- Balanced, musical, present and full-bodied throughout – this copy was a big step up from most of what we played, particularly on side two
- “… Jackson Browne’s first album is among the most auspicious debuts in pop music history”
- 5 stars: “… the album has long since come to seem a timeless collection of reflective ballads touching on still-difficult subjects — suicide (explicitly), depression and drug use (probably), spiritual uncertainty and desperate hope — all in calm, reasoned tones, and all with an amazingly eloquent sense of language.”
- If you’re a Jackson Browne fan, and what audiophile wouldn’t be?, this title from 1972 is clearly one of his best, and one of his two best sounding, the other one being The Pretender.
- The complete list of titles from 1972 that we’ve reviewed to date can be found here.
- This vintage Ode pressing boasts outstanding grades from start to finish
- Big, full-bodied and Tubey Magical, yet still clean, clear and open – finally, the dark veil obscuring the sound of most copies has been lifted
- This album is clearly Carole’s masterpiece – it’s loaded with great songs, and they all sound solid and correct here, two qualities which are critically important to the sound of the album
- 5 stars: “…an intensely emotional record, the songs confessional and direct; in its time it connected with listeners like few records before it, and it remains an illuminating experience decades later. A remarkably expressive and intimate record, it’s a work of consummate craftsmanship.”
Audiophile sound is not easy to find on Tapestry. As we’ve been saying for twenty years, most copies are either dull and murky or edgy and thin, and on half the ones that do sound good, the vinyl is noisy.
On a copy like this, though, the sound gets out of the way and lets you focus on the MUSIC — and make no mistake, the music on this album is as good as it gets from Carole King.
We went nuts for this album during our big shootout. Since most of the time we’re playing testosterone-fueled, raging classic rock, it was a nice change of pace for us — and certainly easier on our poor eardrums. Our man JT makes an appearance playing acoustic guitar on a number of tracks, most notably You’ve Got A Friend, and his pals Russ Kunkel and Danny Korstchmar turn up too, with Kootch handling most of the electric guitar duties.
Carole returned the favor, playing the piano and singing on Taylor’s wonderful but underappreciated Mud Slide Slim album.
What’s surprising, if you haven’t played this album in a while, is how good non-hit tracks like “Home Again” can be. But there aren’t many of those non-hits on this album, and that’s a good thing; almost every song was a hit or received a lot of radio play. The quality of the material is that good.
What We’re Listening For on Tapestry
Transparency and Richness
One quality that we had no trouble recognizing on the better copies was transparency. The more transparent copies made it possible to hear through the mix to Carole’s piano, which is usually placed toward the back of the mix. There it serves to underpin the music, playing more of a supporting role than a leading one, very unlike the piano on a Joni Mitchell album for example.
The best copies let you easily follow Carole’s playing all the way through every song, from start to finish, no matter how quiet her part or how far back in the mix she may be placed.
If the pressing has a thinner sound (here are some examples of thin sounding records), obviously it becomes easier to pick up on the percussive nature of the instrument and “see” it more clearly. However, a thin piano tone on this album is the kiss of death. The best copies allow you to hear the full range of notes — including those played with the left hand — and for that, you need both richness and transparency.
This is a tricky balancing act; rarely in our experience do any two copies find precisely the same balance throughout an entire side.
Tough Sledding with Tapestry
There’s a reason you don’t see Tapestry Hot Stampers on the site very often. Folks, take it from us, even in Mint Minus Minus condition it ain’t that easy to find them. People loved Tapestry — it was Number One on the Billboard 200 for fifteen straight weeks, which is still the record for a female solo artist, and charted for more than 300(!).
It’s a classic and it got played to death. Furthermore, the Ode vinyl the originals were pressed on was never all that quiet to begin with. We probably look at twenty or thirty for every one we find that’s not scratched or worn out. So this exceptional copy, with no scratches that play and no groove damage to speak of, is nearly unheard of. Sound-wise, our copies will trounce any copy you’ve ever heard, or your money back.
The Reissues Won’t Get You There
The CBS Half Speed is ridiculously bright — can you imagine a worse way to present this intimate music?
Bernie Grundman’s heavy vinyl pressing isn’t terrible, but it isn’t all that musical and never really comes to life. We dropped the needle on it for a few moments and were bored to tears.
Quite a number of our customers have written us about our Hot Stamper pressings of Tapestry, and their letters can be found here.
The Washington Post article that Geoff Edgers wrote includes a video of a little shootout we did for Tapestry, using, without my knowledge, the MoFi, a Hot Stamper and a regular reissue of the album. In the video you see me describe the sound for the first go around, more of a warmup than a real shootout.
When we went back and played each of the pressings again, the differences were much more pronounced. The MoFi still sounded like a CD, the current Columbia reissue was still no better than passable, and the Hot Stamper became even better sounding than it had been earlier, with sound the other two could not begin to offer. You can see that it took me a few minutes to get deep into the sound, but once I was there, it turned out to no contest. The Hot Stamper showed us just how good Tapestry could sound.
This customer, along with a number of others, talks about a similar experience he had with one of our Hot Stamper pressings.
A real shootout, like the one that produced this very copy, would have involved 6-10 early domestic pressings, since those are the only ones that sound good to us these days.
- With two Double Plus (A++) or BETTER sides, we guarantee you’ve never heard Joni’s 1971 masterpiece sound this good
- Full-bodied and balanced with the kind of smooth musicality that’s not always easy to find for Blue
- A Better Records Top 100 title that belongs in any audiophile music collection worthy of the name
- 5 stars: “Sad, spare, and beautiful, Blue is the quintessential confessional singer/songwriter album. Forthright and poetic, Joni Mitchell’s songs are raw nerves, tales of love and loss (two words with relative meaning here) etched with stunning complexity…”
- Everything changed for us in 2007 with the release of the Hoffman/Gray-mastered Rhino pressing of Blue, a record that made us ask ourselves, “Why are we selling records that we would not want to own or listen to ourselves?”
- It was truly a kicked-in-the-head-by-a-mule moment for all of us here at Better Records, and I am glad to say one kick was all it took
The best copies bring out the breathy quality to Joni’s voice, and she never sounds strained. They are sweet and open, with good bass foundation and transparency throughout the frequency range.
The best pressings (and our better playback equipment) have revealed nuances to this recording — and of course the performances of all the players along with it — that made us fall in love with the music all over again. Of all the tough nuts to crack, this was the toughest, yet somehow copies emerged from our shootouts that made it easy to appreciate the sonic merits of Blue and ignore its shortcomings.
Hot Stampers have a way of doing that. You forget it’s a record; it’s now just Music. The right record and the right playback will bring this music to life in a way that you cannot imagine until you hear it. That is our guarantee on Blue — better than you ever thought possible or your money back.
The Sound of Vintage Vinyl
This vintage Reprise pressing has the kind of Tubey Magical Midrange that modern pressings cannot BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back. (For proof just check out the mediocre pressing Steve Hoffman mastered for Rhino on Heavy Vinyl. (more…)
- Boasting superb Double Plus (A++) sound throughout, this vintage Columbia 360 pressing of Dylan’s 1965 release is guaranteed to blow the doors off any other Highway 61 Revisited you’ve heard – exceptionally quiet vinyl too
- In the same way Sgt. Pepper changed music a mere two years later, Highway 61 Revisited left all of Dylan’s contemporaries behind, scrambling to keep up with the standard he set
- 5 stars: “Dylan had not only changed his sound, but his persona, trading the folk troubadour for a streetwise, cynical hipster … it proved that rock and roll needn’t be collegiate and tame in order to be literate, poetic, and complex.”
When you hear I Wish I Wish and I Think I See The Light on a Hot Stamper copy, you will be convinced, as I am, that this is one of the greatest popular recordings in the history of the genre. I don’t know of ANY other album that has more LIFE and MUSICAL ENERGY than this one.
Right off the bat I want to say this is a work of GENIUS. Cat Stevens made three records that belong in the Pantheon of greatest popular recordings of all time. In the world of folk-pop, Mona Bone Jakon, Teaser and the Firecat and Tea for the Tillerman have few peers. There may be other recordings that are as good but there are no other recordings that are better.
In-Depth Track Commentary
This track will always be a little bright. It was supposed to be a hit song, and hit songs are frequently mixed a little bright.
Maybe You’re Right
I Think I See the Light (more…)
- This outstanding early pressing boasts solid sound from start to finish
- Produced by Mr. Paul Samwell-Smith and engineered by Mike Bobak, the same team that worked their magic on this classic, Anticipation blends Carly’s lilting vocals with lush, harmonically detailed acoustic guitars and BIG punchy drums
- Brimming with favorites such as Anticipation, Legend In Your Own Time and I’ve Got To Have You, this is clearly one of her most consistent albums
- “Carly Simon’s second album found her extending the gutsy persona she had established on her debut album… a frankly passionate person whose vulnerability was a source of strength, not weakness, a valuable feminist trait and one Simon would pursue in her later work.”
The acoustic guitars sound particularly good on this copy, with just the right balance of pluck and body. The vocals are breathy and full-bodied with extraordinary immediacy. The tonality from top to bottom is Right On The Money. I don’t think you could find a much better sounding copy of this album no matter how hard you tried. We went through plenty to find this one, I can tell you that.
The Big Sound We Love
Drop the needle on Legend In Your Own Time for some of the best sound and music on the album. The overall sound is open and transparent, with real depth to the soundfield and lots of separation between the instruments.
The one word that comes to mind is BIG — this record gives you The Big Sound that Carly was no doubt going for.
If Those Guitars Sound Familiar…
When you hear the incredibly lush, highly detailed acoustic guitars on this record, you won’t be surprised to find out that the album was produced by Mr. Paul Samwell-Smith, who handles the same duties on Tea For The Tillerman and Teaser And The Firecat. You’ll hear his signature sound all over this album, particularly on the track I’ve Got To Have You.
That’s not to say that we’d put this recording on the same level with those audiophile knockouts, but the richness and the sweetness of the midrange on the best copies is exactly what you’d expect from the team of Samwell-Smith and Carly Simon.
Some current thoughts on Joni’s oeuvre have been added in brackets to this older commentary.
This is probably the most underrated Joni Mitchell album, both in terms of sonics and music. It seems that everyone wants a great copy of Blue or Court And Spark, but this album ranks right up there with them and seems to have been undeservedly overlooked.
Let’s face it, we love Blue (1971), but most pressings suffer from a raft of sonic problems, as does Ladies of the Canyon (1970).
Court and Spark (1974) is up at the top up the list as well, but Roses (1972) seems to have more recording purity. Perhaps the engineers saw this as an opportunity to address the problems with Blue, the album that preceded it.
By the time Joni had fully indulged her jazzier inclinations with Court and Spark, some of the recording quality had been lost in the quest for slicker production values for which that album is known. The complexity of the instrumentation required more multi-tracking and overdubbing, and as good as that record can sound on the best copies, in a head to head matchup with For the Roses the latter would probably win, and probably by no more than a nose.
Clear, present, breathy vocals, about as good as Joni can sound on vinyl, which is saying a lot.
The second track is a great test. Here the guitars are full-bodied, harmonically rich, with more reverb and space than practically any side one we have ever played. The Tubey Magical liquidity of the sound is what vintage analog is all about. No reissue and no CD will ever get that sound the way this copy does.
And you don’t need tubes in your system to hear it. The magic is on the tape and it was transferred beautifully to this piece of vinyl.
Listen to how huge the piano is — no other copy could reproduce the size, weight and clarity of that piano. No two copies will show you the same piano, which makes it a great test for sound. Put this side up against the best you’ve got, it should be no contest.
Breathy, immediate vocals are key to any Joni Mitchell record and this side reproduces them as well as any we heard in our shootout.
- An early Elektra pressing of Carly Simon’s classic 1972 album with seriously good Double Plus (A++) sound on both sides
- Warm, sweet, rich, present and full-bodied, with much less strain on the vocals than many other copies we played
- “You’re So Vain” was the big hit off of this one, a classic Richard Perry production with huge size and space
- Five weeks at Number One and 4 1/2 stars on Allmusic, “. . . it wasn’t only Simon’s forthrightness that made the album work; it was also Richard Perry’s simple, elegant pop/rock production, which gave Simon’s music a buoyancy it previously lacked. “
- If you’re a Carly Simon fan, this title from 1972 is probably her best album, and for non-fans, a good place to start
- The complete list of titles from 1972 that we’ve reviewed to date can be found here.
No Secrets is a bit of a tough nut to crack. Due to the mixture of folky pop songs, big production numbers and potential AM radio hit singles, it has to be cut just right to get every track to sound the way the artists (Carly Simon and studio cats), producer (Richard Perry) and engineers (Robin Geoffrey Cable and Bill Schnee) intended.
Balance is key to getting all the tracks to sound their best. Many copies we played were too dull or too bright, but the tonality here is Right On The Money. The clarity and detail are superb; just listen to Embrace Me, You Child on side two — you can really hear the rosiny texture of the strings as they are bowed.
The best copies such as this one are always transparent, natural and musical. The top end is wonderfully extended, balancing a BIG bottom end with lots of deep, well-defined bass. The drums are punchy and dynamic and the cymbals can sound amazing — just listen to how extended the crashes are on You’re So Vain on side one.
One more note: having your VTA set just right is critical to getting the best out of this album. The loudest vocal parts can easily strain otherwise. Once you get your settings dialed in correctly, a copy like this will have the kind of rich, sweet sound that is obviously the right one for this music.
We’re big fans of Another Passenger, the album she cut in 1976 with Ted Templeman producing. If you like Carly, you should definitely check that one out. (more…)
Sonic Grade: B
Steve’s version is very musical; it’s rich and natural sounding, which of course makes it very enjoyable. You can do a lot better but you sure can do a lot worse.
Opaque, veiled, lifeless, dull sound is the norm for Court and Spark — most copies are dead as a doornail. If they’re not dead, they’re likely to be thin and gritty.
The DCC is a big improvement over the average domestic pressing. (The original SYL British imports are fairly competitive with the DCC; the later Brits with the K catalog numbers suck as a rule.)
The Nautilus Half-Speed is pretty but lifeless, like so many of their pressings (and Half-Speed Mastered records in general). I would grade it about a C. Don’t waste your money. Keep buying originals until you find a good one.
Carly’s soulful version of You Belong To Me is what made this album a Must Own back in the day (and still does). During our shootout, as we listened to the song over and over again on copy after copy, it became clear that the best pressings allowed us to easily hear the drummer’s hi-hat within the dense mix of this heavily produced pop song. On most copies it’s buried and all but inaudible.
If the pressing you own is full-bodied and tonally correct, and you can easily pick out the rhythmic contribution of the hi-hat within the mix, you have a copy with the kind of transparency that few we played managed to achieve.
Transparency (and all the other stuff we talk about) can and does make a big difference in your enjoyment of the music. If the average record sounded even close to right nobody would need us to find good sounding copies for them, copies would be in every record bin in town and we would have to find some other records to sell. Copies of this album may be in every bin in town — that’s where we found this one — but the sound sure isn’t.
Of course this has to be a multi-miked, multi-tracked, overdubbed pop record — they don’t make them any other way — but it doesn’t have to FEEL like one.
When you get a good copy it feels like all these guys and gals are playing together live in the studio. They may have their own mics, and they are certainly being placed artificially in the soundfield to suit the needs of the track (piano over here, guitar over there, drummer behind the singer), but the transparency of the better pressings makes them sound like they are all in the same room performing together.
And without the very best cleaning technologies, the ones invented only recently as a matter of fact, there is no chance of achieving the kind of transparency our best copies have. We consider it one of the most important Revolutions in Audio of the last twenty years. If you want your records to sound their best, we would love to help you do it.