- With superb sound on all six sides, this early British box set of All Things Must Pass will be very hard to beat
- If you’ve struggled with domestic pressings and later imports or Heavy Vinyl reissues, your troubles are over – here is the sound you were looking for
- 5 stars: “Without a doubt, Harrison’s first solo recording is his best. Drawing on his backlog of unused compositions from the late Beatles era, Harrison crafted material that managed the rare feat of conveying spiritual mysticism without sacrificing his gifts for melody and grand, sweeping arrangements.”
- This is clearly George Harrison’s best sounding album. Roughly 100 other listings for the Best Sounding Album by an Artist or Group can be found here.
- This is a Must Own Title from 1970, a great year for Rock and Pop Music
- The complete list of titles from 1970 that we’ve reviewed to date can be found here
- A great deal of tube compression was used in the mixing and mastering of the album, which makes this a difficult one to reproduce on anything but the highest quality equipment
- You’ll find outstanding Double Plus (A++) sound or close to it on both sides of this UK pressing of the band’s brilliant debut
- One of the best sounding rock records ever made, with rich, sweet, smooth mids; prodigious amounts of bass; superb transparency and clarity; and a freedom from hi-fi-ishness and a lack of distortion like very few rock records we have ever heard
- Rhett Davies knocked this one out of the park – it’s a Top 100 title, a member of the Tubey Magical Top Ten, and our favorite by the band for both sound and music
- 4 1/2 stars: “Knopfler also shows an inclination toward Dylanesque imagery, which enhances the smoky, low-key atmosphere of the album… the album is remarkably accomplished for a debut, and Dire Straits had difficulty surpassing it throughout their career.”
Rhett Davies is one of our favorite engineers. He’s the man behind Taking Tiger Mountain, 801 Live and Avalon to name just a few of his most famous recordings, all favorites of ours of course.
The man may be famous for some fairly artificial sounding recordings — Eno’s, Roxy Music’s and The Talking Heads’ albums come to mind — but it’s obvious to us now, if it wasn’t before, that those are entirely artistic choices, not engineering shortcomings.
Rhett Davies, by virtue of the existence of this album alone, has proven that he belongs in the company of the greatest engineers of all time, right up there with the likes of Bill Porter, Ken Scott, Stephen Barncard, Geoff Emerick, Glyn Johns and others we could mention. (more…)
- With excellent Double Plus (A++) sound from start to finish, this Back In Black ROCKS like nothing you’ve heard
- Both sides play with exceptionally (and unusually) quiet surfaces for a Robert Ludwig original
- RL is the king on this title, which means the conventional wisdom is right for once!
- It’s been years since we got hold of a copy that sounds this good and plays this quietly – it’s one of only a handful to hit the site with both sides graded Mint Minus to Mint Minus Minus
- Top 100, and if you turn it up good and loud, one of the biggest, boldest, hardest rockin’ records ever made
- 5 stars: “… tawdry celebration of sex is what made AC/DC different from all other metal bands — there was no sword & sorcery, no darkness, just a rowdy party, and they never held a bigger, better party than they did on Back in Black.”
- Robert Ludwig used humungous amounts of tube compression on Back in Black, and we’re glad he did. All that compression is at least partly responsible for it being a Rock Demo Disc of the highest order.
You probably never thought you’d ever use an AC/DC LP as a Demo Disc, but this copy will have you reconsidering that notion — it’s ALIVE with Rock and Roll Power Chords like nothing you have ever heard.
For Riff Rock you just can’t do much better than Back In Black. AMG gives it 5 Stars and rightfully so. Musically it’s got everything you’d want from this genre of heavy rock — a tight, punchy rhythm section; raging guitar riffs; and deliciously decadent lyrics screamed to perfection.
What took us by surprise was how amazing this music sounds on the right copy. You’ve probably heard these songs a million times, but we bet you haven’t heard them sound like this. This is the kind of record that you’ll want to keep turning up. The louder you play it, the better it gets — but only if you’ve got a pressing that rocks like this one.
The transparency and clarity are shocking — we heard texture on the guitars and room around the drums that simply weren’t to be found on most copies, plus tons of lovely analog reverb and natural studio ambience.
And of course the bottom end is big, beefy, and rock-solid, just the way we like it. I ask you, what album from 1980 sounds better than Back in Black?
- Excellent sound for Lou Reed’s Glam Rock Classic, Transformer, engineered to sound as Tubey Magical as Ziggy Stardust by none other than Ken Scott
- Here is an import pressing with the kind of Tubey Magical Midrange that modern records cannot BEGIN to reproduce
- A side one this good means Walk on the Wild Side is a Demonstration Quality track that will have your audiophile friends turning green with envy
- Transformer is an absolute tour de force of ’70s Glam Rock / Classic Rock / Alternative Rock
- “… Bowie and Ronson gave their hero a new lease on life — and a solid album in the bargain.”
- Transformer is his Masterpiece, a Core Collection title, and possibly a case of One and Done since it’s the only Lou Reed album we sell. (You, of course, may feel differently.)
Transformer is an absolute tour de force of ’70s Glam Rock / Classic Rock / Alternative Rock. You’ve got Lou Reed teamed up with David Bowie (in the producer’s chair!), Mick Ronson, Herbie Flowers and Klaus Voorman, and on top of that the album was recorded at Trident and mixed by the great Ken Scott.
Throw in the fact that this is the best set of post-Velvets material Lou would ever write and it is a recipe for success. There are so many good songs on here I won’t bother to list them one by one. Satellite Of Love is especially good though, if you ask me. If you agree, and you’ve never heard the VU demo version, make sure to seek it out. It’s completely different and good fun.
- If you want to hear this music EXPLODE out of the speakers and come to life the way The Who wanted you to hear it. this record will do the trick
- The sound here is so BIG, rich, and powerful it will surely make you rethink the recording itself
- 5 stars: “Some of Townshend’s most direct, heartfelt writing is contained here, and production-wise it’s a tour de force, with some of the most imaginative use of synthesizers on a rock record.”
- If you’re a fan of the band, this title from 1973 is clearly one of their best, and one of their best sounding
- The complete list of titles from 1973 that we’ve reviewed to date can be found here.
We removed this title from our Top 100 List a while back because it has become too difficult to get hold of clean UK copies. Who’s Next is even more difficult, but for some reason we left that one on the list, go figure (it is the better album).
The other Who album that still makes the cut and always will is Tommy. That is one amazing sounding record, when you find a good one on the UK Track label. (Nothing else can touch it, of course, but if you don’t want to pay the big bucks we charge, find one of these for cheap.)
- Outstanding sound throughout this vintage UK pressing of Bowie’s 1973 post-Ziggy classic, earning solid Double Plus (A++) grades on both sides – exceptionally quiet vinyl too
- Remarkable richness, smoothness and warmth, something that all the best Ken Scott Tube Recordings are renowned for
- Plenty of Bowie Classics: “Watch That Man,” “Aladdin Sane,” “Panic in Detroit,” “Cracked Actor,” “The Jean Genie,” “Lady Grinning Soul,” and more
- Here are more of our favorite Hot Stamper pressings of recordings with exceptionally Tubey Magical Sound
- And some reviews and commentaries for the most Tubey Magical Recordings we have ever played
- If you’re a David Bowie fan, this title of his from 1973 has to be considered a Must Own
- The complete list of titles from 1973 that we’ve reviewed to date can be found here.
THE BIG BOWIE SOUND for this wonderful follow-up to Ziggy Stardust! We just finished shooting out a number of import pressings of the album, and this import was one of the better copies we heard. This one’s got the kind of Tubey Magical Richness that takes these Glam Rockers to a whole new level. (more…)
- An early Arista pressing with superb Double Plus (A++) sound from first note to last – remarkably quiet vinyl too
- The best sides have the kind of analog richness, warmth, and smoothness that make listening to records so involving
- If you are looking for a shootout winning copy, let us know – with music and sound like this, we hope to be able to do this shootout again soon
- Standout tracks include “Song on the Radio” and “Time Passages” (an edited version of which made it all the way to #7 on the Pop charts)
- 4 1/2 stars: “…this is exceptionally well-crafted, from Stewart’s songs, where even three-minute songs seem like epics, to Alan Parsons’ cinematic arrangements and productions. [O]ne of Al Stewart’s very best albums.”
Our Hot Stampers of Year Of The Cat are always a big hit, and this, the 1978 follow-up, shares many of the same qualities. Alan Parsons is a pretty good producer and engineer it turns out.
This copy is richer and sweeter than most, with a big, bold, three-dimensional sound that perfectly suits the kind of Big Productions that are his stock in trade. The bigger the better we say!
Standout tracks include “Song on the Radio” and “Time Passages” (an edited version of which made it all the way to #7 on the Pop charts.) Both of these songs are more than six minutes long on the album.
- Chock full of Moodies Magic: warm, full-bodied, rich and smooth, with tremendous space and plenty of rock energy
- The first Moody Blues album to feature their trademark mellotron arrangements, and what a glorious sound that is when it sounds like this
- “…the album on which the Moody Blues discovered drugs and mysticism as a basis for songwriting and came up with a compelling psychedelic creation, filled with songs about Timothy Leary and the astral plane and other psychedelic-era concerns.”
This early Deram British Import LP has STUNNING SOUND and fairly quiet vinyl. It has higher resolution, is more dynamic, sweeter and clearer than most copies, WITHOUT SACRIFICING the richness, warmth and lushness for which the Moody Blues recordings are justifiably famous. I’ll put it this way — this pressing is correct from top to bottom, so present and alive, while still retaining all the richness and sweetness we expect from British Moody Blues records, that I find it hard to believe you can do any better.
This copy has all the elusive elements that we search for: vocal clarity, real weight down low, great energy, tight punchy bass, and lots of texture to the keyboards and synths. This copy is full of Tubey Magic and, importantly, it doesn’t sound too murky or muddy. That’s a neat trick for any copy of this album, as those of you who’ve been playing it for years certainly know by now.
- You will not believe how punchy, lively, dynamic, and exciting some of these tracks sound here – this is one of their best albums for both music and sound!
- Forget whatever dead-as-a-doornail Heavy Vinyl record they’re making these days – if you want to hear the Tubey Magic, size and energy of this wonderful album, a vintage UK pressing is the way to go
- 4 1/2 stars: “… [I]n 1969 this was envelope-ripping, genre-busting music, scaling established boundaries into unknown territory, not only “outside the box” but outside of any musical box that had been conceived at that moment…”
Both sides give you silky highs, surprising clarity, amazing openness and transparency, real weight to the bottom end, lots of air in the flutes, wonderful texture to the strings, and so much more. The acoustic guitars sound impressive, with the proper balance between pluck and body. The vocals are shockingly clean and clear throughout.
Copies like this bring all the psychedelic Moody Blues magic to life in your living room. The richness, sweetness, and warmth on this one give you exactly the sound you want for this wild music. You get lovely Tubey Magic and clarity. The sound is cleaner, clearer, richer, sweeter, and more present that you could have imagined.
It has been my experience that, as good as the British originals of the Moody Blues records are — and I think they are the best sounding pressings of their music that can be found — their one consistent shortcoming is an overly smooth top end. We managed to find a handful of copies that break with that tradition, and the results are wonderful. (more…)
- An early UK Threshold pressing with lush but clear Tubey Magical Double Plus (A++) sound throughout – exceptionally quiet vinyl too
- You get richness, fullness and warmth on both of these sides, which is exactly what you want for the Moodies’ music
- We shot out a number of other imports and this one had the presence, bass, and dynamics that were missing from most other copies we played
- “It is the fourth of what are popularly considered the group’s “core seven” (or Classic Seven) albums from 1967 to 1972, and as such represents the peak of their career to some.”
- “There are no extended suites on this album, but Justin Hayward’s ‘Watching and Waiting’ and ‘Gypsy’ have proved to be among the most popular songs in the group’s history.”