Another in our series of Home Audio Exercises with specific advice on What to Listen For (WTLF) as you critically evaluate your copy of Countdown to Ecstasy, Steely Dan‘s wonderful second album.
We’ve found that two songs are especially helpful in this regard: Razor Boy on side one, and My Old School on side two.
This album shares top honors with Katy Lied as the toughest Steely Dan album to get to sound right. It’s a positive shame that so many copies are such sonic let-downs: congested, bass-shy, veiled, compressed and grainy. There’s a good reason we don’t do this album but once a year, and it’s not because of a lack of demand. It’s because so many copies sound so bad.
Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your copy of Crosby, Stills & Nash’s first album.
Although millions of copies of this album were sold, so few were mastered and pressed well, and so many mastered and pressed poorly, that few copies actually make it to the site as Hot Stampers. We wish that were not the case — we love the album — but the copies we know to have the potential for Hot Stamper sound are just not sitting around in the record bins these days.
Whatever you do, don’t waste your money on the Joe Gastwirt-mastered CD. It couldn’t be any more awful. (His Deja Vu is just as bad.)
In-Depth Track Commentary
Suite: Judy Blue Eyes
What’s magical about Crosby, Stills, Nash & Young? Their voices of course. It’s not a trick question. They revolutionized rock music with their genius for harmony. Any good pressing must sound correct on their voices or it has no value whatsoever. A CSN record with bad midrange — like most of them — is a worthless record.