worst-version

Are these the worst pressings of these albums ever released on vinyl?

Possibly. Of course there’s really no way to know. We haven’t played every version of every one of these albums ever pressed.

What we can tell you is that they are bad enough to make us think they are in the running. Which is our way of saying, whatever you do, don’t buy them.

And if you already own any, play them and read our reviews to see if they have some shortcomings you might have missed. Then get rid of them.

Another Bright and Harsh Title from Classic Records

Hot Stamper Pressings of the Music of Led Zeppelin Available Now

Ridiculously bright and harsh, sounding nothing like the good pressings we sell.

We are proud to say this was one of the Classic Records Led Zeppelin releases that we refused to carry back when we were selling Heavy Vinyl (along with II and Houses, both of which stink to high heaven).

You will find very few critics of the Classic Zep LPs outside of those of us who work for Better Records, and even we used to recommend three of the Zep titles on Classic: Led Zeppelin I, IV and Presence.

Wrong on all counts. Live and learn, right?

Since then, we’ve made it a point to review many of the Classic Zeps, a public service from your friends at Better Records. We don’t actually like any of them now, although the first album is by far the best of the bunch.

Is this pressing of III the worst version of the album ever made?

There may be too much competition to make that claim – in our experience, most pressings of Zep records tend to be poorly mastered, barely hinting at how well recorded their albums really are — but it is certainly a record no audiophile should want anything to do with.

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Back to the Stone Age with The Pines of Rome on Mobile Fidelity

Hot Stamper Pressings on Decca & London Available Now

An audiophile hall of shame pressing and another MoFi LP reviewed and found wanting.

MoFi’s version of this The Pines of Rome (#1-507) is one of the worst sounding classical records they ever produced, and that’s saying something, because practically all of their classical catalog is just awful — thin and bright, with sloppy bass and completely unnatural string tone.

As hard as it may be to believe, the MoFi of the Pines of Rome makes the typical Classic Records pressing sound good, shrill strings and all.

The UHQR is somewhat better, especially in the lower octaves, but it’s maybe a D+ or C-, not an audiophile record if we are using the term to mean what it no longer means —  a pressing with higher quality sound. (more…)

More of the Same Heavy Vinyl Trash from Classic Records

Hot Stamper Pressings of the Music of Jimi Hendrix Available Now

One of the worst things those dummies at Classic ever did. The mono mix is just plain awful.

Their reissue of the mono mix is flat and dry with practically no Tubey Magic whatsoever.

It positively screams “CHEAP REISSUE.” That two word description reminds me of this record, although to be fair the sound is quite a bit worse on the Hendrix.

Is it the worst version of the album ever pressed? It almost has to be, doesn’t it?

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On this MoFi Anadisc, We Can Save You a Hundred Bucks, Maybe More!

Hot Stamper Pressings of the Music of The Moody Blues Available Now

UPDATE 2026

This awful sounding MoFi record from 1995 typically sells in used condition for about a hundred dollars.

A hundred bucks! For this piece of trash?

Yes, it’s true, record collectors are paying those prices for some of the murkiest, muddiest analog we have ever heard. A subset of these record collectors consider themselves audiophiles, but we cannot understand how any “lover of sound” could find this sound lovable. (We admit we gave up trying to understand it long ago.)

Take our word for it — you are getting nothing for your money, regardless of how little or how much you pay for it.

If you scroll to the bottom of this post you can find the Discogs stats for this pressing — how many have it, how many want it, what they pay for it on average –as of March, 2026.

We were shocked at the poor quality of MoFi’s Anadisq series right from the get-go. Our original review from the 90s follows:

Pure Anadisc murky mud, like all the Moody Blues records MoFi remastered and ruined in the 90s with their misbegotten foray back into the world of vinyl. By 1999 they were bankrupt and deservedly so.

Their records were completely worthless to those of us who play LPs and want to hear them sound good but, unsurprisingly, a quick search on ebay or Discogs indicates that they’re still worth money to those who collect the kind of audiophile trash this label has been putting out for decades. We don’t understand it.

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Paganini on Heavy Vinyl – Where Is the Outrage?

Hot Stamper Pressings of the Music of Paganini Available Now

Years ago we managed to get hold of the Heavy Vinyl pressing put out by Fenn Music in Germany, about which a well known record dealer on the web (you may recognize the style) had this to say:

“Stunning Reissue Of EMI ASD 440 Recorded In Stereo In 1961. This Recording Featuring The Royal Philharmonic Conducted By Alberto Erede Provides Convincing Proof, If Any Were Needed, That Menuhin Was One Of The Great Violinists Of The 20th Century.”

The “convincing proof” provided by this record is that those responsible for it are Rank Incompetents of the Worst Kind (see what I did there?).

Screechy, bright, shrill, thin and harsh, it’s hard to imagine worse sound than this piece of Heavy Vinyl trash delivers.

Had I paid good money to buy this pressing from 2004 in the hopes of hearing the supremely talented Yehudi Menuhin of 1961 tear it up on Paganini’s legendary first two concertos, I can tell you one thing: I would be pissed.

Where is the outrage in the audiophile community over this kind of trash?

I have yet to see it. I suspect I will grow quite a bit older and quite a bit grayer before anyone from the audiophile commentariat notices just how bad this record sounds. I hope I’m proven wrong.

Screechy, bright, shrill, thin and harsh, it’s hard to imagine worse sound from this piece of Heavy Vinyl garbage.

In other words, no trace of the original’s (or the early reissue’s) analog sound. At most I may own one or two classical CDs that sound this bad, and I own quite a few. When audiophiles of an analog bent tell you they don’t like the sound of CDs, this is why they don’t like them: they sound like this junky Heavy Vinyl record.

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Hey Speakers Corner, What The Hell Were You Thinking?

Hot Stamper Pressings of Great Albums from 1968 Available Now

UPDATE 2026

We rarely have either of the first two B,S&T albums in stock, sorry.

The second album is almost impossible to find these days. Our last shootout was in 2024 and it could be years before we get another one going.

Child Is Father to the Man on Speakers Corner is an audiophile hall of shame pressing and a Heavy Vinyl disaster if there ever was one (and oh yes, there are plenty, with reviews for more than 300 on this very blog).

When this pressing of Child Is Father to the Man came out back in 2007, we auditioned one and were dumbfounded at the dismal quality of the sound. We noted:

This is the worst sounding Heavy Vinyl Reissue LP I have heard in longer than I can remember.

To make a record sound this bad you have to work at it. What the hell were they thinking?

Any audiophile record dealer that would sell you this record should be run out of town on a rail.

Of course that would never have happened, and will never happen, because every last one of them (present company excluded) will carry it, of that you can be sure.

Just when you think it can’t get any worse, out comes a record like this to prove that no matter how negative you are about the quality of audiophile record production these days, things can always get worse, and they have.

Is it the worst version of the album ever made? Hard to imagine it would have much competition.

Actually it would, now that I come to think about it. The Gold CD Cisco put out in 2012 was every bit as awful.

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Breakfast in America – An A&M Half-Speed Mastered Disaster

Hot Stamper Pressings of the Music of Supertramp Available Now

Sonic Grade: F

This title is yet another Half-Speed we think belongs in our audiophile hall of shame.

It’s better suited to the stone age stereos of decades past. I should know — my system in 1976 was one-tenth as revealing as the one we use now.

But this pressing is so awful even my old system could not be fooled by this kind of audiophile BS sound. The console you see pictured might be the ideal system to play it. Hard to say, I haven’t heard one of those since the 60s.

It is just ridiculous that someone would consider marketing this kind of sound to audiophiles.

So washed out, brittle, thin and lifeless, it practically defies understanding that anyone with two working ears ever considered calling this piece of crap an “audiophile” record.

But are today’s remastered records marketed to those looking for superior sound any better? Not the ones we’ve played recently. (If you know of any good ones, please drop us a line.)

Is this A&M pressing the worst version of the album ever made? It’s hard to imagine it would have much competition.

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Turning Master Tapes into Mud Pies – The Magic of the Electric Recording Company

Hot Stamper Pressings of Psychedelic Rock Recordings Available Now

UPDATE 2026

This commentary originally came out in 2023 I believe. The comments section at the end is a bit of a hoot. Man, there sure are some real wackos in the world of audio.

““It’s magical what they’re doing, recreating these old records,” Fremer said as he swapped out more Electric Recording discs.”

Swapped them out? Anyone with an ounce of respect for Love’s music would have tossed them into the nearest trash bin.

We did a shootout for Love’s Forever Changes earlier this year, and it was our good luck to get hold of a copy of the Electric Recording Company’s pressing of the album in order to see how it would fare against our Gold Label Stereo original LPs.

As you can see from the notes, to say that we could hardly believe what we were hearing clearly understates the depth of our befuddlement.

We simply have no context for a record that sounds as bad as this record sounds. We’ve never heard anything like it, and we’ve played a lot of records in the 37 years we’ve been in business. After critically auditioning thousands upon thousands of pressings in our shootouts, all day every day for the last twenty years, we’ve worn out scores of cartridges and even our Triplanar tonearm.

But this is new ground for us. A quick recap:

  • Incredibly dull,
  • Has no top or space at all,
  • One of the worst reissues I’ve ever heard.

You get the picture. What more needs be said? Last year I wrote the following:

Pete Hutchison of The Electric Recording Company makes some of the worst sounding records I have ever played in my life.

If you play me one of his awful records, and don’t tell me who made it, I can judge the record on its merits, the way we judge all records. We test records blindly for precisely this reason. We let the record tell us how well it was made, what it does right and wrong relative to other pressings of the same album, comparing apples to apples.

His records tell me he loves the sound of the murkiest, muddiest vintage tube equipment ever made, and wants every record he produces to have that sound.

In my book that is an egregious case of My-Fi, not Hi-Fi. We wrote about it here.

It’s astonishing to me that anyone takes this guy seriously.

In the Washington Post video, we did a little comparison on camera for two pressings of Quiet Kenny, a record I will have more to say about in Part Two of this commentary. Here is Geoff Edgers’ description in the article of how it all went down.

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You’ll Be Crying When You Get This Record on Your Turntable

Hot Stamper Pressings of the Music of Linda Ronstadt Available Now

UPDATE 2026

This review was most likely written when the record came out, circa 2008 I’m guessing. The intro is of course new for 2026.

You’re looking at one of the worst sounding audiophile releases in recent memory, a remastering disaster that has no reason to exist other than to satisfy the needs of the mid-fi collector market for numbered, limited editions on premium vinyl, perhaps so that they can be sold at a later date for a profit (discogs average price today: $62.50.)

This is a label that should have gone under decades ago but, with a nod to Frank Zappa channeling Edgar Varese, refuses to die.

Like this guy, this guy and far too many others, they are making money hand over fist at the expense of audiophiles who have yet to get very far — anywhere, really — in audio. (I know whereof I speak. I was one of those guys and you couldn’t tell me anything back then.)

We go to great pains to lay out the problems with these records in detail, but what good does reading about their problems do if the systems playing these records iare not only hiding their flaws, but making up for some of their weaknesses. The junk pressings these collectors are buying practically guarantee they will never manage to put together a system that can show them what is really on their records.

Regardless of what kind of equipment they own, if this crap is sounding good to them, which it seems to be based on the comments section I make the mistake of reading on Discogs from time to time, nothing we say can possibly interfere with them buying more of it.

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Son of Schmilsson at 45 RPM – How Can It Possibly Sound This Bad?

Hot Stamper Pressings of the Music of Harry Nilsson Available Now

Alternately titled: Forty Five, Schmorty Five.

Recently someone loaned us a copy of the Mobile Fidelity pressing of this album, the one they put out in 2021 on two discs cut at 45 RPM, remastered by that notorious hack, Krieg Wunderlich.

Our last shootout took place all the way back in 2021. Although I listen to this title regularly,  unfortunately it does not sell all that well, so we haven’t been making the effort we should to find copies in order to offer the best of them to our customers.

Why the album is not more popular is a question we ask about a number of titles on our site. We love the music and we love the sound, as can be seen from what we (with the help of Allmusic) had to say about a very good sounding pressing back then:

  • This is one of Nilsson’s best albums, sonically and musically. (With Ken Scott at the board at Trident Studios the sound just has to be good, doesn’t it?)
  • Son of Schmilsson has more than half a dozen of the best songs Nilsson ever wrote, and should make it a Must Own for every right thinking audiophile with sophisticated tastes in popular music (we hope this means you)
  • 4 1/2 stars: “… this is all married to a fantastic set of songs that illustrate what a skilled, versatile songsmith Nilsson was. No, it may not be the easiest album to warm to — and it’s just about the weirdest record to reach number 12 and go gold — but if you appreciate Nilsson’s musicality and weirdo humor, he never got any better.”

So true!

The MoFi, however, is a joke next to a properly-mastered and properly-pressed RCA vintage release. Our notes for it read:

  • Big but flat
  • Voice is recessed and lacks richness
  • Rock songs, track one in particular work OK but
  • Ballads lose all the magic

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