With a solid Double Plus (A++) side one and a side two that’s right up there with it, this outstanding UK pressing of Russell’s debut release has much to recommend it
His first and best album, engineered by our man Glyn Johns, but it only sounds this brilliant on these UK original pressings – the domestic LPs are dead on arrival
Delta Lady, A Song for You and Roll Away the Stone are all here, which makes this a true Must Own for fans of the Classic Era
4 1/2 stars: “Leon Russell never quite hit all the right notes the way he did on his eponymous debut. He never again seemed as convincing in his grasp of Americana music and themes, never again seemed as individual, and never again did his limited, slurred bluesy voice seem as ingratiating.”
*NOTE: A mark makes 3 loud pops at the beginning of track 4, Shoot Out On The Plantation.
The best copies of Russell’s debut album have excellent sound, as expected from a record engineered by Glyn Johns in 1970. Surprisingly, a number of copies suffered from somewhat dry sound, especially in the vocals. Our best copies are rich and Tubey Magical, which is the sound these songs need in order to sound their best.(more…)
The best copy to ever hit the site! Triple Plus (A+++) sound on the second side, better than Double Plus (A++ to A+++) on the first
Carney as a recording is classic analog from 1972 – the best vintage copies are exceptionally rich, solid and smooth
Russell’s highest charting album, making it all the way to Number Two if you can believe that, no doubt on the strength of the hit single, “Tight Rope,’ but “This Masquerade” is on here too
“The music is good, the lyrics are entertaining, the album worthwhile. Leon Russell – the only man around that can pull it off when he’s not trying.” – Cameron Crowe (San Diego Door, Aug. 1972)
If you have full-range speakers (the bigger the better) some of the qualities you may recognize in the sound of the piano are weight and warmth. The piano is not hard, brittle or tinkly. Instead the best copies show you a wonderfully full-bodied, warm, rich, smooth piano, one which sounds remarkably like the ones we’ve all heard countless times in piano bars and restaurants.
In other words, like a real piano, not a recorded one. Bad mastering can ruin the sound, and often does, along with worn out stampers and bad vinyl and misaligned tonearms that scrape off the high frequencies. But some copies survive all such hazards. They manage to capture these wonderful musical performances on vinyl, revealing to us the kind of sound we would never expect from an old Leon Russell record.(more…)
A killer 2-pack, with Triple Plus (A+++) sound, or close to it, from first note to last – they don’t get much better than this!
Here it is – the energy, space, and full, rich, Tubey Magical sound this music needs to work
You get Triple Plus sound for some of his best tracks here: Dear Landlord, Bird on the Wire, She Came in Through the Bathroom Window, and Hitchcock Railway
“Cocker mixed elements of late-’60s English blues revival recordings (John Mayall, et al.) with the more contemporary sounds of soul and pop; a sound fused in no small part by producer and arranger Leon Russell, whose gumbo mix figures prominently on this eponymous release and the infamous Mad Dogs & Englishmen live set.” – 4 Stars
This is a surprisingly good recording. Cocker and his band — with more than a little help from Leon Russell — run through a collection of songs from the likes of Bob Dylan, Leonard Cohen and the Beatles, and when you hear it on a White Hot Stamper copy it’s hard to deny the appeal of this timeless music.(more…)
You’ll find excellent Double Plus (A++) from first note to last on this original British pressing
Engineered by Andy and Glyn Johns, this is his best sounding album, especially on a copy that sounds as good as this one does
No other Leon Russell album has the richness, the sweetness, and the Tubey Magic of this, his second album from 1971
“Russell practically invented what might as well be called Okie rock — with that shit-kicker Gospel sound, heavy on Baptist-revival piano and chorus [a template Elton John found more than a little useful for his first ten albums or so] – and it gets as good on this album as you’ll ever hear.”
Stranger in a Strange Land, which leads off side one, might just be the best song the man ever wrote. What a joy it is to hear it sound so big and powerful.
Domestic Vs. Import
The domestic pressings of Leon Russell and the Shelter People that we’d auditioned over the years always seemed flat, dry, and closed-in. We know that sound well; it’s the sound you hear on records that have been made from dubbed tapes (and it’s the hallmark of the modern Heavy Vinyl reissue, truth be told). It bores us to tears, and had us questioning what we could possibly have seen in the album in the first place. What happened to the glorious sound of early ’70s analog we were expecting to find?(more…)
An outstanding copy with all four sides earning Double Plus (A++) grades
The overall sound is rich and tubey, with driving energy and most of the top end and clarity that’s missing from many we played
What it most reminds me of is Ray Charles doing a choice set of modern pop classics, mixing it up by off-handedly throwing in a few hits of his own
“… its content was exciting, and its sound, a veritable definition of big-band rock with three dozen players working behind the singer, was unique.” – 4 1/2 Stars
One thing we learned from our shootout was the how important TRANSPARENCY is to the enjoyment of this music. 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.
The Feeling of Reality
When you get a good copy it feels like all these guys and gals are live on stage. They may have their own mics, and are certainly being placed artificially in the soundfield to suit the needs of the track (singers here, drummer there), but the transparency of the better pressings makes them sound like they are all on the same stage singing and playing together. You hear their grunts and laughter way back in the mix, just as if you were at the concert.(more…)
The weaker copies have a tendency to sound smeary and congested. Listen for good transients and not too much compression. Many are also somewhat opaque as well as dull up top; try to find the ones with some degree of transparency and as much top end extension as you can (the percussion will be helped most of all by the extended top).
And of course you need to find a copy that rocks, as this is a definitely a Rock Concert, although what it most reminds me of is Ray Charles doing a choice set of modern pop classics, mixing it up by off-handedly throwing in a few hits of his own. See how they all fit together? That’s how the pros do it. (The main pro in this case is Leon Russell, the mastermind of the whole operation.)
Well, for one thing, if you get the wrong stampers on this record you will discover, as we did, that it’s clearly been mastered from a badly transferred dub tape. The “cassette-like” sound quality will not be hard to recognize. If you have stumbled onto one of those pressings, give up on it and try your luck elsewhere, making sure to note the bad stampers. That’s how we do it; there is in fact no other way. Trial and error is the name of the record hunting game.
All tracks were engineered by the legendary Eddie Kramer, then selected and mixed by the equally legendary Glyn Johns.(more…)