post-its

Motown Still Had It in 1982

Hot Stamper Pressings of the Music of Marvin Gaye Available Now

With two superb Shootout Winning Triple Plus (A+++) sides, this Midnight Love is certainly as good a copy as we have ever heard.

Here are just a few of the things we had to say about this amazing copy in our notes: “round and punchy”…”jumping out of the speakers”…”good size and weight”…”spacious and relaxed percussion and vox”…”top detail” (side two).

Our post-it notes tell the album’s story. (By the way, if you like reading our post-it notes, we’re putting more and more of them on the blog these days. We talk about the importance of taking notes as part of the shootout advice we share. This post will help you with the basics.)

Drop the needle on “Sexual Healing,” then sit back and relax as the rich, warm sound of analog sets the mood!

There’s good frequency extension up top and down low, with plenty of meaty bass and silky highs (check out those bells).

This copy has two qualities which are essential for this music to really work its soulful magic: silky vocals and a BIG meaty bottom end.

Check out all the texture to the synths on Turn On Some Music – this is a highly resolving pressing which takes Marvin Gaye’s music — the last he would make before his death — to another level.

Many copies of Midnight Love suffer from a phony hi-fi-ish quality, sacrificing much of the warmth that is the all-important hallmark of analog. Is that any way to listen to this great Soul Classic? (My sources say no.)

Hey, want to find your own top quality copy?

Consider taking our moderately helpful advice concerning the pressings that consistently win our Hot Stamper shootouts.

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This Pressing of Highway 61 Was Off the Charts

Hot Stamper Pressings of the Music of Bob Dylan Available Now

In 2024, Dylan’s landmark 1965 release returned to the site after a hiatus of almost two years.

In the same way Sgt. Pepper changed popular music less than two years later, Highway 61 Revisited left all of Dylan’s contemporaries behind, scrambling to keep up with the standard he set.

Our 3/3 copy was a knockout. It sold for an enormous amount of money directly to one of our best customers, never making it to the site, and was worth every penny in our estimation, and surely in the estimation of the fellow who now has it in his collection.

Dylan’s records are almost never awarded notes like these. It was an amazing find, the kind of record we live for here at Better Records. I hope you can read our writing.

Highway 61 Boilerplate

When looking for a top copy, in our shootouts we are paying special attention to the qualities listed below. We noted:

Here are some of the things we specifically listen for in an electric folk rock record from the sixties, even one as uniquely groundbreaking as Highway 61 Revisited.

This Hot Stamper copy is simply doing more of these things better than other copies we played in our shootout. The best copies have:

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Robert Fine Does It Again

Hot Stamper Pressings of Mercury Classical Recordings Available Now

The notes you see below are for our Shootout Winner, which earned our top grade of at least 3+ on side one with its Hard to Fault (HTF) sound.

If you are interested in a record with the kind of sound described below, please contact us and we will be happy to put you on the waiting list for the next killer copy that comes along and blows our minds.

As you may well imagine, shootouts for this album are exceedingly rare. For a sought-after TAS List title such as this, we’re lucky to be able to do one every five years or so. Until the next one comes around, please consider trying some of our other classical and orchestral Hot Stamper pressings.

Robert Fine’s recordings for Mercury are some of the most amazing sounding we have ever played. To see what might be available, please click here.

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Tubey Magic Like You Won’t Believe

More of The Most Tubey Magical Rock Recordings of All Time

Here is how we described our recent White Hot Stamper shootout winner:

Manna returns to the site after a twenty-eight month hiatus and, man, was it worth with the wait, with KILLER Shootout Winning Triple Plus (A+++) grades on both sides of this original Elektra pressing

Here are just a few of the things we had to say about this amazing copy in our notes: “tubey and spacious”…”huge and rich and 3D”…”really jumping [out of the speakers]”…”vox so silky and rich”

Tubier, more transparent, more dynamic, with that “jumpin’ out of the speakers” quality that only the real thing (an old record) can have

To back up everything we say, here are the notes for that cannot-be-beat pressing. The exclamation marks are typically reserved for the hottest of the hot copies, and here we would have to say they are more than deserved — the sound of this copy was amazing.

I fell in love with the sound of Bread’s recordings 25 years ago. My system has gone through dozens and dozens of changes and — hopefully — improvements since then, and never have Bread’s album failed to reflect the positive effects of whatever had been done.

Other reviews with post-its can be found here. More note taking advice here.

This original Elektra pressing has amazingly sweet and rich 1971 ANALOG sound on both sides. That big bottom end and the volume of space that surrounds all the instruments and singers are the purest and most delightful form of Audiophile Candy we know.

The acoustic guitars? To die for. Talk about Tubey Magical Analog, this copy will show you just what’s missing from modern remastered records (and modern music generally). Whatever became of that sound?

This record put Bread’s heavily Beatles-inflected Pure Pop back on the charts after their the single from their previous album, On The Waters, made it to Number One, that song of course being Make It With You. “If”, the big hit off this album, went to number five, but we like it every bit as much as that earlier chart topper. Both represent the perfect melding of consummate songcraft and pure emotion.

We used to think that only the Best of Bread album could get those two songs to sound as luscious and Tubey Magical as they do when they’re playing in our heads, but it seems we were wrong — they’re positively amazing on the best copies of Manna, and this is a VERY good copy indeed.

Analog Heaven

In many ways this recording is state-of-the-art. Listening to the Tubey Magical acoustic guitars on the best copies brings back memories of my first encounter with an original Pink Label Tea for the Tillerman. Rich, sweet, full-bodied, effortlessly dynamic — that sound knocked me out twenty-odd years ago, and here it is again.

Of course I’m a sucker for this kind of well-crafted pop. If you are too then this will no doubt become a treasured demo disc in your home as well.

Pay close attention to the sound of the drums. We really like the way famous session player Mike Botts’ kit is recorded, not to mention his Hal-Blaine-like — which means god-like — drumming skills.

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This Phenomenally Well Recorded Montoya Album Is an Amazing Find

Hot Stamper Pressings of Living Stereo Titles Available Now

Flamenco meets Jazz in this extraordinary Living Stereo all analog recording from 1958 (only the second copy to hit the site in years).

Ed Begley is the engineer here and he knocked this one out of the park. The sound is shockingly real – proof positive that the cutting systems of the day are capable of much better sound than many audiophiles might think. If more evidence is what you’re after, see here and here

Need a refresher course in Tubey Magic after playing too many modern recordings or remasterings? This record is overflowing with it.

Side One

Track One

    • Tubey and 3-D
    • Jumping out
    • Lots of room and depth and width
    • Dynamic guitar

Track Three

    • Rich and present
    • Extending high and low

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Can Houses of the Holy Get Any Better? Apparently It Can

Hot Stamper Pressings of the Music of Led Zeppelin Available Now

Wall-to-wall, floor-to-ceiling Led Zeppelin power – our most recent Shootout Winning copies of Houses of the Holy knocked us out with their Demo Disc sound.

The Tubey Magical acoustic guitars here should be a wake up call to everyone that any attempt to remaster this album — to outdo Robert Ludwig and his awesome tube compressors and hi-rez transistor cutting equipment — is bound to fail.

This kind of sound is gone and it is never coming back.

Here are our notes for the top two copies from our recent shootout, each of which had one Shootout Winning side and one that came close but did not quite earn the top grade.

Side One

Track Three (Over the Hills and Far Away)

  • Upfront and detailed and breathy
  • Spacious
  • Big and wide when it kicks in

Track One (The Song Remains the Same)

  • Huge and rich and weighty
  • Vocals are less veiled
  • Richest, with the most extension high and low

Note that we played both a rocker as well as a quieter, more acoustic track. This is standard operating procedure. Both of these very different sounding songs have to sound their best.

Side two had a few problems which kept it from doing as well as side one.

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Who Knew that Dylan Could Sound This Good in 1983?

Hot Stamper Pressings of the Music of Bob Dylan Available Now

The short answer is we did, and it’s doubtful we have much company in the audiophile “community.”

Why? Because we actually sit down and play the records.

We don’t make judgments about their sound based on the fact that the album came out in 1983, long after the good old days of analog.

To put the cherry on the top of the sundae, this album is recorded digitally and it still sounds great. Or at least the best copies of it do. Speaking of fruit, how about them apples?

Our recent Shootout Winner was described this way:

This vintage copy of Infidels could not be beat. Big and rich, with correct tonality from top to bottom, strong bass and plenty of space, this copy sounded just right to us.

Our post-it notes tell the album’s story. (By the way, if you like reading our post-it notes, we’re putting more and more of them on the blog these days. We talk about the importance of taking notes  as part of the shootout advice we share. This post will help you with the basics.)

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Casino Royale Is Truly a Demo Disc, Assuming You Have a Copy that Sounds Like This One

Hot Stamper Pressings of the Music of Burt Bacharach Available Now

This is one of those rare and delightful instances where the RCA mastering engineer (the stampers are, famously, 1s, 2s, 3s, etc.) was exceptionally skilled, because both sides of this record are Demo Discs of the highest order.

Just look at our notes for one of the top two copies from our recent shootout.

I can honestly say that until we discovered the Hot Stampers for this album, I never thought this record deserved the praise The Absolute Sound’s Harry Pearson heaped upon it.

One of only thirteen entries in the Best of the Bunch: Popular section?

Not that hard to believe if, like me, you think a number of the titles there don’t really deserve to be called Super Discs in the first place, For Duke and The Sheffield Track Record being two that spring immediately to mind.

And by the way, does his copy sound as good as this one? I would bet money right now that this monster is clearly the better pressing. 

The highest-numbered stampers I have seen were 5s. That means there are five choices of stampers for each of the sides. Where are you going to find five clean copies of this album with the five different stampers in order to see which one seems to hold the most promise? We do this for a living, but most audiophiles and the reviewers who write for them simply lack the resources to do this kind of work at the level it needs to be done in order to find the amazing pressing we found. T

Let’s face it: Harry’s not the kind of guy to sit down with ten copies and shoot them out. That would be far beneath the great and powerful Oz himself. We put the question this way: Was it even possible for Harry Pearson to create a meaningful Super Disc list?

Note that side one fell a little short of the full 3+ sound found on side two, something that happens more often than not. One out of five records that has a shootout winning side will have a matching shootout winning other side.

The math works like this. 3+/3+ records go in this section, which currently holds 23 titles as of 7/2024. Records with at least one 3+ side go in this section, and there are 125 of those as of the same date — five times as many.

Side One

Track Three

    • Tubey and spacious and relaxed

Track Two (The Look of Love)

    • Immediate and silky vocals
    • Very tubey and spacious
    • Not as fat as the best

Side Two

Track Three

    • Huge and rich and transparent
    • Excellent space

Track One

    • Big and silky
    • Tubey and dynamic

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This Is Why We Love Pablo in the 70s

Hot Stamper Pressings of Pablo Recordings Available Now

For years we have been including the followinig commentary in our Hot Stamper listings for Farmers Market Barbecue:

Musically FMB is a top Basie big band title in every way. This should not be surprising: many of his recordings for Pablo in the 70s and early 80s display the talents of The Count and his band at their best.

Sonically there’s more to the story. Based on our recent shootout for this title, in comparison to the other Basie titles we’ve done lately, we would have to say that FMB is the best Basie big band title we’ve ever played.

Since so many Basie big band recordings are so good, we don’t want to get ahead of ourselves; after all, we haven’t done shootouts for all of Basie’s Pablo large group recordings. To be safe we’ll just call this one first among equals.

Having recently done another shootout, our first in two and a half years, we would have to say that the album still sounds every bit as amazing as we thought it did when we wrote the above comments more than fifteen years ago.

Our notes for a shootout winning copy get right to the heart of what makes the recording so special.

For those who might have trouble reading our scratch, allow me to transcribe what Riley, our main listening guy, heard and noted as he played the two sides of this copy.

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You Simply Cannot Record a Piano Better than Roy DuNann

The piano sounds uncannily lifelike right from the start, a beautiful instrument in a natural space, tonally correct from top to bottom. I can’t think of any record off the top of my head that gets a better piano sound than this one.

Listen to the tambourine on the third track on side one. Shelly Manne messes about with lots of percussion instruments on this album and all of them are recorded to perfection.

Not to leave Red Mitchell out, check out the bass; it’s deep and note-like throughout the album.

Better Than a Dream, the second track on side two, has one of the best sounding jazz pianos I have ever heard. My notes say “you cannot record a piano any better” and I stand behind that statement one hundred percent.

There is not a modern reissue on the face of the earth that can hold a candle to the sound of this record.

For any of you out there who doubt my words please take this record home and play it against the best piano jazz recordings you own. If it doesn’t beat them all we are happy to pay the domestic shipping back.

Even our amazing sounding 45 RPM pressing of The Three does not present the listener with a piano that sounds as real as the one on this record.


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