1982

XTC – English Settlement – Our White Hot Shootout Winner


Our White Hot Shootout Winner for 2017

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  • Insanely good sound from start to finish, with all four sides rating a Triple Plus (A+++)
  • You won’t believe how good this record sounds – on a Big System this is a sonic tour de force, a MONSTER Demo Disc
  • This copy has huge amounts of open studio space and that Tubey Magical, rich, fat, dense British Rock Sound we love
  • Includes the hit Senses Working Overtime – “The textural sound of the album is quite remarkable” — Allmusic, 4 stars

See all of our XTC albums in stock

This is an AMAZINGLY well-recorded album, with huge amounts of open studio space and that Tubey Magical, rich, fat, dense British Rock Sound. That sound isn’t easy to reproduce, but this copy absolutely nails it. Nothing else in our shootout came close to it!

If you have big speakers and the room to play them, this is quite the sonic tour de force. Credit Hugh Padgham, producer and engineer, who’s worked with the likes of Peter Gabriel, Genesis, The Police, Yes and Emerson, Lake and Palmer. Those bands make the kind of music that make good use of Padgham trademark sound: wall-to-wall, deep, layered, smooth, rich and stuffed to the gills. XTC with Padgham’s help have here produced a real steamroller of an album in English Settlement.

The big hit on this album is one that most audiophiles will probably know: Senses Working Overtime. Even over the radio you can hear how dense the production is. Imagine what it sounds like on an original British pressing with Hot Stampers, played on a modern audiophile rig. Simply put, IT ROCKS. (more…)

Listening in Depth to Joe Jackson – Balancing Night with Day

More Joe Jackson

Balancing Night with Day

Listening in Depth

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There are basically four elements that go into the making of Night and Day: vocals; keyboards (mostly the piano); percussion (in the mids and highs) and rhythm (drums and bass).

No two copies will get all of these elements to sound their best. The trick to finding the hotter of the Hot Stamper pressings is to find copies of the album that reproduce these four elements clearly and correctly, in balance, and reveals their placement in a large, three-dimensional studio space.

It may sound easy but I assure you it is not. With this many instruments in the mix it’s a lot to get right.

Vocals

Pop records live and die by the quality of their vocals and Night and Day is no different in that respect. The vocals have to be front and center. Veiling in the midrange costs a fair number of points. They should also be smooth, not thin or edgy. I would rather have slightly veiled vocals relative to thin and edgy ones, but some copies manage to give you full, clear, present vocals, and those are the ones we tend to like the best.

Keyboards

When the sound is thin in the lower midrange and upper bass the piano will lose its weight and solidity. In the denser mixes it can easily get washed out, and nobody wants a washed out piano.

There is no guitar on this record. The piano carries much of the structural energy of the music. You need to be able to hear the piano clearly and hear that it is both full-bodied and percussive. (more…)

Off the Wall Vs. Thriller – Which One Has More Tubey Magic?

More Off the Wall

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ABSOLUTELY STUNNING SOUND for this White Hot Stamper pressing!

Both sides cannot be beat — both have the BIG M.J. SOUND that jumps from the speakers and fills the room. We’ve never a copy that was so full of ANALOG MAGIC!

The vocals are PERFECTION — breathy, full-bodied, and present. The overall sound is open, transparent, and PUNCHY with rock solid bass. The top end is extended and sweet, with tons of ambience the likes of which I’ve never heard before.

Normally when you have a copy with plenty of presence it’s somewhat sibilant in places. Not so here. For some reason this copy has all the highs, but it’s cut so clean it practically doesn’t spit at all. Even on the song I Can’t Help It, which normally has a problem in that respect. Since that’s my favorite song on this album, and probably my favorite MJ song of all time, hearing it sound so good was a revelation.

Better Sound than Thriller?

Yes. As consistently brilliant as Thriller may be musically — it is the biggest selling album of all time after all — speaking strictly in terms of sonics the sound of the best copies of Off the Wall is substantially sweeter, tubier, more natural, richer, and more ANALOG than Thriller.

Thriller is clearly more aggressive and processed-sounding than Off the Wall. The Girl Is Mine or Human Nature from Thriller would fit just fine anywhere on Off the Wall, but could the same be said for Beat It or Thriller? Just thinking about them you can hear the artificiality of the sound of both those songs in your head. Think about the snare that opens Beat It. I’ve never heard a snare sound like that in my life. Practically no instrument on Off the Wall has that kind of overly processed EQ’d sound.

Choruses Are Key (more…)