What’s shocking about a record like this is the fact that the instruments you hear behind and to the side of Dionne Warwick are REAL instruments, and for the most part they are not really being processed much, they are simply being recorded. How many times do you hear a pop album with sound like that? Rarely in our case, and we play them by the hundreds.
Just played a Linda Ronstadt album that she did with Nelson Riddle — you know the one — and I can tell you one thing, the sound of that album and this one are on opposite sides of the recording spectrum in terms of naturalness. On a scale of one to a hundred, Linda scores about a two, and Dionne scores 90, maybe more. It’s a JOY to hear a record with this kind of sound.
Play this one for your audiophile friends who own and respect the recordings of Dianna Krall, Patricia Barber and the like. Be sure to squeeze in the phrase “Boy, they don’t make ’em like they used to…” whenever there is a pause in the music or conversation.
You might also want to ask them if they think the invention of digital reverb was such a good idea after all.
If they’re good analog buddies, ones that you want to keep being your buddies, you might not want to say anything at all. Just keep quiet and let their own ears shame them. This is the kind of record that can do it.