7-2019

The Stardust Session – Notes for All Four Sides

More of the Music of John Coltrane

Reviews and Commentaries for the Music of John Coltrane

Superb sound quality courtesy of Rudy van Gelder (1958) and the brilliant mastering of David Turner (1972). The combination of old and new works wonders on this title as you will surely hear for yourself on these incredibly Hot sides.

We were impressed with the fact that these pressings excel in so many areas of reproduction. What was odd about it — odd to most audiophiles but not necessarily to us — was just how rich and Tubey Magical the reissue can be on the right pressing.

The record takes its material from three John Coltrane albums: ‘Bahia’, ‘Stardust’ and ‘Standard Coltrane.’ We would be surprised if the originals of any of them can beat the sound of this reissue. (more…)

Letter of the Week – “…the Hot Stamper is a step above the rest.”

Hot Stamper Pressings of the Music of Talking Heads Available Now

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

Hey Tom,  

Just wanted to let you know I finally played the Little Creatures Hot Stamper last night for the first time. Very, very nice record. Admittedly, I have more copies of Little Creatures than any sane person should. Many of these copies sound very good, the Hot Stamper is a step above the rest. Great slam. More space between instruments. Love it. 

I have spent the last month or so collecting various versions of Elvis Costello – Armed Forces for a shootout. It’s a Top Five record for me and with my daughter heading for college soon, a White Hot copy is out of reach at this point. First press UK’s, later UK “Porky’s” and first run German “Porky’s” have all been gathered.

Honestly, the whole process is a pain in the ass and very time consuming. The results have been interesting and I have acquired what I believe to be a very good record but it probably would have been cheaper to give you a call.

Keep up the good work.

Sean M.

Sean, I would have been happy to save you the work, we do if for a living.

Come to our site to get a ready-to-play, guaranteed killer copy mailed right to your door. (Assuming we have one in stock.)

Best, TP

Aqualung – Our Domestic Shootout Winner from 2008

Hot Stamper Pressings of the Music of Jethro Tull Available Now

OH YEAH! This Original Domestic Aqualung has TWO STUNNING SIDES that will MURDER the British Originals and make mincemeat out of any reissue.

Folks, for hard rockin’, tubey magical, psychedelic ’60s analog, it just does not get much better than this album. Here’s a knockout copy that will bring the power of Aqualung to life right there in your living room. Side one rates A+++ and side two rates A++; both easily defeated our best Import pressings, including a handful of sides with 1U, 2U, and 3U stampers — the kind that go for big dollars on eBay no matter what they sound like.

The British copies with the right stampers can sound amazingly rich and sweet, but they can’t ROCK like this copy — not a chance.

Side one has MASTER TAPE SOUND. More importantly, it has the kind of solid bottom end that is ESSENTIAL to this music. When Aqualung is rich and sweet, it’s a nice album, but when it can really rock, it is a BEAST! Few records get the entire Better Records crew bangin’ their heads and drumming on the tables the way the best side ones of Aqualung do, and a copy like this will really show you why.

Drop the needle on Mother Goose for some serious Tubey Magic. The sound of the flute and the guitars is OFF THE CHARTS. The drums are HUGE, punchy, and natural, and the immediacy of the vocals is amazing.

Side two is nearly as amazing — smooth and sweet, clean and clear, lively and dynamic. The openness and transparency allow you to separate the various parts and appreciate each musician’s contributions. You get airy flutes, tight bass, full-bodied vocals and real weight to the bottom end — a combination that you just can’t get from the average pressing or any heavy vinyl reissue. Play Locomotive Breath to see just how hard this copy rocks.

Hopeless Reviewers (Chapter 16,000)

Michael Fremer may think the new reissue is the ultimate pressing, but we sure don’t. By the time the guitars at the end of the title track fade out, you will be ready to take your heavy vinyl Classic and ceremoniously drop it in a trashcan. (Actually, the best use for it is to demonstrate to your skeptical audiophile friends that no heavy vinyl pressing can begin to compete with a Hot Stamper from Better Records. Not in a million years.)

More Fremer / Classic bashing? Of course! We take them to task at every turn when the opportunity presents itself — but not out of spite or vindictiveness (moi?!). We do it for the purest of reasons: as a service to you, dear customer. Where else can you turn for the straight scoop?

And unlike the reviewers, the forum posters and the audiophile man in the street, we offer more than just opinion. We offer the record that proves our case. If your pockets are deep enough, we will happily show you the difference between The Real Thing and The New Wannabe.

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In 2008 We Put Up Our First Shootout Winner for Benefit

Hot Stamper Pressings of the Music of Jethro Tull Available Now

This WONDERFUL original Island Chrysalis Brit LP has AMAZING SOUND! This is the BEST sounding copy we’ve ever heard, better than any of the other Island imports! A Triple Plus AGAIG sound on side one and nearly as good on side two. Quiet too!

Both sides were the winners in this shootout, and the vinyl was some of the quietest we played. This is THE ONE! There are many sonic problems with this recording, but most of them disappear when you get a truly Hot Stamper copy like this one.

The sound is amazingly dynamic and powerful, yet overflowing with tubey magic. We played almost ten different copies of this record this week (April 2008), every domestic label variation and close to a half dozen British and German imports. This copy was CLEARLY the best of the batch.

Biggest problems?

Smeary, veiled vocals and guitars.

Lack of extension on both ends.

It is the rare copy of Benefit that succeeds in overcoming these chronic problems. That is of course the main reason why this is our first shootout for the album. Old Brit (and domestic) rock records like these are noisy and usually don’t sound good. To find a copy like this takes WORK.

Much of the following commentary is “borrowed” and paraphrased from our discussion of Stand Up. The two albums (Tull’s second and third) understandably have much in common.

Tough Sledding with Benefit

It’s very common for pressings of Benefit to lack bass or highs, and more often than not they lack both. The bass-shy ones tend to be more transparent and open sounding — of course, that’s the sound you get when you take out the bass. (90 plus percent of all the audiophile stereos I’ve ever heard were bass shy, no doubt for precisely that reason: less bass equals more detail, more openness and more transparency. Go to any stereo store or audiophile show and notice how lean and bright the sound is. Ugh.)

Just what good is a British Classic Rock Record that lacks bass? It won’t rock, and if it don’t rock, who needs it? You might as well be playing the CD.

The copies that lack extreme highs are often dull and thick, and usually have a smeary, blurry quality to their sound. When you can’t hear into the music, the music itself quickly becomes boring.

If I had to choose, I would take a copy that’s a little dull on top as long as it still had a meaty, powerful, full-bodied sound over something that’s thin and leaned out. There are many audiophiles who can put up with that sound — I might go so far as to say the vast majority can — but I am not one of them. Small box speakers and screens are not for me. Those systems don’t do a very good job with albums like Benefit, and a stereo that can’t play Benefit is not one I would be likely to own.

Warning: Commentary Coming

One of these days I’m going to write a commentary about the evolution of the sound of my stereo over the years and decades, the short version of which goes like this: We have recordings that we love, and we build and tweak and guide our stereo in the direction of getting more out of those recordings. With crappy audiophile bullshit pressings of crappy audiophile bullshit music, you end up with one kind of stereo. With an album like this you end up with an entirely different one. My stereo has evolved to play records like this, not the junk on the TAS List or some awful Diana Krall LP. 

Flute

Of course one of the key elements to any Jethro Tull record is the sonic quality of the flute. You want it to be airy and breathy — like a real flute — and some copies will give you that, but keep in mind there are always trade-offs at work on old rock records like this. It’s a full-bodied, rich sounding recording. Make sure your system is playing it that way before you start to focus on the flute, otherwise you are very likely to be led astray. We have quite a bit of commentary to that effect on the site, some of which can be seen on the left.

A Big Speaker Record

Let’s face it, this is a Big Speaker Record. It demands to be played loud. It requires a pair of speakers that can move lots of air below 250 cycles. If you don’t own a speaker that can do that, this record will never really sound the way it should. It will certainly never come to life the way it should.

I’m not saying don’t buy it. Maybe one day you’ll get hold of a pair of big speakers and be able to play this record like a pro. (Considering the price of big speakers today, that’s not very likely unless you win the lottery, but we can always hope.)

Ambrosia – The First Four Plus Copy We’d Ever Heard, Going All the Way Back to 2008

Hot Stamper Pressings of the Music of Ambrosia Available Now

This White Hot Stamper original LP goes BEYOND DEMO DISC sound. What that means exactly I’m not sure, but I know it when I hear it, and this record has THAT SOUND.

We had no choice but to award this side one the very rare A with FOUR pluses A++++. Side one of this copy has ENERGY and LIFE we have never heard before.

No other copy had this kind of OFF THE CHARTS sound on either side, which means we feel no compunction awarding this side one our Ultimate Rating of A Quadruple Plus (A++++). Only a handful of records over the course of the last few years have earned such a grade, certainly no more than ten, and if memory serves there has never been a record with Four Pluses on both sides; that would be just too extraordinary, the Black Swan incarnate.

  • Our lengthy commentary entitled Outliers & Out-of-This-World Sound talks about how rare these kinds of pressings are and how to go about finding them.
  • We no longer give Four Pluses out as a matter of policy, but that doesn’t mean we don’t come across records that deserve them from time to time.
  • Nowadays we often place them under the general heading of Breakthrough Pressings. These are records that, out of the blue, reveal to us sound that fundamentally changes what we thought we knew about these often familiar recordings.
  • When this pressing (or pressings) landed on our turntable, we found ourselves asking “Who knew?“
  • Perhaps an even better question would have been “How high is up?”

This Side One

Going back to our best Hot Stamper Triple Plus contenders for the final shootout round, we dropped the needle on this one and it could not have taken three seconds to know that this copy was BEYOND amazing, truly in a league of its own.

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Letter of the Week – “Where do you find these copies? Really a tremendous difference in sound.” 

More of the Music of Steely Dan

More Reviews and Commentaries for Pretzel Logic

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

Hey Tom, 

We listened to Pretzel Logic that he ordered from you several times over the weekend – WOOF!!!

Good Stuff – Where do you find these copies????

Really a tremendous difference in sound. 

Sabine G.

Modern Jazz Classics – Black Label Original with Very Good Sound from Long Ago

SURPRISINGLY GOOD SOUND AND QUIET VINYL ON THIS BLACK LABEL ORIGINAL! Clean early copies like these don’t grow on trees, and ones that actually sound good are even more difficult to find. The sound is full-bodied and energetic with more tubey magic than the average later copies. 

As tends to be the case with these Black Label copies, the bass could stand to be tighter. The later copies offer an extra degree of resolution, but we know some people prefer these early copies for their richness and sweetness (which, as we’ve written about extensively, comes at price).

We Don’t Need an Analog Revival If It Means Sound As Wrong As This

More Reviews for Albums Released by Analogue Productions

Acoustic Sounds had Stan Ricker remaster this record a number of years ago, and of course they (he) ruined it. A twinkly top end and flabby bass were just two of the major shortcomings of their version.

Nothing surprising there, as Stan Ricker is famous for his “smile curve“, boosting both ends of the audio spectrum whether they need boosting or not. 

And half-speed mastered bass is almost always bloated and ill-defined.

If you add too much top end to a guitar record and ruin the sound of the guitar, how can anyone take you seriously?

Please note that not a single title from the Analog Revival series is any good, to the best of my knowledge, and all should be avoided. The same is true for all the 180 gram jazz titles on Analogue Productions mastered by Doug Sax, as you may have read elsewhere on the site.

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