More of the Music of Paul Simon
Reviews and Commentaries for the Music of Paul Simon (and Art Garfunkel)
Presenting another entry in our extensive Listening in Depth series with advice on what to listen for as you critically evaluate your copy of Still Crazy. Here are some albums currently on our site with similar Track by Track breakdowns.
As exceptionally well-produced, well-engineered Pop Albums from the ’70s, the very best copies can proudly hold their heads high. Wait a minute. Our last commentary noted what a mess most of the pressings of this album sound like, with so much spit and grain. Have we changed our minds? Well, yes and no, and as usual we make no excuses for having changed our minds. We call it progress.
Yes, most copies are still a mess, but No, some copies now sound far better than we ever thought possible.
As we noted in our previous commentary for the Hot Stamper Still Crazy (back in 2005!), when we first dropped the needle on side one of another copy of this record, we were shocked to hear how spitty, grainy and transistory sounding the album was. We could hardly believe that a mainstream pop album by Paul Simon could sound this bad. It was pure spitty DISTORTION with ZERO midrange magic. A CD would sound better. Even Graceland, a famously compressed, phony, digital sounding album wouldn’t sound this bad!
A bad copy you say? Maybe they don’t all sound bad on side one, but there sure are a lot of them that do. Two tracks in particular — in fact, the two biggest tracks on side one — have fairly bad sound on almost any copy you play: Still Crazy and 50 Ways…
The True Tests for Side One
What separates the mediocre-to-bad-sounding average copy from a Hot Stamper is how well mastered those two songs are. In other words, if you get those two tracks right — breathy vocals, sounding smooth and sweet, with the sibilance under control, supported by good solid bass — the whole side is going to be good, maybe even as good as it gets.
We noted previously that:
“… side two on every copy is better sounding than side one. Why this is I have no idea. It’s not as though they recorded all of side one’s tracks together and they didn’t come out as well. That’s not the way it’s done. The order of the tracks is determined long after they are recorded and mixed. But the songs on side two are consistently more open and sweeter, with silkier, more delicate background vocals and a more natural timbre to Paul’s voice. He sounds less like a transistor radio and more like a person.”
That turned out to still be generally true, but there were some exceptional sounding side twos in this batch, so we can’t say that side two is always worse, just most of the time.
There is no substitute for having multiple clean copies and shooting them out. Every copy I played was original — no Nice Price junk, no bad imports, no throwaways. Good copies are the rare exception on this album — sad, but true. If you have an LP of this one, see how much Still Crazy spits. I’ll bet it spits like crazy; most of them do.
Still Crazy After All These Years
The toughest test of them all. If this song sounds good, you are 90% of the way there.
My Little Town
This track was supposed to be a hit single and has the radio mix to prove it, and it WAS a hit, but it’s not exactly as pleasing to the audiophile ear as the other songs on the side.
I Do It for Your Love
50 Ways to Leave Your Lover
This track often has some midrange hardness and more of a dry, transistory quality than others on side one, that is of course unless you happen to be playing an exceptionally good copy. The better copies also seem to have substantially more ambience. It’s really a quite well recorded song when good mastering lets you hear it right.
On most copies, in the louder parts of the chorus there is also something that sounds like compressor or limiter distortion on the voices. Turns out it’s actually a mastering or pressing issue; on the best copies the loudest vocal parts sound just fine.
How about that awesome Steve Gadd drum part? What pop song relies more on its beat than this one? It’s practically worth the price of the album to hear those drums sound so good.