*We Get Letters

John writes: “The only problem I have with my evaluations is that I never heard his records.”

More Commentaries Prompted by Forums, Videos and Comments Sections

More Letters from fans and detractors alike.

If you haven’t had a chance yet, please check out the interview Wired conducted with me a few years back.

If you have some time on your hands, maybe too much time on your hands, go to the comments section and read the 300 plus postings that can be found there, the writers of which seem to be offended by the very idea of Hot Stampers. They also decry the obvious shortcomings of analog vinyl itself, as well as the ridiculously expensive equipment some “credulous, misguided audiophiles,” their terms, use to play vinyl records, as if you didn’t know already!

Here is one that I found to be especially interesting, from a psychological perspective if not from an audio one: 

Bad, mismatched system setup. Customer base probably has the same. Also evaluation process is questionable. Uses a mediocre solid state amp and looks for “tubey magic” because of some misplaced concept of “accuracy” as I discussed before. [Man, this guy has got our number all right, ouch!]

Yes, there is a lot of bad stuff out there, and it does give the stereo industry as a whole a bad name. I have heard some pretty crappy, expensive setups in my day.

I was listening to Phoebe Snow’s “Second Childhood” on my best system last night. Boy, I love my new turntable!

The only problem I have with my evaluations is that I never heard his records. My comments are probably correct, but it would be interesting to audition a few of his “golden” albums just to confirm he hasn’t really found anything. The reason I am confident that he probably does not have anything is because virtually every repressing I’ve heard is better than the original. Claiming otherwise hurts his credibility.


There is one sentence in the paragraphs above that should raise a giant red flag and help you to appreciate how reliable John’s analysis of our stereo and methods might turn out to be. If you didn’t catch it the first time through, give it another shot. Okay, here goes:

The reason I am confident that he probably does not have anything is because virtually every repressing I’ve heard is better than the original.

That’s so strange! Virtually every repressing I’ve heard is worse than the original.

What gives?

If I may paraphrase our writer: the reason I am confident that he probably does not know anything about records or audio is that he thinks repressings are always better than vintage pressings. We’ve critically auditioned tens of thousands of records, including many hundreds of repressings, admittedly on our “bad, mismatched system setup,” and I guess we must have gotten it all wrong over the 34 years we’ve been in the audiophile record business. The shame of it all!

Obviously, John knows he does not need to try one of our Hot Stampers. You can see him talking himself into the wisdom of doing nothing with each succeeding paragraph. It’s so easy for him to be right by pretending to know something he can’t possibly know.

(Knowledge that is not backed up by empirical findings [1] comes in for a lot of criticism here at Better Records, and for good reason. Guessing, speculating and assuming are poor approaches to separating good pressings from bad ones.)

And if he did ever order one, and had at least a halfway decent stereo to play it on, it would turn his world upside down so fast it would make his head hurt, and the possibility of that happening would be very, very upsetting. It makes no sense for John to risk such an outcome.

Even if our records were as cheap as the ones he is buying, even the superior sound would not justify the psychological damage that would result. He would basically have to start his collection over again, as this good customer did.  A few hundred others just like him have done the same, and they’re the ones that will be keeping us in business for years to come. To paraphrase another famous saying, “They’ve heard the future, and it works!

Better for John to follow the path he is on. It’s working for him. Why would he want to rock his own boat?

We wrote about that issue on this very blog. Here is an excerpt:

Our Hot Stampers will of course still sound quite a bit better on even a run-of-the-mill audiophile system than any Heavy Vinyl pressing you care to name, but if you’re happy with a $30 reissue, what’s your incentive to spend five or ten or twenty times that amount, based on nothing more than my say-so? Even with a 100% Money Back Guarantee, why rock your own boat?

On the site we take great pains to make it clear that there are many ways that an audiophile—even a novice—can prove to himself that what we say about pressing variations is true, using records he already owns. You don’t have to spend a dime to discover the reality underlying the concept of Hot Stampers.

But perhaps you may have noticed, as I have, that most audio skeptics do not go out of their way to prove themselves wrong. And a little something psychologists and cognitive scientists call Confirmation Bias practically guarantees that you can’t hear something you don’t want to hear.

Which is all well and good. At Better Records we don’t let that slow us down. Instead we happily go about our business Turning Skeptics Into Believers, taking a few moments out to debunk the hell out of practically any Heavy Vinyl LP we run into, for sport if for no other reason.

They’re usually so bad it’s actually fun to hear how screwy they sound when played back correctly.

But don’t tell John that.

[1] Pretense of Knowledge

When someone pretends to know things they cannot possibly know, or think they know things that simply are not true and are easily demonstrated to be false, such a person can said to be suffering from a “pretense of knowledge.”

Some of the theories that audiophiles believe — original pressings have the best sound, the first pressings off the earliest stampers sound better than later pressings — are best understood as articles of faith, since there is rarely much data to support them.

“Made from the master tape,” “no compression or equalization was used in the making of the recording,” “AAA, all analog mastering,” etc., etc., are all forms of pretentious knowledge that should never be accepted at face value.

Anyway, these claims and others like them are beside the point.

Records must be judged only by the way they sound, not by what may or may not be true about the processes used to make them.

New to the Blog? Start Here

Important Lessons We Learned from Record Experiments 

Letter of the Week – “Hot Stampers… are very very helpful as reference test records.”

More Hot Stamper Testimonial Letters

One of our good customers had this to say about some Hot Stampers he purchased recently:

Hey Tom, 

These last few days have showed me that your “Hot Stampers” are not only a marvellous medium to enjoy music in a far superior way, but also are very very helpful as reference test records.

A short time ago I received my new speakers, many steps higher in performance than my previous ones. At the same time I made heavy changes to my turntable. I installed a better tonearm and cartridge and also tried a new plinth.

The result, as you can guess, was the need to realign the system from the bottom up. An annoying undertaking if it were not for all the “Hot Stampers” I’ve had the chance to get hold of. Knowing where the journey should go made it much easier to apply all the tricks I usually make use of.

And as you’ve pointed out several times, the upgraded setup made it possible to hear my “Hot Stampers” sound better than ever before.

Klaus M.


Hot Stampers are ideal for getting your system tweaked and tuned to perfection. We’ve been known to use some ourselves for that very purpose.

For the longest time our favorite test discs have been these:

  1. Bob and Ray Throw a Stereo Spectacular,
  2. Tea for the Tillerman, and
  3. Led Zeppelin II.

(I was the only guy here on the listening panel using Bob and Ray, by the way. I have played that record easily 500 or more times. Our listening guys are much younger than I am and prefer numbers two and three. Naturally, those work fine too.)

We are in the process of making some lists (more lists!) for records we’ve found to be good for testing, tweaking and tuning your system, your room and your front end setup, among other things. You may want to check them out.

These are the records that challenged me and helped me to achieve more progress in audio. If you want to improve your stereo, these are some of the best records we know of to help get you to the next level.

Our good customer Robert Brook uses his Hot Stamper pressings to work on his system and swears by them,

Thanks for your letter,


Further Reading

New to the Blog? Start Here

Revolutions in Audio, Anyone?

My Stereo (and Thoughts on Equipment)

Unsolicited Audio Advice

Letter of the Week – “Your discovery is easily the most amazing thing of all the amazing things this audiophile has come across in 30 years of amazing things.”

More of the Music of Fleetwood Mac

Reviews and Commentaries for Rumours

One of our good customers had this to say about some Hot Stampers he purchased recently:

Hey Tom,   

Friend over recently, played Fleetwood Mac Rumours, 45RPM. He says that’s gonna be awful hard to beat. “With one arm tied behind my back! Watch this!”

Wow, that was more open….!

Your discovery is easily the most amazing thing of all the amazing things this audiophile has come across in 30 years of amazing things.

Keep at it, no one else can, we are counting on you.


Thanks for the kind words. Finding a pressing with amazing sound is our top goal in every shootout we do. It is not hard to beat the 45 RPM 2 disc set that Steve Hoffman mastered. This story has many similarities to the one you recount.

Best, TP

Further Reading

New to the Blog? Start Here

What Exactly Are Hot Stamper Pressings?

More Hot Stamper Testimonial Letters

More Letters Comparing Hot Stamper Pressings to Their Heavy Vinyl Counterparts

Letter of the Week – “I am still amazed by the negativity I read sometimes about your records and prices…”

More of the Music of Stevie Wonder

More on the Subject of Hot Stamper Pricing

One of our good customers had this to say about some Hot Stampers he purchased recently:

Hey Tom,   

I also offer my humble apologies for ordering one LP at a time, it started with that (insanely good by the way) 4-star pressing of my wife’s favorite Stevie Wonder record, then, I have been waiting for a solid B-52 pressing for years now, so I had to grab it and just today, I noticed the Bee Gees… just glad nobody snatched it before me, seriously, this is the HARDEST Bee Gees record to get in any condition at all !!

I am still amazed by the negativity I read sometimes about your records and prices… we talked about it before but, for god’s sake, nobody is forced to buy anything. Plus, you have very fair prices for hot stampers that are great pressings of the best records, if the luxury items are not your cup of tea.

Still keeping my eyes open for a 4-star (or maybe 5 stars 😉 Hunky Dory one day. Would not mind a similar grade for a copy of Southern Accent too !!


My reply to David, in part:

The ignorance of the audiophile community is really something, but who am I to complain? I held many of the same silly ideas about Heavy Vinyl up until about 2000, so let’s be fair and give the audiophile community another twenty years and hope they catch on the way we at Better Records did.

But of course they won’t. I had to work very hard for the last twenty years to get to where I am now and most audiophiles don’t seem very interested in doing the hard work it takes to create, tweak and tune a system to be revealing and accurate enough to show them how lacking the modern remastered LPs they love to collect really are.

Why should they?

That would mean they would have to stop collecting all the new, fancily-packaged records being released these days.

Instead, they would have to start digging through the used record bins where actual good sounding records can be found and spend their nights and weekends cleaning them.

Seems like a rough row to hoe. We know exactly how rough it is, we hoed it.

New to the Blog? Start Here

What Exactly Are Hot Stamper Pressings?

More Hot Stamper Testimonial Letters

Letter of the Week – “my stereo upgrades have widened the sonic chasm between good, old-fashioned records and their nouveau imposters.”

Record Collecting for Audiophiles – The Fundamentals

One of our good customers, Dan, found much to agree with in our recent Better Record’s Record Collecting commentary and offered up his own two cents worth in the letter below. (Bolding added.)


Just wanted to affirm the new Better Records axiom of “the better your stereo gets, the fewer modern reissues you will own.” My collection has dozens of these Heavy Vinyl reissues, and none of them are holding up after a year and half’s worth of significant improvements to my stereo.

It was only at the beginning of last year that I found myself pleased with roughly 50% of my heavy vinyl purchases. Now, that number has plummeted to less than 10%. Almost everything that’s being put out today is an utter disappointment.

Of course, part of the explanation may be that my listening skills have improved. But it’s hard to imagine that I would have liked dull, dreary, lifeless vinyl a year or two ago. I like to think not.

More probable is that my stereo upgrades have widened the sonic chasm between good, old-fashioned records and their nouveau imposters.

I’d also like to second the avoidance of new vinyl purchases until major stereo improvements are made. I’m trudging through the laborious task of replacing these records with older, better sounding copies. It’s excellent advice to those new to the game or young (or both).

Amazingly, hearing the difference doesn’t even require a Hot Stamper, almost any original or early reissue will beat the Sundazed, Classic, etc. That’s how inferior they are. To borrow from The Who, the sound must change.


I agree with this bit at the end of your letter with one caveat:

Amazingly, hearing the difference doesn’t even require a Hot Stamper, almost any original or early reissue will beat the Sundazed, Classic, etc. That’s how inferior they are.

The caveat would be if you know how to clean your records right, right in this case being the way we recommend you clean them, using Walker fluids and a machine. Old uncleaned records can sound pretty bad. An audiophile pressing may beat your old original — until you clean it. It’s one of the Revolutionary Changes in Audio we  talk about all the time, and it can make all the difference in the world on some records, especially old ones.

Thanks for your letter. You are not alone in swearing off these modern mediocrities. Many of our customers went through the same process you have, and it seems they are as pleased with the results as you are.

New to the Blog? Start Here

First Get Good Sound – Then You Can Recognize and Acquire Good Records

Improving Your Critical Listening Skills Is a Good Idea Too

Below you will find our reviews of the more than 200 Heavy Vinyl pressings we’ve played over the years. Feel free to pick your poison.

Heavy Vinyl Commentaries


Letter of the Week – “The sound just LEAPS out of the system.”

More of the Music of Cannonball Adderley

More of the Music of Frank Sinatra

One of our good customers had this to say about some Hot Stampers he purchased recently:

Holy Moly Fellows!

I’m playing through my most recent Better Records Short Stack ™. First up, Somethin’ Else by Cannonball and Bill, followed by Sinatra’s Strangers in the Night.

Man. The sound just LEAPS out of the system. I’m not kidding, it literally JUMPS from the speakers, smooth, clean, big, bold and beautiful. Did someone play with the volume? Did I change the gain? No man! These records just sound FANTASTIC!

Thank you gentlemen. Happy New Year!

Doug H


Thanks for writing. There is a reason that on every listing we put this boilerplate in the body of the text:

What We’re Listening For on Record X

    • Energy for starters. What could be more important than the life of the music?
    • Then: presence and immediacy. The musicians aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them
    • The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
    • Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
    • Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
    • Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
    • Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

Exactly right: We want our records to have presence and energy, to be big and bold and jump out of the speakers.

This is the opposite of what everyone who stuck in the world of Heavy Vinyl is hearing. Virtually all of those records are veiled, recessed and compressed.

Who on earth wants that sound?  It’s beyond our understanding how it is that so many audiophiles cannot tell the difference between a good record and the mediocre-at-best product they are making today.

Thanks for your letter. Glad you liked our Hot Stamper pressings as much as we did.


Letter of the Week – “I know in one sense you’re only doing your job but who the hell else does what you do?”

Reviews and Commentaries for Deja Vu

Reviews and Commentaries for After the Gold Rush

One of our good customers had this to say about some Hot Stampers he purchased recently:

Hey Tom, 

Just received Deja Vu – so good. I have never ever heard the vocals sound so natural and so full of power and energy.

The only similar record I have is After The Gold Rush and I got that from you guys too.

I know in one sense you’re only doing your job but who the hell else does what you do?

Thanks again guys for a brilliant record, a fantastic piece of history and art that I can hear whenever I want to.



Thanks for your letter. Those are two of our favorite records too, with sound that is hard to beat once you figure out which stampers are the ones with the potential for top quality sound.

These two records have a lot in common as it turns out.

Both are The Best Sounding Album by either the group or artist.

Both are Must Own Records from 1970.

Both are of course in our Rock and Pop Top 100. Deja Vu is actually a member of our Top Ten, a rarefied group indeed.

Both are Rock Demo Discs for Big Speakers that Play at Loud Levels.

Both are members of The Core Collection of Well Recorded Rock & Pop Albums.

And, lastly, both are records that sell for large sums of money and rarely can be found in stock.

If we were to compile a list of records that are worth whatever you have to pay for them, these two would be right at the top of that list too.

Best, TP

New to the Blog? Start Here

More Hot Stamper Testimonial Letters

Letter of the Week – “…you sell a product that is singular and unique. And completely worth every penny.”

Beatles, Beatles, Beatles

Hot Stamper Beatles Pressings in Stock

One of our good customers had this to say about some Hot Stampers he purchased recently:

Hey Tom,   

I never thought, not even for a second, that in my life I’d EVER buy a record for $300. Never Ever! But here I am. Most records I’d come across in my life were from used/antique stores, and so they were warped, brittle, noisy, or out of tune (a fact I didn’t notice until I graduated from a music college). But your Beatles “Revolver” and “Sgt. Pepper” – music I’ve known my ENTIRE LIFE- sound like new as Hot Stampers.

I appreciate the fact these records, although expensive, are sold simply on the basis of quality. In a increasingly fake, plastic “if this one doesn’t work just return it for another broken one” world, you sell a product that is singular and unique. And completely worth every penny. I appreciate the fact you evaluate the record’s sound (i.e. mastering) as a musician would – focusing on tonal correctness – prizing the record’s ability to accurately reproduce a recording of how instruments actually sound in real life. On its face, it seems so simple, yet it is of utmost importance. Thanks!

Kyle M.


If Records Are About Money, You’re Going About It All Wrong

New to the Blog? Start Here

Basic Concepts Explained

We get letters from time to time chiding us for charging what strikes some as rather large amounts of money for records that we happily admit do not have much in the way of Collector Value, the implication being that collectible records are of course worth the high prices they command in the marketplace. Hot Stampers, however, are somehow different. Clearly they cannot be worth the outrageously high prices we’re asking.

It is our opinion that the writers of these letters have made a rather glaringly erroneous assumption: That the records we sell are not subject to the same market forces as other records. This strikes us as just plain silly.

As anyone with a grounding in basic economics will tell you, we cannot force our customers to buy anything from us, especially old vinyl records, the kind of thing that most people have found they can easily do without, thank you very much.

We even take the time in many of our commentaries to advise you about What to Listen For in order to help you find your own Hot Stamper copies.

Even better, we implore you to learn how to do it for yourself. No need to spend a penny with us, just look for the Hot Stampers hiding in your own collection. Here’s how it’s done. It’s really not all that complicated. Tedious and time-consuming, yes. Hard as in finding-the-cure-for-cancer hard? Not even close. Fun? If you like that sort of thing, absolutely.

Bottom line: If you don’t like our prices, you have plenty of alternative sources for the recordings we sell. (Not the specific Hot Stampers we offer, mind you. Every record is unique, which of course means you can only buy the copy we are selling from us.)

Pricing Strategies

We price our records just like anyone prices anything: according to what we think it’s worth, what we think we can get for it, how many customers will want it, how long it will take to sell at any given price, how many we have on hand, how hard it is to find another one of comparable quality, how much better or worse it is than others we’ve played, how much work went into finding this particular one, how much we paid for it, and on and on and on until we just have to quit thinking about it and pick a number.

If we pick a good number, it probably sells right away (often within an hour of it going on the site). If we pick a bad number, it probably doesn’t. If we pick a number too low, we can’t meet the demand. If we pick a number too high there won’t be enough demand.

It ain’t rocket science, it’s just nuts and bolts business planning, the kind carried out every day by millions of sellers looking for buyers for their wares.

Money Is at the Root of the Problem

The impetus for this discussion of records as an investment was my stumbling upon a letter that a fellow named Jason wrote us all the way back in August of 2007 and the colloquy that followed. We called it Letter From a Thrift Store Junkie. Jason wrote me, I replied, and then he wrote back to make a few points, one of which was this:

3. Your records are a poor value in terms of investment. Until you convince the whole LP community that your HOT-STAMPER choices are the pinnacle of sound a buyer will never be able to re-sell B S & T for $300. Even if they swear it is the best sounding copy in the world.

Which Prompted My Reply as Follows:

With his last email, the subtext to this tirade has finally become clear. Go back and read through it again yourself. It’s about the MONEY. It’s about how much all the equipment and the records cost and why I don’t need to spend that kind of money to enjoy music just as much, if not more, than you and your customers.

Jason, if your point is that spending lots of money in audio is often foolish, I can’t say I disagree — that’s why we poke fun at reviewers and their expensive equipment.

But the most telling remark is this one: Our records are a bad investment. They can’t be resold for anything close to what the buyer paid for them.

If Records Are About Money…

… then buying them at a thrift store for a buck apiece and getting something halfway decent makes perfect sense. As the Brits say, “that’s value for money.” If we sell you a Hot Stamper for, say, $500, can it really be five hundred times better?

I would argue that here the math is actually on our side. The average pressing is so close to worthless sonically that I would say that it isn’t even worth the one dollar you might pay for it in a thrift store. I might value it somewhere in the vicinity of a penny or two. Really? Yes indeed. Assuming it’s a record I know well, I probably know just how wonderful the record can really sound, and what that wonderful sound does to communicate the most important thing of all: its musical value. A copy that doesn’t do that — make the music come alive — has almost no value. It’s not zero, but it’s close to zero. Let’s assign it a nominal value. We’ll call it a penny.

You see, when I play a mediocre copy, I know what I’ve lost. Jason can’t know that. All he knows is what he hears coming from his mediocre equipment as his mediocre LP is playing. To him it sounds fine. To me it sounds awful. I feel like I must be in hell.

If I’ve actually done all the hard work I talk about on the site, I will find myself in the unique position of knowing what he’s missing, and he is in the (to me) unenviable and quite common position of only knowing what he’s getting. (It may be a litttle or it may be a lot, but it’s certainly nowhere near what I’m getting.)

Ignorance is bliss, and he is welcome to his. Being average is the lot of most of us, right? I’m average in most areas of life and make no bones about it. But I’m not average when it comes to this hobby. Because I enjoy it so much, I’ve worked very hard, for a very long time, four decades or so, to become good at it.

More for Less?

This is precisely what Jason has utterly failed to grasp: that all the hard work we encourage you to do really does pay off. The end result is a dramatic increase in your enjoyment and appreciation of the music you play. Here his obtuseness is at its pig-headed worst. He wants us to believe he gets more out of his records by hearing less? If I understand the formula correctly, it goes something like: Mediocre Pressing plus Mediocre Stereo equals Greater Musical Satisfaction.

Uh, you want to run that by me again?

How Most Records Are Like Frozen Pizza, A Tortured Analogy

Jason, it’s all well and good to eat frozen pizza. Frozen pizza is cheap and it can taste pretty good. But it’s ridiculous to think that no one should bother to go to a real pizzeria and sit down to a lovely meal, a meal prepared by a highly-skilled chef, using the freshest ingredients, perhaps with the added indulgence of a fine bottle of wine or two. You may end up spending five or ten times or twenty times as much money as a frozen pizza would cost, but the result is much more likely to be a meal that is delicious and satisfying beyond words. Beyond even dollars, if that’s more the language you understand. The two meals may appear superficially similar — they both involve pizza — but in actuality they are worlds apart.

Which is more or less how we see records here at Better Records. Any two copies of the same LP can look remarkably similar, identical to the naked eye in fact. But the effect they can have on you the listener is so dramatically different, they might as well be different albums, different recordings, performed by different musicians even.

The group on one pressing may sound bored, just playing by the numbers, there to pick up a paycheck. The other LP’s musicians are tearing the roof off, playing out of their heads at the top of their game. Same album, same recording, different pressings. Hyperbole? Not to me. I’ve heard it. I’m a believer. (The people that make those oh-so-expensive records disappear from the site apparently feel the same way. Some of them even write me letters! And unlike our friend Jason here, they know what they are talking about; they played the record that we wrote about and heard what we heard. No hypnotism involved, not on our part anyway.)


One more thing: If you’re worried about the resale value of your records, you shouldn’t have bought them in the first place.

And Your Point Is?

Buy records for the joy the music and sound bring you. Do not buy records to collect or resell, buy them to play.

They’re an investment in your present happiness and are sure to last you a lifetime. What could be better than that?

Letter of the Week – “I literally sat there with what I am sure was a dazed looked on my face, with open mouth and all.”

More of the Music of The Beatles

More Reviews and Commentaries for Let It Be

One of our good customers had this to say about some Hot Stampers he purchased recently:

Hey Tom, 

They say the first time is the best…

I have now purchased and enjoy well over 50 Hot Stampers. My first one a few years ago was The Beatles Let It Be. I was very skeptical to be honest, but there was a money back guarantee, so I went for it. It was $250, I think. It was an A+ on Side 1 and A+++ on Side 2.

It arrived and I put on my serious listening ears, put on Get Back on Side 2 (A+++) and dropped the needle. Instantly, I was like a dog hearing a new sound for the first time. My head was cocked a little and I was trying to fathom exactly what I was hearing. I was hearing presence, breathing, clarity in voices before they started playing and I literally sat there with what I am sure was a dazed looked on my face, with open mouth and all. I could not believe it. Everything jumped out of my B&W’s. The sound was something that no CD could duplicate, no matter how clean the CD sounded. I have an all tube, all analog system and I sat there in amazement. I played The Long and Winding Road next and the instruments literally had me teared up from how it much jumped out at me.

Well, I was hooked and I have since bought a lot of Hot Stampers and I enjoy them all. Along with some of my Japanese vinyl [ouch], there are by far the most treasured LPs in my entire collection. You can bet when friends come over, we choose records from the Hot Stamper stack. I really have a ball watching the look on their face when they hear it for the first time.

As I once wrote, I appreciate the fact that Better Records provides a service. They go out and buy numerous copies of an LP. Then some of them sit and listen to them all to narrow down to the best of the best. I have no problem paying their price, as I know they have a definite cost involved and the end result is a phenomenal sounding LP. they provide a great service to us audio nuts.

I buy very, very few records elsewhere, mainly some import copies but by and large, Better Records are the best. Keep up the great work.

Bryan S.

Thanks Bryan, happy to be of service, as always.

Customers Weigh in on the Virtues of Our Hot Stamper Beatles Pressings

More Commentaries and Reviews for the Music of The Beatles