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Many audiophiles are inclined to believe the conventional wisdom they receive from like-minded enthusiasts.

Some of it is right, some of it is wrong, but if you don’t know how to critically listen to records for yourself, you will never be able to tell which is which.

You’ll be stuck with the approaches most audiophiles use — guessing and assuming. Neither are a reliable method for getting to the truth.

The Original Pressings of The Beatles Albums Are the Best Sounding, Right?

beatles help labelHot Stamper Pressings of the Music of The Beatles Available Now

No, they are most definitely not. At least the ones on the label you see pictured are not (with the exceptions noted below).

Back in 2005 we compared the MFSL pressing of Help to a British Parlophone copy of Help and were — mistakenly, as you may have already surmised — impressed by the MoFi. We wrote:

Mobile Fidelity did a GREAT JOB with Help!. Help! is a famously dull sounding record. I don’t know of a single original pressing that has the top end mastered properly. Mobile Fidelity restored the highs that are missing from most copies.

The source of the error in our commentary above is in this sentence, see if you can spot it:

I don’t know of a single original pressing that has the top end mastered properly.

Did you figure it out? If you’ve spent any time on this blog you did.

Original pressing?

Is that the standard?

Why? Who said so? Where is it written?

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With a Little Help From My Friends – A Masterpiece of Blue Eyed Soul

Hot Stamper Pressings of Classic Rock Albums Available Now

UPDATE 2026

This is an old commentary from 2017 for With a Little Help from My Friends. We think it holds up just fine — wouldn’t change a thing.

This album may be a classic of Blue Eyed Soul, and Cocker hard to beat, but it is very hard to find in clean condition. Iit should be more popular with audiophiles, but for whatever reason it isn’t, which means we can only spend a limited amount of time and money finding and buying them for our shootouts knowing that many copies will be too noisy to sell.

We did our last shootout in 2025, but our next one will probably be many years from now.

We just finished our first shootout in over FIVE [2012 or so] years for the album and were SHOCKED by how amazing the best copies can sound, even better than we remember them from last time around. Turn this one up good and loud and you’ll have Joe Cocker in all his raspy glory belting out With A Little Help From My Friends right in your very own listening room!

Blue-Eyed Soul doesn’t get much better than this. Cocker and his band chose SUPERB material for this album, including Dave Mason’s Feelin’ Alright; two of Dylan’s best, Just Like A Woman and I Shall Be Released; and of course the wonderful title track by no less than Joe’s fellow Brits Lennon and McCartney. The backing band features many great musicians including giants such as Jimmy Page and Stevie Winwood. No one’s making records like this anymore, not with this kind of musical and songwriting talent anyway.

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Basie Plays Hefti – Original Versus Reissue

Hot Stamper Pressings of Large Group Jazz Recordings Available Now

UPDATE 2026

We first wrote about the superiority of the reissues of this wonderful Basie album about twenty years ago.

The original pressings of Basie Plays Hefti are the best, right?

Not in our experience. In this case it’s just another example of mistaken audiophile thinking.

Basie was recording like a madman back in the late ’50s and even all through the ’60s. In 1958, the year of this release, he put out seven (7!) albums on the Roulette label. We’ve played quite a number of them over the years and found relatively few with audiophile quality sound.

Including the original Roulette pressing of this very title. We’ve only heard a few, and had only one for our shootout, but it was awful enough to make us swear off buying more, especially considering the prices vintage jazz albums are going for these days.

Hard and sour brass, no real top or bottom, it’s the sound of a poorly mastered Old Jazz Record, fine for the consoles of the day, not so good on today’s advanced stereo systems. Emus seems to be the only way to go. (more…)

Before and After Science – Rules Are Made to Be Broken

Hot Stamper Pressings of Art Rock Recordings Available Now

The domestic pressings of Before And After Science are typically grainy, low-rez and hard sounding. But that doesn’t mean our best Hot Stamper pressings are imports.

No. The best pressings are made right here in the good old U.S. of A.

Say what? Yes, it’s true. We were SHOCKED to find such Hot Stamper sound lurking in the grooves of a domestic Eno LP. It’s the only one of its kind. In thirty plus years of record playing I can’t think of any domestic Eno LP that ever sounded this good.

Now hold on just a minute. The British pressings of Eno’s albums are always the best, aren’t they?

For the first three albums, absolutely. But rules were made to be broken. This pressing has the knockout sound we associate with the best British originals of Eno’s albums, not the flat, cardboardy qualities of the typical domestic reissue.

The UK pressings we have played have always been awful. We put one in a shootout in 2025 and it was as awful as we remember it. Our notes read:

  • Very lean and dry.
  • Zero bass!
  • Lousy!

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And Here I Thought The Mastering Lab Made Nothing But Good Sounding Records

Hot Stamper Pressings of the Music of Ambrosia Available Now

We just did a shootout for Ambrosia’s One Eighty album, describing our Shootout Winning copy this way:

Analog at its Tubey Magical finest. You’ll never play a CD (or other digitally sourced material) that sounds as good as this record no matter how long you live.  This is smooth, rich analog at its best, easy on the ears as we like to say.

But none of what we said about our best Hot Stamper pressings would apply to the copies with the stampers you see below.

One of the copies we played with JW1 stampers was good, not great, earning a barely-hot 1.5+ grade. 1.5+ is four grades down from the best. That’s a steep dropoff as far as we’re concerned. 1.5+ only hints at how good a recording One Eighty can be on the best pressings.

The other pressing with those stampers did not qualify as a Hot Stamper at all. We would say it had passable sound, better than average but not really good enough for the serious audiophiles we cater to.

Had it not been cleaned to make it quieter and improve its sound quality, it most likely would not have earned that single plus at all. In that respect it would have much in common with the kinds of LPs filling up the shelves of record collectors everywhere. Who needs another mediocre sounding record sitting on the shelf? And yet there they are.*

Our two best sounding copies were cut at The Mastering Lab and had exactly the same stampers. Like a lot of Warner Bros. records, JW (Jacksonville) pressings rarely sound as good as those pressed elsewhere. (You record experts out there will know what the other plants are.)

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In 2008 We Had a Lot More R&D Ahead of Us

Hot Stamper Pressings of the Music of Led Zeppelin Available Now

A classic example of live and learn. In 2008 we had simply not done our homework properly.

Keep in mind that I had been an audiophile for at least 33 years by that date, and a professional audiophile record dealer for 21. Had a pretty nice rig back then too. However, in all those years, I and my staff had never been able to crack the code for Zep III.

Sure, by 2008 we had auditioned plenty of the pressings that we thought were the most likely to sound good: the original and later domestic pressings, the early and later British LPs, some early and later German pressings, maybe a Japanese import or two. In other words, the usual suspects.

We already knew how bad sounding the Classic Records Heavy Vinyl was; no need to put that in a shootout. It earned an “F” right out of the gate for its bright and harsh sound.

The result? We were roughly in the same position as most serious record collecting audiophiles, if not actually in a better one: who do you know that has played at least ten different pressings of Led Zeppelin III, or any other album for that matter?

We had auditioned a number pressings of the album and thought we knew enough about the sound to pick a winner. We thought the best original British Plum and Orange label pressings had the goods that no other copies could or would have. (Years later we would get hold of another one, clean it up and put it in a shootout.)

But of course, like most audiophiles who judge records with an insufficiently large sample size, we turned out to be  mistaken.

Logic simply hadn’t worked.

None of the originals would end up winning another shootout once we’d discovered the right reissues.

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Dark Side of the Moon – “A Wasted Purchase”

Hot Stamper Pressings of the Music of Pink Floyd Available Now

One of our good customers had this to say about a White Hot Stamper pressing of Dark Side of the Moon he purchased recently. Bill writes:

No, not my White Hot Stamper purchase.

But, rather, my purchase of an original UK edition, the so-called Holy Grail of pressings.

When I purchased the White Hot Stamper of Dark Side of the Moon a couple of weeks ago (for what seemed like an outrageous amount of money), I thought I’d compare it to the version I had, the 50th Anniversary, and send it back for a refund if it didn’t blow me away. It was the same strategy I had used several years ago when I bought a White Hot Stamper of Led Zeppelin II.

And the same thing happened to me this time that happened last time—the White Hot Stamper blew me away! It was so transparent. I heard things in the mix I had never heard before. The bass was tight, and the soundstage and “air” were HUGE. It was as big of a night/day comparison as the Led Zeppelin II comparison was.

Now, the bad news, for me.

Every source I checked said the original UK pressing is far and away the best pressing of Dark Side of the Moon.

So I bit the bullet and bought a pressing on eBay. It was, as advertised, in mint condition, with almost no surface noise.

And it was AWFUL compared to the White Hot Stamper. The soundstage was tiny in comparison, the bass was bloated, and overall it sounded muffled and lifeless. And, unfortunately, that UK pressing didn’t come with a money back guarantee. So I have a nice collectible on my hands that I will never listen to.

As Tom has pointed out many times, there are variations within pressings, so it might be that I just got a dud of a first pressing. One thing I have learned, though, is that even your outrageously priced White Hot Stampers, and maybe even especially your outrageously priced White Hot Stampers, are, in fact, a good bargain. Audio nirvana.

Bill

Bill,

Thanks for your letter, and sorry to hear you threw all that money away on a white elephant you will never find any use for. Unlike our records, at least it has some collector value. Discogs and ebay are your two best options for helping it find a new home.

The one good use I can think of for it would be to use it as a comparison pressing next time somebody comes over to your house and wants to hear the album. You could do a little shootout for them, just to see how far their jaw drops when the needle hits the groove on your Hot Stamper pressing.

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Roger The Engineer Is Awful on the Early UK Pressing

Hot Stamper Pressings of British Blues Rock Albums Available Now

A hall of shame pressing if there ever was one.

The UK pressing of Roger the Engineer we played was pure crap.

Cool for collectors I suppose, but very bad news for audiophiles.

Your response to this news may depend on which camp you find yourself in. If you love collecting original pressings, we would put you in the record collector camp, not the audiophile one. Audiophiles are supposed to care about sound quality, so if the more original pressing is the one you want, then you are a record collector first and an audiophile second, if at all. Harsh? Let’s call a spade a spade.

Regardless, we ask that you please not buy into that record collecting / audiophile canard that the originals are always going to be the best sounding pressings. The hundreds of reissues listed here prove otherwise.

The original British pressing — true, we only had the one, so take it for what it’s worth — was a poor imitation of what was most likely on the master tape, as revealed by the Edsel reissues.

Maybe you have a good sounding one. We can’t say you don’t.  But we would be very unlikely to spend much money on an original import pressing after hearing this one.

And the domestic records we’ve played were clearly made from dub tapes, so they’re a bust too.

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With This UK Copy You’d Better Be Ready to Rock

Hot Stamper Pressings of the Music of Led Zeppelin Available Now

UPDATE 2026

The shootout for Zep IV discussed below was carried out in 2012.

It seems an early British PORKY/PECKO pressing did very well, winning side one and coming close to the best on side two.

For at least five years now we have been unable to find a British pressing that eaned grades better than 2+, or Super Hot. Since the British pressings tend to be very expensive and hard to find in good shape, we have simply stopped buying them as they do not seem to be capable of winning shootouts anymore.

Other comments may be problematic in this review as well, so best to consult our latest listing for what we think we currently know about the album. Here is a short test to get you started.

Our Review from 2012

We did a massive shootout in 2012 for Zep’s beloved fourth album and this British pressing earned a nearly perfect score with some of the BIGGEST, BOLDEST, HARDEST Rockin’ sound we have ever heard on the album. Without a doubt this is the best sounding IV side two we’ve ever played, with the biggest bottom of them all.

When the Levee Breaks, a problematical track on even the best copies, finally sounds the way you’ve always heard it in your head — relentless and so powerful it’s downright scary.

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Three Labels, But Only One Wins Shootouts

More Hot Stamper Pressings that Sound Better on the Right Reissue

There are three Epic labels for this record.

The originals are yellow, the first reissue is orange, and the last reissue is bluish-black.

I can tell you that only one of those labels produced the best sounding copies in our shootout.

Beyond that you will have to buy a sample of each and do your own shootout. Finding clean copies was quite difficult; it took us a long time to get enough to play, and, as we said, most pressings are dreadful.

Those of you who like to read our commentaries and play along at home are going to have a rough time with this title. We sure did.

But the results are worth it, because we LOVE this music! Music just doesn’t get any better. If this album doesn’t lift your spirits, I can’t imagine what would. And note that many of the best songs here are exclusive to this greatest hits and cannot be found on any other album. That makes it a Must Own in our book.

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