- Jazz guitar great Bill Connors makes his debut on the site with this phenomenal sounding copy of Of Mist And Melting
- This pressing boasts Shootout Winning Triple Plus (A+++) sound on side two and an outstanding Double Plus side one
- The sound of this vintage ECM pressing is really quite amazing – fans of adventurous jazz, the kind ECM is known for, should get a lot out of this LP
- “A beautiful session by the ever searching guitarist Bill Connors… intense, lyrical, and introspective… continued to show his great talents as a composer…
- An outstanding original A&M pressing of Frampton with solid Double Plus (A++) sound from start to finish
- Far too many copies have a problem with dry, edgy, lean vocals, the kind of vocal sound you simply cannot find anywhere on UK pressings of Wind of Change, but the best pressings of Frampton are richer and tubier without crossing into being dark and murky
- This has long been a personal favorite of mine, it’s a an album I’ve played hundreds of times and never tired of
- 4 stars: “Frampton exited Humble Pie because that group fell into a loud, hard rock groove that overwhelmed the technical skills he’d spent years working on as a guitarist; he poured a lot of that into this highly melodic mid-tempo rock album.”
A bit of background: Both his first solo album and this, his fourth, were recorded by the well-known engineer Chris Kimsey, who famously worked with the Stones and others too numerous to mention. To say that the sound of his albums varies considerably would be the understatement of the year. The first album (British only, fyi) is rich, sweet, and Tubey Magical as practically anything you’ve ever heard (as well as overly tube compressed, its biggest fault).
Sonically this album tends to be none of those things. However, if you play enough copies you are sure to run into at least some that sound right.
I unashamedly confess to being a huge Frampton fan to this very day. His first album, Wind of Change, has been a Desert Island Disc for me ever since I picked up my first copy while still in high school in 1972. I’m a Big Production Rock Guy, as you may have guessed from looking at the records we rave about the most, and Frampton’s first album is a classic of Big Production Rock, in the style of Abbey Road, Dark Side of the Moon, Songs for Beginners and fifty others I could name. Make that a hundred others. Or two hundred.
Which also explains why I’ve had very large dynamic speakers since about 1975, when I was first able to scrape together enough money to buy a pair of the well-regarded RTR 280-DR. (My mother had to co-sign the loan I took out shortly thereafter to buy an Audio Research SP3A-1 preamp and D-75 amp to power them, if that tells you anything. And ARC was reasonably priced back then; neither piece was even a grand!)
This fourth Frampton album may not boast the sound of his first, but it can have reasonably good sound, and musically it’s his strongest album after his debut, providing as it does much of the material for the blockbuster double live album that was to follow in less than a year, the one that broke the all time sales record set by Tapestry (and would be be bested itself soon enough by a little number known as the soundtrack to Saturday Night Fever). (more…)
- An outstanding original Elektra LP with solid Double Plus (A++) sound or BETTER from start to finish
- Can you believe that the producer and engineer of Carly’s debut is none other than Eddie Kramer!?
- That’s The Way I’ve Always Heard It Should Be is the killer track here and it sounds wonderful on this copy
- This pressing really brought this Big Production to life and allowed so many elements to work in harmony.
- It’s a good example of what a truly Hot Stamper is supposed to do – let the music work as music
The richness and the sweetness of the midrange on the best copies are exactly what you’d be looking for on this heavily-produced pop album, and this copy gives you that sound like no other copy you’ve ever heard.
Credit must go to Eddie Kramer, legendary producer and engineer for the likes of Hendrix and Zeppelin. He knows how to get good sound all right, although Female Singer Songwriter albums in his catalog are fairly light on the ground. (Richard Perry became the go-to guy for those productions as the ’70s wore on.) This may in fact be the only one Eddie ever did. But he knows Big Production Rock, and that’s what most of this album is about. (more…)
- With STUNNING Shootout Winning Triple Plus (A+++) grades on both sides, the sound quality of the tracks on this compilation is impressive
- Both sides are rich, full-bodied, Tubey Magical, and natural with a solid bottom end – no sign of radio EQ to be found
- Features most of the band’s best songs, including Do You Believe In Magic, You Didn’t Have To Be So Nice, Six O’clock and Nashville Cats (a personal fave)
- The Allmusic critic is not too crazy about this album, but the User Rating is 4 1/2 stars, which we think is about right
Great sound for some the biggest hits of The Lovin’ Spoonful, a band I wouldn’t have expected to hear sound good on vinyl if I lived to be a hundred, and yet, here it is. This is one of the rare cases where, in our experience, the hits compilation sounds BETTER than the original records. Why? Who knows? We don’t pretend to have all the answers. What we do have (that no one else has, if that’s not too obvious) are the records that back up the claims we make for them.
How they came to be that way is anyone’s guess. All we know for sure is that, judging by the best copies of this album, somebody got hold of some awfully good tapes and somebody mastered them with uncanny skill to what sounds to these ears like near perfection.
Actually, the mastering engineer for this compilation and the Best of from the same year is a person well known to us record collecting audiophiles — the person that ends up with this record can look in the dead wax for his info and the rest of you are welcome to guess — so it’s really no surprise that this compilation sounds as good as the Best of that we rave about.
One of our good customers had this to say about some Hot Stampers he purchased recently:
That latest S&G album — BOTW — is absofuckinglutely blowing my mind tonight. Wow. Those deep horns (?) blasting at times (end of Keep the Customer Satisfied, chorus of Why Don’t You Write Me, end of The Boxer… whole thing is hopping and dancing with huge beautiful sound. Hard to sit down!!Conrad
The weight of those horns is exactly what I was telling you about – they cannot be reproduced until you have speakers with enough large dynamic drivers to play the weight of the brass
This is something not many audiophiles seem to understand, no matter how much we write about it.
We discuss the idea of Big Speakers in this boilerplate commentary all over the site:
Let’s face it, this is a BIG SPEAKER record. It requires a pair of speakers that can move air with authority below 250 cycles and play at fairly loud levels. If you don’t own speakers that can do that, this record will never really sound the way it should.
It’s the kind of recording that caused me to pursue Big Stereo Systems driving Big Dynamic Speakers for as long as I can remember. You need a lot of piston area to bring this recording to life, and to get the size of all the instruments to match their real life counterparts.
For that you need big speakers in big cabinets, the kind I’ve been listening to for more than forty years. (My last small speaker was given the boot around 1974 or so and I have never looked back.) (more…)
RCA is justly famous for its chamber recordings, which tend to be somewhat rare for some reason. Let’s be honest: we did not conduct our last shootout with a dozen copies of the album. It would probably have taken us ten years to find that many clean pressings.
What we had were quite a few other Heifetz RCA chamber recordings, as well as some favorites by the Quartetto Italiano and I Musici that we are very fond of and know well.
After 33 years in business selling vintage vinyl, by now we’ve played scores if not hundreds of good violin recordings. We have no problem recognizing good violin sound (as well as correct violin tone, not exactly the same thing) when we hear it.
In the past our top Hot Stamper classical pressings would go directly to our best customers, customers who want classical recordings that actually sound good, not just the kind of Golden Age Recordings that are supposed to. More on that subject here and here.
Now that we are able to do classical shootouts on a regular basis, we hope to have enough superb sounding classical recordings for all of our audiophile customers.
A Certain Balance
I’ve often commented over the years that one should listen to classical music on a regular basis — at least once a week seems to be about right. I love rock and roll, jazz and all the rest of it, but there is something about classical music that restores a certain balance in your musical life that can’t be accomplished by any other means that I know of.
It grounds your listening experience in something perhaps less immediately gratifying but deeper and more enriching over time. This has been my experience, and with good Hot Stamper classical pressings to play, it can surely be yours.
- This superb TAS List Piano Concerto recording finally arrives on the site with outstanding Double Plus (A++) sound and vinyl that’s about as quiet and scratch-free as we can find it
- With huge amounts of hall space, weight and energy, this is DEMO DISC QUALITY SOUND by any standard
- Some old record collectors (like me) say classical recording quality ain’t what it used to be – here’s all the proof anyone with two working ears and top quality audiophile equipment needs to make the case
Harry Pearson put this recording on his TAS List of Super Disc LPs, and with good reason — the sound is wonderfully relaxed and natural. This Shaded Dog pressing is exceptionally lively and dynamic. The sound is BIG and BOLD, enough to fill up your listening room and then some. The piano is clean and clear, and the strings are rich and textured.
The great Artur Rubinstein’s performance of these wonderful works is superb.
Our Shaded Dog pressing here offers plenty of Living Stereo Magic. This wonderful record boasts a natural orchestral perspective and superb string tone. It also presents the listener with a correctly-sized piano, which is fairly unusual for Rubinstein’s recordings. (more…)
- A STUNNING copy of Neil Young’s 1978 release, with Shootout Winning Triple Plus (A+++) sound or very close to it from first note to last
- Drop the needle on Comes A Time or Look Out For My Love and hear how rich, warm and Tubey Magical the sound is
- The best copies of Comes a Time are the sonic equal of the best recordings in Neil’s catalog – and that’s saying a lot
- 4 1/2 stars: “Comes a Time finally was the Neil Young album for the millions of fans who had loved Harvest, an acoustic-based record with country overtones and romantic, autobiographical lyrics, and many of those fans returned to the fold, enough to make Comes a Time Young’s first Top Ten album since Harvest.”
Here’s a copy of Comes A Time that actually delivers the kind of Tubey Analog Magic you get from the good pressings of his earlier albums.
This superb Demo Disc has been overlooked by the audiophile press for forty years. The best-sounding Neil Young records — just look in our Hot Stamper listings to find them — have Demo Disc sound to beat the band. I defy anyone to play me a better-sounding record than Zuma or Gold Rush. Analog doesn’t get any more magical.
On the best copies, all the Demo Disc qualities are here: breathy vocals with solid body; huge amounts of ambience; super-transparency; dynamics; note-like punchy bass — the list goes on and on.
Tubey Magical Acoustic Guitar reproduction is superb on the better copies of this recording. Simply phenomenal amounts of Tubey Magic can be heard on every strum, along with richness, body and harmonic coherency that have all but disappeared from modern recordings (and especially from modern remasterings).
The All Music Guide is right on the money with their four and a half star assessment. We also wholeheartedly agree that this is the True Successor to Harvest, and would add that it’s the only Neil Young album to merit that distinction. To be blunt about it, Harvest Moon is no Comes a Time. (more…)
- Insanely good Triple Plus (A+++) sound on both sides of this Shootout Winning copy – fairly quiet vinyl too
- Thanks to the brilliant engineering of Chris Huston, the sound is War at its best: big, rich, smooth and clear, with the kind of low end whomp that few rock records from the era can claim
- 4 Stars: “A smooth blend of the band’s more progressive jazz-rock fusion, the LP shot to the top of the R&B charts, their second of four number one records in a row. It was a perfect tonic to the mediocre MOR music rampaging its way through the early part of the decade…A magical ride with plenty of surprises to keep the listener on his or her toes, this set is a perfect example of the band at their genre-fusing best.”
Engineered by the brilliant Chris Huston, this recording displays all his trademark gifts. His mixes feature lots of bass; huge, room-filling choruses that get loud without straining or becoming congested; and rhythmic energy that few pop recordings could lay claim to in 1972.
As for the choruses, allow me to paraphrase our listing from Commoner’s Crown.
This is one of the rare pop/rock albums that actually has actual, measurable, serious dynamic contrasts in its levels as it moves from the verses to the choruses of many songs. The first track on side two, Four Cornered Room, is a perfect example. Not only are the choruses noticeably louder than the verses, but later on in the song the choruses get REALLY LOUD, louder than the choruses of 99 out of 100 rock/pop records we audition. It sometimes takes a record like this to open your ears to how compressed practically everything else you own is.
What to Listen For (WTLF)
Richness and weight are key to the sound, but oddly enough an extended top end was almost as crucial to the success of the best copies. When the top end extends, the sound is open and relaxed. When the various songs build to their climaxes, the copies with lots of clean top end had a sense of “ease” that simply was not to be found on the smoother (read: duller) brethren. (more…)
- A truly outstanding early pressing, earning seriously good Double Plus (A++) grades or close to them on both sides
- This is as quiet as they come, folks – no marks play, and the vinyl is often quieter than Mint Minus Minus, exceptional for this title
- You will be floored by the huge, rich, Tubey Magical guitars exploding out from your speakers on Take It Easy
- One of the Best Sounding Rock Records Ever Made, a member of our Top Ten and without a doubt Glyn Johns’ engineering (and producing) Masterpiece
- A Top 100 Tubey Magical Demo Disc that is guaranteed to blow your mind on a pressing that sounds as good as this one does
Vintage covers for this album are hard to find in clean shape. Most of them will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you.
It will not take the lucky owner of this record long to recognize what we’ve known for years: the Eagles first album is clearly and inarguably one of the Best Sounding Rock Recordings Ever Made. Almost all the qualities we look for on this album can be found on this very copy.
The Eagles first album is without a doubt Glyn Johns‘ masterpiece — rock records simply do not sound any better in our experience. It’s exactly the kind of record that makes virtually ANY Audiophile pressing pale in comparison. Everything you could ask for as an audiophile is here, and more.
We’ve been up on our soapbox for years telling people how amazing this record can be, and here’s a copy that backs up our position from start to finish. (more…)