More Rolling Stones
- A vintage copy (one of only a handful to hit the site in two years) with excellent Double Plus (A++) grades on both sides
- We guarantee the sonics are dramatically bigger, richer, fuller, and livelier than any pressing you have ever heard or you get your money back – it’s as simple as that
- Who knew the record could sound this good? Certainly not us until about seven years ago – we had no luck with this album for decades before that (and we bet you are in the same boat)
- “This may not be as downright funky, freaky, and fantastic as Exile, yet the extra layer of gloss brings out the enunciated lyrics, added strings, wah-wah guitars, explicit sex, and violence, making it all seem trippily decadent…”
- If you’re a fan of The Stones, this is a classic from 1973 that belongs in your collection.
The better pressings give you exactly what you want from this brand of straight-ahead rock and roll: presence in the vocals, solid, note-like bass, big punchy drums, and the kind of live-in-the-studio energetic, clean and clear sound we love here at Better Records. With big speakers and the power to drive them, at loud levels you are there.
And why not? The engineer is Andy Johns, Glyn’s very talented younger brother (sadly, now deceased). They worked together on the Stones’ previous album, Exile on Main St.
Andy engineered the Zep albums from II through Physical Graffiti, and those are amazingly well-recorded albums in anybody’s book when you have pressings that allow you to hear them right.
And you can add to that group Tull’s Stand Up (69), Traffic’s John Barleycorn (70) and the Stones’ Their Satanic Majesties Request (67), Sticky Fingers (71) and It’s Only Rock ‘N Roll (74). Even two tracks from Stephen Stills’ first album (71).
