(No, that’s not him pictured above.)
Martin Barre’s Guitar Wizardry
Clarity and resolution are the key to getting the most out of this album. The subtle harmonics of the gently strummed acoustic guitar at the opening of My God. The air in Anderson’s flute throughout the album. The snap to Dammond’s snare. And how about all the fuzz on Barre’s fuzzed out guitar on the song Aqualung? Sure, there’s guitar fuzz on the typical pressing but there’s SO MUCH MORE on the truly elite copies. When you hear it right, the sound of that guitar makes you really sit up and take notice of how amazing Barre’s solos are. (The guy is criminally underrated as both an innovator and technically accomplished guitarist.) The distortion is perfection and so is the playing.
Highlights from an Interview with Premiere Guitar in 2011
The Band – Music From Big Pink
I was a big — huge even — Mobile Fidelity fan in 1982 when they released this album, which, for some strange reason, I knew practically nothing about. I was 15 when the second album came out and I played that album all the time, but the first album had eluded me. How it managed to do that I cannot understand, not at this late date anyway. A major malfunction on my part to be sure.
At some point in the early ’90s I got hold of an early British pressing of the album.
Comparing it to my MoFi I was shocked to hear the singers in the band so present and clear. Having only played MoFi’s remastered LP I had never heard them sound like that. The MoFi had them standing ten feet back; the Brit put them front and center. There was no question in my mind which presentation was right. Around that time I was noticing that many Mobile Fidelity pressings seemed to be finding that same distant-midrange sound, and finding it on wildly different recordings.
Of course it’s easy to argue that finding good sound on an album with two or more members of Crosby, Stills, Nash or Young, in any configuration, has never been easy.
It’s the rare copy of either of the first two albums that’s even listenable, and the CSN album from 1977 doesn’t sound nearly as good as any of the first three Crosby/Nash albums. Which simply means that the “good” sound of our Hot Stamper copies is far better than what most audiophiles own of any of these guys in combination.
Their solo albums are a different story altogether. The first solo albums by David Crosby (1971), Stephen Stills (1970) and Graham Nash (1971) are three of my favorite records of all time; each is a brilliant recording, each contains powerfully compelling music (the Nash album especially). Two made our Top 100.
We have a section on the website you may have seen called We Was Wrong. This section is devoted to discussiing the records we think we got, uh, wrong.
Oh yes, it’s true. But it’s not really a problem for us here at Better Records. We see no need to cover up our mistakes. The process of learning involves recognizing and correcting previous errors. Approached scientifically, all knowledge — in any field, not just record collecting or music reproduction — is incomplete, imperfect, and must be considered provisional.
What seems true today might easily be proven false tomorrow. If you haven’t found that out for yourself firsthand yet, one thing’s for sure, you haven’t been in this hobby for very long.
We’re so used to the conventional wisdom being wrong, and having our own previous findings overturned by new ones, that we gladly go out of way in listing after listing to point out just how wrong we were. (And of course why we think we are correct now.)
STEPHEN BARNCARD is one of our favorite producers and recording / mixing engineers.
Barncard is the recording engineer on Tarkio, one of our All Time Favorite Records. He’s also the man behind one of the ten best sounding rock recordings we have ever played, If I Could Only Remember My Name.