Joe Walsh – The Smoker You Drink…

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  • Walsh’s sophomore release finally returns to the site with outstanding Double Plus (A++) sound throughout
  • This copy has rich, warm guitars and tight, punchy bass, there’s real weight to the bottom end, and Joe’s vocals sound exactly right to our ears
  • 4 1/2 stars: “The Smoker You Drink, the Player You Get features some of the most remembered Joe Walsh tracks, but it’s not just these that make the album a success. Each of the nine tracks is a song to be proud of. This is a superb album by anyone’s standards.”

We grew quite fond of this music once we heard it sound this good. If you’re already a fan of the album, I bet you’ll get a real thrill out of hearing this copy.

This vintage ABC pressing has the kind of Tubey Magical Midrange that modern records rarely even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.

What the best sides of The Smoker You Drink, the Player You Get have to offer is not hard to hear:

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1973
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with all the instruments having the correct timbre
  • Transparency and resolution, critical to hearing into the three-dimensional space of the studio

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

Size

One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.

And most of the time those very special pressings just plain rock harder. When you hear a copy that does all that, it’s an entirely different listening experience.

What We’re Listening For on The Smoker You Drink, the Player You Get

  • Energy for starters. What could be more important than the life of the music?
  • The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
  • Then transient information — fast, clear, sharp attacks for the guitars and drums, not the smear and thickness common to most LPs.
  • Tight, note-like bass with clear fingering — which ties in with good transient information, as well as the issue of frequency extension further down.
  • Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the players.
  • Then: presence and immediacy. The musicians aren’t “back there” somewhere, way behind the speakers. They’re front and center where any recording engineer worth his salt Bill Szymczyk in this case — would have put them.
  • Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

TRACK LISTING

Side One

Rocky Mountain Way
Bookends
Wolf
Midnight Moodies
Happy Ways

Side Two

Meadows
Dreams
Days Gone By
Daydream (Prayer)

AMG 4 1/2 Star Review

The Smoker You Drink, the Player You Get, Joe Walsh’s second solo studio album, continues the heavy and light rock mix of tracks found on his previous release, Barnstorm. Indeed, the opening two tracks bear this out.

The first, perhaps Walsh’s most recognized track, “Rocky Mountain Way,” comes replete with overly distorted guitars and the obligatory solo. The next song, “Book Ends,” is a tuneful ode to happy memories.

Walsh’s ability to swing wildly from one end of the rock scale to the other is unparalleled and makes for an album to suit many tastes. Joe Vitale (drums, flute, backing vocals, keyboards, and synthesizers – a talented man) and Kenny Passarelli (bass and backing vocals) are once again employed, and once again prove themselves adept at handling Walsh’s various styles.

The album sees an addition to the backing band in the form of Rocke Grace on keyboards and vocals. The legendary Bill Szymczyk works along with Walsh to handle the production, and takes care of the mixing. Szymczyk’s work on this area is, as always, astounding. The Smoker You Drink, the Player You Get features some of the most remembered Joe Walsh tracks, but it’s not just these that make the album a success. Each of the nine tracks is a song to be proud of. This is a superb album by anyone’s standards.