This outstanding copy of Neil’s second studio album boasts superb Double Plus (A++) sound from the first note to the last
The best tracks have that Live-in-the-Studio quality Neil is famous for (of which Zuma is the best example), with minimal processing and maximum ENERGY
Includes some of Neil Young’s most beloved classics: “Cinnamon Girl,” “Cowgirl in the Sand,” and “Down by the River” just to name three
5 stars: “Everybody Knows This Is Nowhere was breathtakingly different when it appeared in May 1969, both for Young and for rock in general, and it reversed his commercial fortunes….”
Although not quite in the league with the best of the best — the likes of Gold Rush, Harvest, or Zuma, all titles we have a devil of a time keeping in stock — the best sounding tracks here are a rough guide to what was to come as Neil and his producer, David Briggs, got better and better until they were As Good As It Gets by the time they got around to After the Gold Rush in 1970 (for which they seem to get no credit, outside of Better Records’ raves for the album of course).
We absolutely love the Live-in-the-Studio quality that only the best pressings of this album can give, with minimal processing and maximum energy. Man, with a good copy played back on a big pair of speakers this album can ROCK like nobody’s business. Nine minutes of “Down by the River”? A ten minute long version of “Cowgirl in the Sand”? “Cinnamon Girl”? We are so there!
This kind of musical, natural sound is not easy to come by. If you own any copy of the album you know what we mean.(more…)
Rich, smooth and Tubey Magical, this pressing has a lovely musical quality that’s missing from most copies
Titled The Rod Stewart Album for US release, this is Rod the Mod’s acclaimed debut
4 1/2 stars: “The music and the songs are so vivid and rich with detail that they reflect a whole way of life, and while Stewart would later flesh out this blueprint, it remains a stunningly original vision.”
This vintage British pressing has the kind of Tubey Magical Midrange that modern records rarely even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.(more…)
You’ll find outstanding Double Plus (A++) sound and fairly quiet vinyl on both sides of this is a killer live jazz album from Shelly’s Manne-Hole
Big, rich and real, with the kind of relaxed Tubey Magical sound that not many live albums achieve
Wally Heider engineered and he knocked it out of the park – You Are There, and even better, it’s 1969
“This is not experimental jazz. It’s beyond that, or as they say in New York, outside that. This is solid, rooted, sweet-smelling earth of an enduring style, as played by masters.”
We dropped the needle on a copy of this record last year and could hardly believe how good it sounded. So rich, so tubey, so big and clear – this is one of the best Impulse records we have played in a very long time.
It’s clearly another “sleeper” discovered by your friends here at Better Records. Who else is finding vintage albums with this kind of sound and music?(more…)
An essential, Must Own for every Classic Rock collection, this LP includes some of the band’s biggest hits: Green River and Bad Moon Rising, Lodi, Wrote a Song for Everyone and plenty more
5 stars “If anything, CCR’s third album Green River represents the full flower of their classic sound initially essayed on its predecessor, Bayou Country. One of the differences between the two albums is that Green River is tighter, with none of the five-minute-plus jams that filled out both their debut and Bayou Country, but the true key to its success is a peak in John Fogerty’s creativity.”
A MONSTER Double Album that simply could not be beat — all four sides earned our highest sonic grade of Triple Plus (A+++) and play about as quietly as any pressings from this era (late-’60s) ever do
There are only two complete Brandenburgs that we like for music and sound, the Munchinger on Decca/London from 1959 and this one
When you have enough of both for a shootout, and can play them side by side, you hear the differences between 1959 and 1969, but choosing one over the other when they can both be so good is a lot harder than it sounds
I much prefer Britten’s excellent conducting to his rather tiresome composing — most of his classical and orchestral works seem uninspired and academic
4 1/2 stars: “Benjamin Britten’s interpretations of the Brandenburgs occupy a middle ground between extremes, and these tasteful performances should satisfy all but the most partisan advocates of one performance practice over the other. Informed by the musicological discoveries of the 1960s in terms of rhythmic nuances and appropriate ornamentation, Britten’s performances are rich with Baroque inflections without sounding unnaturally contrived.
This vintage Columbia 360 label pressing gives Tony the sound he deserves, with Double Plus (A++) grades on both of these early stereo sides
Brilliant engineering by Frank Laico, the man who recorded I Left My Heart In San Francisco and Sketches of Spain, among others
Tony Bennett was in fine form and still able to sing the hell out of these songs in 1969 – when you hear the quality of his voice on this very album you will perhaps appreciate the toll this century has taken on him
Vintage record guys with top quality turntables – like us – get to hear Tony the way he should be heard, with his voice at the peak of its powers
A Must Own album, clearly their Masterpiece, and one of the truly groundbreaking debuts in rock history – a personal favorite that knocked me out when I first heard it back in high school, and over the decades it has become even more impressive
The drums have real snap to them – this copy delivers the fast, clean percussion that is absolutely critical to Santana’s music
“Santana combined Latin rhythms with jazz-inspired improvisation, hard-rock guitar and lyrical, B.B. King-style blues – and even had a hit single, “Evil Ways. The combination of rock guitar and funk percussion was undeniable.” Rolling Stone
Santana’s first album came out of nowhere and rocked in a way that few music lovers (especially those who knew nothing about Tito Puente) had heard before.
In one sense it had something in common with Led Zeppelin’s debut from early in 1969. Their album took the blues and added heavy metal guitars. Santana took African and Latin rhythms and added his own heavy guitars. Each is a landmark recording in its own right. It’s hard to imagine and any collection of popular music that would be without both.
Folks, you owe it to yourself to hear what a great band Santana were back in the day. Hot Stampers of any of the first three records will do the trick. If you’ve got the stereo that can play loud rock and roll, we’ve got the records that sound like Santana playing live in your listening room. Take it from someone who likes to listen to his music at fairly loud levels, Santana’s first album is truly a thrill.(more…)
All FOUR sides here were doing everything right — clean, clear, spacious and present with a big bottom end, just the right sound for this raw live blues-rock music
Great material to be found here, including covers of well-known tracks by Paul Simon, The Band, and Traffic
4 stars: “One of the seminal live albums of the late ’60s… The idea of musical spontaneity both in live performance and in the recording studio had reached a certain apex in 1968… But it was the union of Bloomfield and Kooper that can truly claim an origination of the phenomenon, and this album takes it to another level entirely.”
Vintage covers for this album are hard to find in clean shape. Most of them have quite a bit of ringwear, some seam wear and some edge wear. If you are picky about your covers, we probably cannot supply you with a nice cover for this album, they are just too rare.
Outstanding sound for this double LP of superb live blues-rock! We rarely have a copy of this title on the site, so if you’re a fan of Super Session, you should jump on this one right away. There’s some great material to be found here, including covers of well-known tracks by Paul Simon, The Band, and Traffic. Some of the tracks here (recorded on the second night) feature none other than Carlos Santana! (more…)
More from The Master of Tubey Magical Pop Recording, Mr. BONES HOWE
An outstanding copy of The Age of Aquarius with seriously good Double Plus (A++) sound from start to finish – exceptionally QUIET vinyl too
Tubey Magical sweetness and richness is key, and here you will find plenty of both, with virtually no sacrifice in presence, clarity or resolution
You can thank legendary engineer and producer Bones Howe, the man behind the phenomenal recordings of The Association, The Turtles and even the likes of Tom Waits(!)
4 stars: “The Age of Aquarius, the 5th Dimension’s fourth album, was the group’s commercial peak… The 5th Dimension were the successors to the L.A. vocal group mantle passed on by The Mamas and the Papas… their work had a sheen and a zest that sometimes contrasted with the original tone of the material.”