- David Lee Roth’s solo debut finally arrives on the site with Shootout Winning Triple Plus (A+++) sound or close to it throughout – exceptionally quiet vinyl too
- The sound is rich, smooth, and full — you’ll have a hard time finding a better sounding pressing on the planet
- 4 stars: “For his first solo effort, David Lee Roth strips away the gonzo guitars that are Van Halen’s trademark and accentuates his lounge-lizard-as-rock-star persona, resulting in an EP that succeeds because of that persona.”
- Tonally correct from start to finish, with a solid bottom and fairly natural vocals (for this particular recording of course), HERE is the sound they were going for in the studio
- Drop the needle on So Far Away – it’s airy, open, and spacious, yet still rich and full-bodied
- 4 stars: “One of their most focused and accomplished albums … Dire Straits had never been so concise or pop-oriented, and it wore well on them.”
Fully extended from top to bottom with a wide-open soundstage, this is the sound you need for this music. There’s plenty of richness and fullness here as well — traits that are really crucial to getting the most out of a mid-’80s recording like this.
Drop the needle on So Far Away — it’s airy, open, and spacious, yet incredibly rich and full-bodied. The bottom end really delivers the goods — it’s punchy and meaty with healthy amounts of tight, deep bass. (more…)
- A stunning early Arista pressing, this copy earned Shootout Winning Triple Plus (A+++) grades throughout – exceptionally quiet vinyl too
- This album has the kind of smooth, rich, tonally correct analog sound we thought they had forgotten how to record by 1985 – but here it is, thank goodness
- Consistently strong material: You Give Good Love, Saving All My Love for You, How Will I Know, All at Once, and Greatest Love of All (the last of seven (!) singles released from the album)
- “…introduced the world to ‘The Voice,’ an octave-spanning, gravity-defying melismatic marvel.”
Having done this for so long — 2020 marks our 33rd year in the record business — we understand and appreciate that rich, full, solid, Tubey Magical sound — even as late as 1985! — is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.).
The music is not so much about the details in the recording; rather it lives or dies by its ability to recreate a solid, palpable, Whitney Houston singing live in your listening room. The best copies had an uncanny way of doing just that. (more…)
- Picture Book finally returns to the site with KILLER Nearly Triple Plus (A++ to A+++) sound throughout on this early UK pressing
- Big, spacious and clear, but also remarkably analog-sounding, with the kind of fullness and richness that’s so rare on records from this era — if you’re a fan of this music, this is absolutely As Good As It Gets
- “Holding Back the Years” was the big hit (#1), but what really sold me on the album was the band’s cover of The Talking Heads’ “Heaven” – not an obvious choice, and a truly inspired one
- 4 1/2 stars: “The band finds a steady R&B groove reminiscent of ’60s Stax house band the MG’s, and, as with the MG’s, it’s all in the service of a big-voiced soul singer, in this case a British redhead.”
NOTE: Side two has some loud stitches that play intermittently, moderate to loudly, mostly on tracks one and three of side two.
Finally, Analog Sound for this wonderful music. The average copy of this album may sound like you’re playing a CD, but not this one. Here is the warmth and richness and depth you didn’t know you could find on Simply Red’s Masterpiece (assuming you were even looking). That flat, opaque, dry CD sound that we all love to hate is nowhere to be found on this pressing.
The domestic pressings can be good, but they sure don’t sound like this Killer import.
A recording from 1985 is unlikely to have the Tubey Magic and warmth of an old Columbia. Let’s be serious, the 1980s – unlike the three decades that preceded them — were not known for the naturalness of their recordings. A few would make our Top 100 list (Let’s Dance springs to mind) but the pool of available candidates is shallow, not wide and deep like that of the decades before, in which so many records sound so good we could not begin to squeeze them nto a list limited to merely one hundred. Two hundred would easily make the cut, maybe more.
For the ’80s, it would be hard to come up with even a dozen I should think. Which is neither here nor there. The record must stand or fall on its own merits, not those of other records from the same decade, and fortunately this one stands very tall, with A Triple Plus As Good As It Gets sound on side one and a side two that nearly reaches such rarefied sonic heights. (more…)
- Sade’s Best Album returns with stunning Shootout Winning Triple Plus (A+++) sound from start to finish – exceptionally quiet vinyl too
- Both sides of this UK disc are guaranteed to be amazing sounding compared to whatever you’ve heard
- There’s no denying the power of Sade’s sultry voice when you can actually hear it – she is on fire on this album
- Her best song is on side one here – Is It a Crime – and the big band arrangement will surely send chills up and down your spine, especially with Triple Plus sound quality
Not many copies manage to have this kind of consistently sweet sound across both sides. Here are the kind of present, breathy vocals this music absolutely requires to work its magic.
If you know this album at all, you know that most pressings are just too damn dark sounding. Sade herself is typically recessed in the mix and veiled; it takes an exceptional copy such as this one to make her voice both present and breathy. (more…)
- This is probably the last domestically pressed record he made that still has the kind of sound we look for in a Hot Stamper
- “Over the years, Morrison has gathered around him a band that plays, like the best jazz ensembles, with effortless empathy. The group follows him through all his moods and meanderings, from the lilting cadences of “Tore Down à la Rimbaud” and “Ancient of Days” to the stately auguring of “Let the Slave” and the airy, triumphal shimmer of “A New Kind of Man.” A Sense of Wonder is serenely uplifting. With astonishing commitment and profound belief, Van Morrison continues to push forward into the mystic.”
- A truly KILLER pressing of Empire Burlesque, with Shootout Winning Triple Plus (A+++) sound from start to finish – exceptionally quiet vinyl too – folks, this one is As Good As It Gets!
- We guarantee there is dramatically more richness, fullness, vocal presence, and performance energy on this copy than others you’ve heard, and that’s especially true if you made the mistake of buying whatever Heavy Vinyl pressing is currently on the market
- 4 1/2 stars: “Say what you want about Empire Burlesque — at the very least, it’s the most consistent record Bob Dylan has made since Blood on the Tracks, even if it isn’t quite as interesting as Desire. However, it is a better set of songs, all deriving from the same place and filled with subtle gems… this is as good as Dylan gets in his latter days.”
This is one of the better-sounding Dylan records from the ’80s. It’s not exactly Blood on the Tracks, the only Dylan album we think is qualified to be on our Top 100 Rock and Pop List, but it sounds good for a record from this era. (more…)
- An outstanding early British pressing, with solid Double Plus (A++) sound on both sides
- Rich, spacious and lively, with an open, extended top end – this is the sound you want from Tears for Fears
- More great songs than practically anything from the ’80s – Shout, Everybody Wants To Rule The World and Head Over Heels, just to name a few
- 4 1/2 stars: “It is not only a commercial triumph, it is an artistic tour de force. And in the loping, percolating “Everybody Wants to Rule the World,” Tears for Fears perfectly captured the zeitgeist of the mid-’80s while impossibly managing to also create a dreamy, timeless pop classic. Songs From the Big Chair is one of the finest statements of the decade.”
This is a CLASSIC in the Tears for Fears canon, probably the album most people regard as their best. I myself prefer Seeds of Love, which should take nothing away from Big Chair — both are exceptional productions from the ’80s no matter how you look at them.
SFTBC went to Number One on the charts for a reason. There’s really not a bad song on either side and mostly absolutely brilliant ones. (more…)
- KILLER sound throughout with Shootout Winning Triple Plus (A+++) sound on the first side and solid Double Plus (A++) sound on the second
- We guarantee there is dramatically more richness, fullness and presence on this copy than others you’ve heard can offer, and that’s especially true for whatever godawful Heavy Vinyl pressing is currently being foisted on an unsuspecting record buying public
- “… a clutch of terrific songs: that giddy ode to his beloved game, the equally sunny rocker “Rock and Roll Girls,” the snappy Sun tribute “Big Train from Memphis,” the gently swaying “I Saw It on TV,” the rip-roaring “I Can’t Help Myself” and, of course, “The Old Man Down the Road,” a callback to CCR’s spooky swamp rock… a cheerful, glorious comeback.” – All Music
- Superb Shootout Winning Triple Plus (A+++) sound throughout this Classic of Electric Blues Guitar – reasonably quiet vinyl too
- A copy like this one soars above the pack with its hard-rockin’ energy, rich, solid bass, open top end, and freedom from congestion
- This is one of the better copies to hit the site in years – good SRV albums are getting tough to find nowadays
- “[SRV] wanted to add soul and R&B inflections to his basic blues sound, and Soul to Soul does exactly that. [T]he Curtis Mayfield-inspired closer, ‘Life Without You,’ captures Vaughan at his best as a composer and performer. It’s such a seductive number — such a full realization of his soul-blues ambitions…”
Vaughn’s guitar playing is as fiery as ever, and the addition of keyboards and saxophone here gives the music broader scope and range than was possible on his previous albums.
Messy But Real
These killer sides get Stevie’s room-filling guitar to sound about as rich and powerful as a recording of it can. When playing this record, first make sure the volume is up good and high. Now close your eyes and picture yourself in a blues club, with the volume ten times louder than your stereo will play. Electric Blues played at loud levels in a small club would sound pretty much like this album does, a bit messy but also real.
If you’re one of those audiophiles who insists on precise soundstaging, with layered depth and pinpoint imaging, forget it. That’s not in the cards. The producers and engineers were going for the “live in the studio” sound with this one (and most of his other albums it seems), which means it’s a bit of a jumble image-wise.
But that’s the way you would hear it performed live in a club, so where’s the harm?