- These sides are rich and full-bodied with a nice extended top end and tight, note-like bass – Have A Heart is a Demo Quality track
- Some of the sweetest, richest, most ANALOG sound we’ve heard from any record Don Was produced
- 4 1/2 stars: “Producer Don Was used Raitt’s classic early-’70s records as a blueprint, choosing to update the sound with a smooth, professional production and a batch of excellent contemporary songs. In this context, Raitt flourishes; she never rocks too hard, but there is grit to her singing and playing, even when the surfaces are clean and inviting. A great comeback album that made for a great story.”
- Bob Simpson engineered along with Val Valentin, two of the greats in our world – these guys are responsible for an awful lot of our favorite audiophile quality recordings
- Both sides are Tubey Magical yet clear, with plenty of performance energy and a lovely musical quality that’s noticeably missing from many of the copies we’ve played over the years (and no doubt the Heavy Vinyl pressing)
- The vinyl on these early Verve pressings is the problem – so hard to find them in audiophile playing condition
- 4 stars: “Evans’ nimble and emphatic syncopation is not only ably supported, but framed by [bassist Gary] Peacock’s expressive runs and [drummer Paul] Motian’s acute sense of timing. “A Sleeping Bee” is one of the collection’s most endearing selections as the groove playfully scintillates surrounding some hauntingly poignant chord changes [while] “Always” captures a similar effervescence as the instrumentalists ebb and flow in synchronicity.
- If you’re a fan of Bill Evans, this is a Must Own trio release from 1964. The complete list of titles from 1964 that we’ve reviewed to date can be found here.
- This early Deutsche Grammophon import pressing boasts Nearly Triple Plus (A++ to A+++) sound from the first note to the last, just shy of our Shootout Winner
- Both sides here are truly superb sounding – we’ve played a large number of Ravi Shankar’s recordings over the years and this one has always stood out from the pack
- An excellent performance of enjoyable sitar music from the One True Master of the instrument, Mr. Ravi Shankar
- If you’re a fan of Ravi’s, a killer copy of his album from 1979 belongs in your collection
- This pressing had the sound we were looking for – it’s clear, rich and natural, with not a trace of “modern mastering” (thank goodness)
- The title track spent three weeks at Number One on the charts back in ’65 – it’s a True Soul Classic
- 4 1/2 stars: “Towering above it all, though, is Milton’s powerful voice: a solid combination of gospel intensity and fluid phrasing that sprang from Roy Brown, moved through B.B. King, and found its way to both Bobby Bland and Milton, among others.” (more…)
The last time I played this album in preparation for a new shootout, which was some time in early 2020, I was not thrilled with either the sound or the music.
I found the lack of ambience and overall artificiality of the recording not to my liking. In the old days — the review below was probably from the early 2000s — my system was not remotely as good as it is now. I can play the space in a recording much better than I could then, and the lack of natural space now bothers me no end, when before it usually did not.
Live and Learn we say!
Many of Allen Sides‘ recordings suffer from a lack of ambience. The musicians do not seem to have much air around them to breathe. Many audiophile recordings, especially direct to disc recordings from the ’70s, are insufferable in this respect, with too much multi-miking and not enough studio space.
A good example of how some audiophiles with modern high-tech recording equipment but little in the way of experience or understanding end up producing records that are not remotely the equal of those that were commonly made twenty years before is this Bach recording by Virgil Fox for Crystal Clear.
Other records that are good for testing Ambience, Size and Space can be found all over this blog.
Two of the Worst
Of course, some of the most ambience-challenged records available today are on Heavy Vinyl. I could link to a hundred of them, but here are two that should get the point across well enough.
This album on DCC, like much of their dubious output, has very little of the breathing space of the vintage pressings we sell.
And the disgraceful label that released this title can be relied upon to press records that no audiophile with a decent stereo and two working ears should want anything to do with.
Our Old Review
Take the following review from decades ago with a very large grain of salt and don’t pay too much for this album if you see one around.
This is a long out of print Pablo LP with AMAZING sound and music. It’s one of those superb Allan Sides engineered recordings at Ocean Way, like Basie 88 Street. Demo disc quality sound is the result! With players like these, the music is every bit as good as any jazz record I know of. In other words, I really like this album.
Take five copies of the album, clean them well and then cue up Straight On. Now listen for how fat and solid the snare sounds. At least three will have a snare that doesn’t have the heft of the real thing. At most one will show you what it should really sound like.
Of course the copy with the right snare sound may have other problems, most assuredly does have other problems, which is why you need about ten to fifteen copies to really do a proper shootout. (more…)
- This outstanding pressing boasts solid Double Plus (A++) sound or BETTER from start to finish
- A surprisingly well recorded album, this pressing is simply bigger, bolder and richer than most of the other copies we played
- ” … showcases the special flavor that Weir added to Jerry [Garcia]’s genius, where 2 identities blend effortlessly. “
- “Jazzy in places, soft and smooth in others. Out of the ordinary for the Grateful Dead’s co-founder, but easier for the uninitiated to absorb without losing the trademark oddity that Weir has always displayed. Top-notch stuff.”
What separated the best copies from the also-rans was more than just rich, sweet, full-bodied sound. The better copies make Bob’s voice more palpable — he’s simply more of a solid, three dimensional, real presence between the speakers. You can hear the nuances of his delivery much, MUCH more clearly on a copy that sounds as good as this one does.
Keith Olsen produced and co-engineered here, which should go a long way toward explaining why the sound is so good. He is of course the man helped make Fleetwood Mac’s 1975 album such a sonic blockbuster. (more…)
- Outstanding Double Plus (A++) sound or BETTER on both sides of this early Verve stereo pressing
- Both sides here are big and lively, both of which are key elements for any album arranged by the-bigger-the-better Oliver Nelson
- A lot of Verve records from this era are poorly mastered, but this one sounds just right to us
- Big sounding ’60s jazz with lively arrangements from Oliver Nelson and Jimmy Heath. Clark Terry’s trumpet and flugelhorn contributions play a major role in the festivities. This is cool, swinging ’60’s jazz at its best!
- The Allmusic Guide awards this album 4 1/2 stars, and that sounds about right to us
- If you’re a fan of the jazz stylings of Milt Jackson and Ray Brown, this is a Classic from 1965 that belongs in your collection. The complete list of titles from 1965 that we’ve reviewed to date can be found here.
- This outstanding pressing boasts solid Double Plus (A++) sound from start to finish – exceptionally quiet vinyl too
- Surprisingly rich, natural and analog considering the recording date – very little sound of the sound of the day — the kind that ruined most of what was made in the ’80s — is on display here, and thank god for that
- “Carly Simon’s Torch is a gorgeous throwback to the Fifties and early Sixties… By blending old and new material, and by incorporating a hint of jazz-fusion music into a studio-orchestra sound, Simon and her producer, Mike Mainieri, begin to suggest a continuity between Fifties torch and Eighties pop.”
- If you’re a fan of Carly’s, this is a Top Title from 1981 that belongs in your collection.
- The complete list of titles from 1981 that we’ve reviewed to date can be found here.
- This early British London pressing offers superb Double Plus (A++) sound on both sides, giving you plenty of blockbuster sound for those who can play a record like this good and loud
- On the best copies, such as this one, you will hear the power of the orchestra come to life right in your very own listening room
- The soundfield is big, open and transparent, with the kind of wall to wall and floor to ceiling spaciousness that may just leave you in awe
- A superb Phase 4 recording by Arthur Lilley, taking advantage of the legendary acoustics of Kingsway Hall
- If like us you’re a fan of Blockbuster Orchestral Recordings, this is a killer album from 1974 that belongs in your collection.
- The complete list of titles from 1974 that we’ve reviewed to date can be found here.
The soundfield is big, open and transparent, with the kind of three-dimensionality most orchestral recordings simply fail to reproduce. The brass here is weighty and powerful, and you can really hear the pluck of the strings on the harp.
Harry Pearson put the Decca pressing of this title on his TAS List of Super Discs. (We take issue with that choice below.) (more…)