- A superb copy of Elton John’s 1973 release with Nearly Triple Plus (A++ to A+++) sound from start to finish – just shy of our Shootout Winner
- Forget the dubby, closed-in and transistory domestic pressings – here is the relaxed, rich, spacious, musical, lifelike sound that only the best imports can show you
- Thanks to Ken Scott’s brilliant engineering and Gus Dudgeon’s production savvy, every song here sounds better than you imagined, because finally you are hearing it right
- 4 stars: “His most direct, pop-oriented album… a very enjoyable piece of well-crafted pop/rock.”
- A stunning UK pressing with Shootout Winning Triple Plus (A+++) sound or very close to it throughout
- Forget the domestic pressings, forget whatever lame reissues have come or will come down the pike — if you want to hear this album right, a killer Hot Stamper British pressing like this one is the only way to go
- Includes two of our favorites: (Gotta Get A) Meal Ticket and the massive hit Someone Saved My Life Tonight
- 5 stars: “Elton John and Bernie Taupin recalled their rise to power in Captain Fantastic and the Brown Dirt Cowboy, their first explicitly conceptual effort since Tumbleweed Connection. It’s no coincidence that it’s their best album since then, showcasing each at the peak of his power, as John crafts supple, elastic, versatile pop and Taupin’s inscrutable wordplay is evocative, even moving.”
The richness, sweetness and freedom from artificiality is most obvious where you often hear it on a Pop Rock Big Production like GYBR: in the loudest, densest, most climactic choruses.
We set the playback volume so that the loudest parts of the record are as huge and powerful as they can possibly become without crossing the line into distortion or congestion.
On some records, Dark Side of the Moon comes instantly to mind, the guitar solos on Money are the loudest thing on the record.
On Breakfast in America the sax toward the end of The Logical Song is bigger and louder than anything on the record, louder even than Roger Hodgson’s near-hysterical multi-tracked screaming “Who I am” about three quarters of the way through the track. Those, however, are clearly exceptions to the rule. Most of the time it’s the final chorus of a pop song that gets bigger and louder than what has come before.
A pop song is usually designed to build momentum as it works its way through the verses and choruses, past the bridge, coming back around to make one final push, releasing all its energy in the final chorus, the climax of the song. On a good recording — one with real dynamics — that part of the song should be very loud and very powerful.
Testing the Climaxes
The climax of the biggest, most dynamic songs are almost always the toughest tests for a pop record, and it’s the main reason we play our records loud. The copies that hold up through the final choruses of their album’s largest scaled productions are the ones that provide the biggest thrills and the most emotionally powerful musical experiences one can have sitting in front of two speakers. Our Top 100 is full of records that reward that kind of intense listening at loud levels.
We live for that sound here at Better Records. It’s precisely what the best vintage analog pressings do so brilliantly. In fact they do it so much better than any other medium that there is really no comparison, and certainly no substitute. If you’re on this site you probably already know that.
Two to Listen For
Number one: Too many instruments and voices jammed into too little space in the upper midrange. When the tonality is shifted-up, even slightly, or there is too much compression, there will be too many elements — voices, guitars, drums — vying for space in the upper part of the midrange, causing congestion and a loss of clarity.
With the more solid sounding copies, the lower mids are full and rich. Above them, the next “level up” so to speak, there’s plenty of space in which to fit all the instruments and voices comfortably, without piling them on top of one another as so often happens. Consequently, the upper midrange “space” does not get overloaded and overwhelmed with musical information.
Number Two: edgy vocals, which is related to Number One above. Almost all copies have at least some edge to the vocals — the boys want to really belt it out in the choruses, and they do — but the best copies keep the edge under control, without sounding compressed, dark, dull or smeary.
The highest quality equipment, on the hottest Hot Stamper copies, will play the loudest and most difficult-to-reproduce passages with virtually no edge, grit or grain, even at very loud levels. (more…)
Sonic Grade: B (or better)
[I think these are the labels for the copy we played, It came out around 2000-2005. It’s not Speakers Corner, Simply Vinyl or Back to Black. Those are labels best avoided in our experience.]
Hey, they really did a good job with this one. We are going to listen to it again at a later date to see if our initial impressions were correct [I guess by now it should be clear that we are never going to do that, sorry], but it sure sounded good to us when we played it recently during our big GYBR shootout.
I’m guessing no domestic copy can beat it, and certainly no audiophile half-speed mastered pressing can hold a candle to it. Those records are pretty awful. (more…)
This British Import Honky Chateau is THE BEST SOUNDING COPY WE’VE EVER HEARD — BY FAR! We just finished a big shootout for this wonderful album, and this copy took top honors with MASTER TAPE SOUND!
This has to be one of the best sounding rock records of all time — certainly worthy of a spot on our Top Rock LPs List. A Hot Stamper copy like this really tells you why. The highs are silky sweet, the vocals are full-bodied and breathy, and the tonal balance is perfection from top to bottom.
If you have any doubts that Elton John was a pop music genius, just play this record. It’s all the proof you will need. Drop the needle on any track — you just can’t go wrong.
There’s no need to go on and on about the sonic qualities of this copy. Everything you’d ever want from this record is here in abundance. Folks, this copy is the epitome of what we call Master Tape Sound — on both sides.
Two mastering approaches
The original British copies of this record, with the leatherette cover, have two distinctly different mastering approaches.
The earliest pressings tend to be very lively, but a bit hi-fi-ish and aggressive in places. I used to think these were the best.
The later British originals tend to sound dull and muddy.
It’s been almost two years since we’ve done a shootout for this album. It’s beyond difficult to find clean copies of this album, let alone ones that have Hot Stamper sound. There was a time when we liked a certain British stamper that we thought split the difference between the mastering approaches mentioned above. The copies we played this time around with that stamper were practically unacceptable this time around.
Our best domestic pressings actually bettered many of the Brit copies with our old favorite stamper. Improvements in our stereo and evaluation process have allowed us to discover the stampers with The Real Sound.
- An insanely good QUADRUPLE PLUS (A++++) side two backed with a stunning Triple Plus (A+++) side one for this Elton John classic – this pressing takes side two to another level (hence the four plus grade)
- Reasonably quiet for the most part on both sides – it’s not easy finding British pressings with the right stampers that play as well as this one does
- Honky Chateau contains some of the most Tubey Magical High-Production-Value rock music ever recorded – thanks Ken Scott!
- 5 stars: “The most focused and accomplished set of songs Elton John and Bernie Taupin ever wrote … It’s one of the finest collections of mainstream singer/songwriter pop of the early ’70s.”
NOTE: *On the last track on the second side, there is a mark that plays for four or five seconds at the very end of the record.
We award the Four Plus A++++ grade so rarely that we don’t have a graphic for it in our system to use in the grading scale shown above. So the side two here shows up on the chart as A+++, but when you hear this copy you will know why we gave it a fourth plus.
When I hear a record with a side this phenomenally good, with the stereo tuned-up and tweaked within an inch of its life to reproduce the album at the highest level I can manage, I will sometimes sit my wife down and play her a track or two. I did it for a Four Plus Deja Vu earlier this year as a matter of fact, playing Country Girl: Whiskey Boot Hill on side two, with that crazy HUGE organ blasting out of the right speaker — what a thrill!)
For this record I played her Salvation, with one huge chorus following another, like powerful waves crashing on the shore, until Elton takes a deep breath and belts out the last, biggest chorus, hitting his peak an octave higher and taking the song to a level neither one of us had ever experienced. We followed it up with the lovely Mona Lisas and Mad Hatters, and that was about as much Elton John live in my listening room at practically concert hall levels we could take in one sitting.
Hearing Elton with such energy, standing right in front of use, with instruments and singers encircling him from wall to wall and floor to ceiling, was so powerful and immersive it left us both with tears in our eyes.
That’s what gets you a Fourth Plus around these parts. (more…)
Not the most consistent of Elton’s albums in the ’70s, but the best tracks — Don’t Let the Sun Go Down on Me and The Bitch Is Back spring to mind — are killer, right up there with the best work the man was doing at the time.
This Super Hot Stamper original British DJM pressing has some of the best sound we have ever heard on Caribou. There’s a good reason you’ve practically never seen this album for sale on our site. In fact there are quite a number of good reasons.
The first one is bad vinyl — most DJM pressings of Caribou are just too noisy to sell. They can look perfectly mint and play noisy as hell; it’s not abuse, it’s bad vinyl. (Empty Sky is the same way; out and out bad vinyl, full of noise, grit and grain.) (more…)
There’s a good reason you’ve practically never seen this album for sale on our site. In fact there are quite a number of good reasons.
The first one is bad vinyl — most DJM pressings of Caribou are just too noisy to sell. They can look perfectly mint and play noisy as hell; it’s not abuse, it’s bad vinyl. (Empty Sky is the same way; out and out bad vinyl, full of noise, grit and grain.)
The second problem is bad sound. Whether it’s bad mastering or bad vinyl incapable of holding onto good mastering, no one can say. Since so many copies were pressed of this monster Number One album (topping the charts on both sides of the Atlantic), perhaps they pressed a few too many after the stampers were worn out.
Or pulled too many stampers off the mother.
Or made too many stampers from the father.
Or used crap vinyl right from the start.
Of course there’s not an iota of evidence to back up any of these assertions, but I just thought I would throw it out there as a topic for speculation. (Have you noticed how much audiophiles and audiophile reviewers love to talk about things that they have no empirical evidence for one way or the other? Very little of that sort of thing can be found on our site. We like to stick to the sound of the records we’ve played and leave most of the “reasoning” about the sound to others.)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
One of the reasons the song “Space Oddity” sounds so amazing is that it was produced by none other than Gus Dudgeon, the man behind all the best Elton John records. It has Paul Buckmaster doing the string arrangements as well. His work on Elton’s self-titled album is awe-inspiring; we know of none better. (more…)
- An outstanding early British pressing with big, bold Double Plus (A++) sound from first note to last
- There’s real Tubey Magic on this album, along with breathy vocals, in-your-listening-room midrange presence and no shortage of rock and roll energy
- Overflowing with great songs, way too many to list – Candle In The Wind, Bennie And The Jets, and GYBR all sound killer here
- A Top 100 Title: “…its individual moments are spectacular and the glitzy, crowd-pleasing showmanship that fuels the album pretty much defines what made Elton John a superstar in the early ’70s.”
NOTE: The two discs in this set have slightly different labels. We have learned from our research that this is actually the way some sets were produced, so even though the labels are mismatched, this is in fact an authentic early British release.
GYBR has the best rocker Elton and Bernie ever wrote: Saturday Night’s Alright for Fighting. Of course, it’s one of the tracks on side four we used to test with — if you’re going to listen to GYBR all day, why not play the songs that are the most fun to play? On the good pressings, the song just KILLS. (more…)