- This pressing boasts a KILLER Shootout Winning Triple Plus (A+++) side one mated to an outstanding Double Plus (A++) side two – exceptionally quiet vinyl too
- Another Richard Perry production that sounds big and rich, just the way we like ’em
- The audiophile sound is due to the excellent engineering skills of Bill Schnee – you may remember him from the credits of some of Sheffield’s better direct to disc recordings
- The big hits are here and they sound fantastic: “Photograph,” “You’re Sixteen,” “Oh My My” and many, many more
- 4 1/2 stars: “Ringo’s best and most consistent new studio album, Ringo represented both the drummer/singer’s most dramatic comeback and his commercial peak.”
Like Nilsson Schmilsson – an amazing Richard Perry production with equally amazing sound – the bad copies are really just awful. They tend to be veiled, smeary, compressed, rolled off up top and leaned out down low.
This is a big studio pop production with a lot going on; when it doesn’t work it really doesn’t work. Thankfully, on some copies it does, and this is one of those.
If you’ve tried Hot Stamper pressings of any of our favorite Richard Perry productions — No Secrets, Nilsson Schmilsson, Son of Schmilsson come to mind — you know the sound of this album.
Bill Schnee did some of the engineering. You probably know his name from the famous Sheffield Direct to Disc recordings he made there. If you like your records will lots of bottom end, richness, Tubey Magic and powerful dynamics, he’s the guy that can get that sound on tape, and Doug Sax, the mastering engineer for the album, is the guy that can get that sound onto disc. They made a great team.
(I had a chance to tour Bill Schnee’s studio when he sold it to a friend of mine. The main room was huge with a vaulted high ceiling and lots of acoustically variable panels on the walls. It’s sure to be all digital by now; more’s the pity.)
What The Best Sides Of Ringo 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 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.
The Seventies – What a Decade!
Acoustic guitar reproduction is superb on the better copies of this recording. The harmonic coherency, the richness, the body and the phenomenal amounts of Tubey Magic can be heard on every strum.
This is some of the best High-Production-Value rock music of the ’60s and ’70s. The amount of effort that went into the recording of this album is comparable to that expended by the engineers and producers of bands like Supertramp, The Who, Jethro Tull, Ambrosia, Pink Floyd, and far too many others to list.
It seems that no effort or cost was spared in making the home listening experience as compelling as the recording technology of the day permitted.
What We’re Listening For On Ringo
- 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 andvoila, you have The Real Thing — an honest to goodness Hot Stamper.
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.
A Must Own Pop Record
We consider this album Ringo’s Masterpiece. Others that belong in that category can be found here.
I’m The Greatest
Sunshine Life For Me (Sail Away Raymond)
Oh My My
You And Me (Babe)
… Starr finally put his solo career in gear in 1973. Ringo was a big-budget pop album produced by Richard Perry and featuring Ringo’s former Beatles bandmates as songwriters, singers, and instrumentalists.
But it wasn’t only the guests who made Ringo a success: Ringo advanced his own cause by co-writing two of the album’s Top Ten singles, the number one “Photograph” and “Oh My My.” The album’s biggest hit was a second chart-topper, Ringo’s cover of the old Johnny Burnette hit “You’re Sixteen.”
Songs like “Have You Seen My Baby,” a Randy Newman song with guitar by Marc Bolan, and Ringo and Vini Poncia’s “Devil Woman” were just as good as the hits. Ringo’s best and most consistent new studio album, Ringo represented both the drummer/singer’s most dramatic comeback and his commercial peak.