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McCoy Tyner – Extensions

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Extensions

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  • With nearly Triple Plus (A++ to A+++) sound on side one this copy has the real Blue Note magic 
  • The sound on side one was bigger, clearer, less boxy and simply more relaxed and musical than almost any other side we heard
  • The really good RVG pressings like this one sound shockingly close to live music
  • 4 1/2 Stars: “The all-star sextet stretches out on lengthy renditions of four of Tyner’s modal originals, and there is strong solo space for the leader and the two saxophonists. Wayne Shorter in particular is often quite intense. Stimulating music.”

With Alice Coltrane on harp, this is one trippy album! For those with adventurous tastes you are sure to have an interesting musical experience with this one.

We enjoy the sound of a great many Blue Note pressings from the ’70s, although to be fair there are plenty of dogs out there too. The reason this LP and others from the era have such transparency and such an extended top end compared with some of RVG’s older recordings is due, at least to some degree, to the better cutting equipment he had available to him in the ’70s. (more…)

Getz Au Go Go on the 1987 Reissue – Isn’t This Record Supposed to Be Stereo?

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As part of our recent shootout for the album we played what turned out to be a later reissue. According to my research it’s most likely from the late ’70s or early ’80s.   

As a general rule we make a point to go out of our way to play practically any copy we can get our hands on, in the off chance that a reissue will beat the original. It’s happened plenty of times. Those of you with White Hot Stamper shootout winning copies of some of our favorite titles know what I’m talkin’ about.

Imagine our surprise when this pressing — in a stereo jacket with the label you see in the picture with the word “stereo” printed right on it — turned out to be dead MONO!

The sound was godawful — small, flat, and bereft of the ambience that makes this recording so enjoyable. The same would probably be true for the mono originals but since I haven’t played one of those in decades I will just say that that would be no more than a guess, to be taken for what it’s worth

Yet another reason not to believe a word you read on an album jacket or label.

A public service from your record loving audiophile friends here at Better Records.

Cool Jazz

I’ve gotten more enjoyment out of this Getz album than any other, including those that are much more famous such as Getz/Gilberto (which doesn’t sound as good by the way). This one is (mostly) live in a nightclub and it immediately puts you in the right mood to hear this kind of jazz.

Listening to side one I’m struck with the idea that this is the coolest jazz record of cool jazz ever recorded. Getz’s take on Summertime is a perfect example of his “feel” during these sessions. His playing is pure emotion; every note seems to come directly from his heart.

What really sets these performances apart is the relaxed quality of the playing. He seems to be almost nonchalant, but it’s not a bored or disinterested sound he’s making. It’s more of a man completely comfortable in this live setting, surrounded by like-minded musicians, all communicating the same vibe. Perhaps they all got hold of some really good grass that day. That’s the feeling one gets from their playing. As one is listening, there’s a certain euphoria that seems to be part of the music. This is definitely one of those albums to get lost in.

AMG Review

… this recording hails from the venerable Greenwich Village venue, the Café Au Go Go, in mid-August of 1964 — two months after “Girl From Ipanema” became a Top Five pop single. However, the focus of Getz Au Go Go steers away from the Brazilian flavored fare, bringing Astrud Gilberto into the realm of a decidedly more North American style. That said, there are a few Antonio Carlos Jobim compositions — “Corcovado (Quiet Nights of Quiet Stars)” and “One Note Samba” — both of which would be considered as jazz standards in years to follow — as well as the lesser-circulated “Eu E Voce.” Getz and crew gather behind Richard Rodgers and Oscar Hammerstein’s “It Might as Well Be Spring,” and the scintillating instrumental “Summertime,” from Porgy & Bess. Other equally engaging cuts include affective vocal readings of “Only Trust Your Heart,” and the diminutive, yet catchy “Telephone Song.” There is also some great interaction between Getz and Burton on “Here’s to That Rainy Day.” Getz Au Go Go is highly recommended for all dimensions of jazz enthusiasts.

 

 

Jefferson Airplane – Surrealistic Pillow (Mono) – Sundazed Reviewed

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Sonic Grade: C-

Back around 2000 I spent a fair amount of time comparing this pressing with both an RCA 1S Black Label original, two different RCA Orange Label reissues, and the DCC 180 gram pressing. To make a long story short, if you’re willing to buy this record for the songs that really sound amazing on it, like “Today”, then you should try one.  (more…)

Bob Dylan and The Band – The Basement Tapes – Our Shootout Winner from 2011

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

This Columbia Double LP pressing has some of the very best sound we’ve heard for this album, with all four sides finishing strongly in a recent shootout. Of course, given the nature of these recordings, you don’t get stunning sonics along the line of, say, Magical Mystery Tour or Dark Side Of The Moon, but at least you get to hear these great songs sound the way they were intended to, without the complications of bad mastering and pressing getting in the way.  (more…)

Falla / Three-Cornered Hat / Argenta (CS 6050) – Reviewed in 2010

More of the music of Manuel de Falla (1876-1946)

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A distinguished member of the Better Records Orchestral Music Hall of Fame.

Falla’s Three-Cornered Hat is positively WONDERFUL on this copy (A++), and the Sinfonia Sevillana by Turina on side two is every bit as good! The second suite on side one is particularly lovely — check out how rich and full the sound is. Side two has a HUGE soundstage, as wide as they come. The sound is very rich and full of audiophile colors — this is the kind of record that you’re going to love playing for your audio pals!  

Argenta brings the authentic Spanish flavor out in these works. Like so many audiophile reviewers over the years, you may find these performances definitive.

The strings on the first side are a bit dry to start,  like the sound many of you will recognize from Mercury’s classical records. Still, there’s much to like about the sound and you’ll have a very hard time finding a copy that’s any better. Most pressings do not have such an extended top end, and that quality here really brings this music to life. (more…)

The Doobie Brothers – The Captain and Me – Our Shootout Winner from 2009

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

OH BABY! This is the HOTTEST copy of The Captain And Me to ever hit the site, bar none. The sound is nothing short of PHENOMENAL from the first cut to the last. Side two earned our top A+++ grade while side one clocked in just half a plus behind. You can’t even begin to imagine what we’ve gone through trying to find Hot Stampers for this album. Here’s the copy that proves it was all worth it. 

We had TWICE tried to shootout this album and gave up both times with little to show for it. The one great sounding, reasonably quiet copy we found had a nasty edge warp that obliterated the first track on both sides. So we knew that great copies of this album must be out there, but where? We had OVER THIRTY COPIES of this record on our shelves and none of them were worth listing. The warped copy sounded so much better than any of the rest, and we felt it was wrong to call even the best of the rest a Hot Stamper. (more…)

Ry Cooder – Jazz – MoFi Debunked

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Sonic Grade: D

As you probably know, the MoFi of Jazz goes for big bucks nowadays — $500 and up. Is it worth it? 

Are you kidding? It’s a nice record as far as it goes, but it suffers from the same shortcomings as just about every Mobile Fidelity pressing we take the time to play these days (with some obvious exceptions of course). We have a test pressing, and knowing that the MoFi is the standard against which many audiophiles would prefer to judge our Hot Stampers, we listened to it first before going about our comparison test.

Our MoFi copy is actually tonally correct, which was a bit of a surprise. (Yours of course could very well be otherwise.) Right away we could hear exactly what people like about it, the same thing that audiophiles have always liked about half-speeds: their amazing transparency. Jazz on MoFi has zero-distortion, utterly clear, spacious, see-through sound.

But listen past that and what do you hear. Don’t those guitars seem to have that MoFi Tea-for-the-Tillerman-like quality you hate: all pluck and no body, all detail and no substance? Nothing has any weight. Nothing has any solidity. Nothing has any real life. It’s pretty, but it ain’t right. It’s the kind of sound that shouts out to the world “Hey, look at me, I’m an audiophile record! See how I sound? Clear and sparkling clean.” (more…)

Ry Cooder – Boomer’s Story – Our Shootout Winner from 2010

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

This is a QUIET Reprise Tan Label LP with a good side one and a GREAT side two. It’s not the best copy we’ve ever heard but it’s a step up from most of what’s out there. Side two is very natural and incredibly clean. The presence is wonderful, the top end is sweet, and the transparency is top-notch. Side one is similar but a bit smooth for our tastes.

We’re big Ry Cooder fans here at Better Records, and this is one of our favorites. Make sure to check out the lovely reading of Dark End Of The Street that opens side two. (more…)

Sergio Mendes – Sergio Mendes & Brasil ’66 – MoFi Debunked

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Sonic Grade: D

Hall of Shame pressing and another MoFi LP debunked. 

So spitty and thin! Why, in God’s name, why? (more…)

Jefferson Airplane – Surrealistic Pillow – We Found a Good Sounding Orange Label Pressing

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Surrealistic Pillow

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This QUIET orange label (!) pressing has surprisingly good sound, some of the best sound we have ever heard for that more-often-than-not dismal second label in fact. It actually beat a few of our black label originals, with more tubey magic and less distortion and harshness than we expect from these later pressings.  (more…)