With two seriously good Double Plus (A++) sides this copy was one of the best we played in our recent shootout
The richness in the vocals and the wonderfully Tubey Magical sound makes this copy especially impressive
It’s not easy to find a Ray Charles record from the Sixties that plays this quietly: Mint Minus to Mint Minus Minus
AMG writes, “…He elevates the material with soulful vocals and good arrangements, particularly when the Raeletts back him up (as they do on half the tracks).”
Copies with rich lower mids and nice extension up top (to keep the female backup singers, the Raelets. sweet and clear) did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record. We know, we hear practically all of them whenever we sit down to do one of these shootouts.(more…)
EXCELLENT SOUND and mostly quiet vinyl throughout, the big highlights being an A++ side three and an A+++ side four! We finally found enough copies of this album to do another proper shootout, and this one was one of the very best. Drop the needle on side four to find out just how amazing Ray Charles can sound on vinyl when you’ve got a killer pressing. The vocals are silky and breathy with natural texture and amazing presence. You will not believe how much tubey magic you get on this side!(more…)
You’ll find stunning Triple Plus (A+++) sound or close to it on both sides of this Shootout Winning 1964 pressing – exceptionally QUIET vinyl for a vintage Ray Charles record (!)
This stereo pressing is the only way to hear these classic songs sound rich, powerful and free from coloration
A concept album filled with an eclectic collection of themed music, this release showcases Charles’ innovative approach to recording
“…One is almost tempted to think that Charles was toying with audience expectations by mixing unabashedly sentimental slow tunes with the far more bluesy, satisfying, and upbeat numbers, such as his surprisingly brassy, punchy treatment of “Cry Me a River.”
This ’60s LP 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.(more…)
One of the few copies to ever hit the site and boy is it KILLER — Triple Plus (A+++) sound on the second side and Double Plus (A++) on the first
The sound is incredibly rich, full and Tubey Magical with tons of energy and a nice extended top end
Robert Christgau noted that “Charles tried many times, but except for Modern Sounds, he never again assembled such a consistent album in this mode.”
“Charles’ voice is heard throughout in peak form, giving soul to even the veteran standards.”
Tom Dowd engineered on Ampex 3 Track through an All Tube chain (this is 1959 after all), Quincy Jones did the arrangements, and Ray sang the hell out of this great batch of songs — all the ingredients in a recipe for soul are here.
Top tracks on the first side: Let The Good Times Roll, It Had To Be You and When Your Lover Has Gone.(more…)
An excellent sounding copy with solid Double Plus (A++) sound on both sides
This compilation gives you a taste of Ray’s great instrumental tracks, all in surprisingly good sound
Like any compilation the sound varies from track to track, but most of the material here sounds WONDERFUL!
You may have noticed that Tom Dowd, the recording engineer for these tracks, receives a fair amount of criticism on our site. We’re not always fans of his work on rock albums, but on jazz music he usually managed to do a great job. The sound is open, sweet, transparent, rich — all the stuff we like here at Better Records. (more…)
Folks, I have to hand it to Steve Hoffman — this is the BEST SOUNDING DCC LP we have played in years.
We’ve been harshin’ on DCC for quite a while now. Whenever we do a shootout for The Eagles or The Doors or Bonnie Raitt or Queen or you name it, the DCC pressing almost always gets a serious drubbing from our listening panel. Not so here. This one took TOP HONORS against the other copies we played and was head and shoulders better sounding in practically every way.
Do all the copies of the DCC sound this good? I would bet money right now they don’t. Folks, I’m guessing this is a Hot Stamper. It was pressed just right and all the Hoffman magic is in these grooves. But that’s just a guess, and I could easily be wrong. If you have a few copies at home, shoot them out! What, you don’t have a bunch of these? Me neither, so no shootout will probably ever be done. This album is just too rare and pricey these days.
Bottom line: We know a good record when we hear one, and this is a very good record indeed! Bravo to Steve for a job well done.