Hot Stamper Pressings on the Asylum Label Available Now
Superb engineering by Greg Ladanyi (Toto 4, The Pretender, El Rayo-X, demo discs one and all).
If you know the “Asylum Sound” — think of the Tubey Magical analog of The Eagles’ first album and you won’t be far off — you can be sure the best copies of All This and Heaven Too have plenty of it.
Rarely do we run into recordings from the mid- to late-70s with richer, fuller sound. The bass on the best copies is always huge and note-like.
In the 80s, the engineer for this very record, Greg Ladanyi, would produce solo albums for the likes of Don Henley with no bass.
How this came to be I cannot begin to understand, but record after record that we play from that decade is bright and thin like a transistor radio. This is the main reason why you see so few of them on the site.
But Andrew Gold’s albums from the later 70s are amazingly rich and tubey. That sound apparently never went out of style with him, and it definitely never went out of style with us.
In fact, albums with those sonic qualities make up the bulk of our offerings, from The Beatles to The Eagles, Pink Floyd to Elton John, Simon and Garfunkel to Graham Nash.
In our world, the more “modern” something sounds, the lower its grade is likely to be, other things being equal.
Further Reading
- Basic concepts and realities explained
- More rock and pop albums we think we know well
- Important lessons we learned from record experiments
