- You’ll feel like you are right in the studio with Ry and his top-notch crew as they kick out the jams, the sound is so present, rich, full-bodied and transparent
- I can’t think of another Ry Cooder album with such consistently good material, or better sound
- 4 1/2 stars: “Like his three previous records, Paradise and Lunch is filled with treasures which become part of a world where eras and styles converge without ever sounding forced or contrived… Eclectic, intelligent, and thoroughly entertaining, Paradise and Lunch remains Ry Cooder’s masterpiece.”
Ry and his pals have plenty of interesting and unusual ideas to bring to the consistently good material found on the album, so there’s a lot here for audiophiles to appreciate.
Take for example the version of Burt Bacharach’s song Mexican Divorce. You’ve got timbales in the left channel, a conga in the right channel, a marimba somewhere in the background, and for good measure, a wonderful sounding mandolin takes center stage!
But the variety of instruments alone are not what makes it so enjoyable. It’s that Cooder has a knack for knowing exactly what elements will work musically in a song. Anyone can find a few exotic elements and throw them together, but our man Ry has the good sense to use only the ideas and instruments that sound just right. It’s why Jazz, Chicken Skin Music, and even Buena Vista Social Club are all such successful albums. Plenty of people could do these things, but only Ry could do them this well.
This vintage Reprise pressing has the kind of Tubey Magical Midrange that modern records can barely 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 outstanding sides such as these 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 1974
- 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 studio space
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.
We played a stack of these recently, and wouldn’t you know it, they all sound different. The better copies (like this one) are transparent, with a three-dimensional soundfield. You’ll be shocked at how big, wide, and deep the sound gets.
As mentioned above, there’s a lot going on with these songs, so it really kicks up the enjoyment factor when you can hear INTO the music.
What We Listen For on Paradise and Lunch
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- 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, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also 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 instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Lee Herschberg, Engineer Extraordinaire
One of the top guys at Warners, Lee recorded and mixed this album (with the help of other engineers) as well as a number of others by Ry Cooder. You’ll also find his name in the credits for many of the best releases by the Doobie Brothers, Gordon Lightfoot and Frank Sinatra, albums we know to have outstanding sound (potentially anyway; you have to have an outstanding pressing to hear outstanding sound). And of course we would be remiss if we didn’t mention the album most audiophiles know all too well, Rickie Lee Jones’ debut. Herschberg’s pop and rock engineering credits run for pages. Won the Grammy for Strangers in the Night even.
The album that gets my vote for Herschberg’s Pop Engineering Masterpiece would have to be Michael McDonald’s If That’s What It Takes. On the best copies the sound is out of this world.
The most amazing jazz piano trio recording we know of is Herschberg’s as well: The Three (with Shelly Manne, Ray Brown and Joe Sample).
Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic of these wonderful originals.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.
Tamp ‘Em up Solid
A Married Man’s a Fool
Jesus on the Mainline
It’s All Over Now
Medley: Fool for a Cigarette/Feelin’ Good
If Walls Could Talk
Ditty Wah Ditty
AMG 4 1/2 Star Rave Review
Like his three previous records, Paradise and Lunch is filled with treasures which become part of a world where eras and styles converge without ever sounding forced or contrived. One may think that an album that contains a traditional railroad song, tunes by assorted blues greats, and a Negro spiritual alongside selections by the likes of Bobby Womack, Burt Bacharach, and Little Milton may lack cohesiveness or merely come across as a history lesson, but to Cooder this music is all part of the same fabric and is as relevant and accessible as anything else that may be happening at the time… Eclectic, intelligent, and thoroughly entertaining, Paradise and Lunch remains Ry Cooder’s masterpiece.