cop-out. Most of the bad sound comes from ABC’s bad pressings. This music can sound awfully good; more than enough proof can be provided by simply playing this amazing side two.
This side two earned an A++ gradfe. It was one of the few copies we played with real extension on the top end, a serious shortcoming on practically every copy we auditioned. The music on this side comes ALIVE like nobody’s business.
You will have no trouble hearing why we fell in love with this copy. The sound is so RICH and FULL. This is, more than anything else, what Katy Lied really gets right. The pianos and congas and toms have tremendous weight and body, along with plenty of rhythmic energy to drive the music. Everything is working so well you may find yourself singing along with abandon to classics like Everyone’s Gone to the Movies and Chain Lightning. We did.
Michael McDonald is a wonderful accompanist. His soaring harmonies on this album are breathtaking, even more so here than on Aja.
Of special note is Phil Woods’ sax solo on Doctor Wu. On most copies it is too thin, with not enough body, too much bite and sourness or hardness, but here it is smooth and natural — easy on the ears you might say. (more…)