For example, on Find the Cost of Freedom the best copies have DEMO DISC QUALITY SOUND. You could say everything that needs to be said about the beauty of analog with this one track alone. It’s not even two minutes long, but it’s two really wonderful minutes of Crosby, Stills, Nash & Young at the height of their powers. The voices should sound as sweet and as silky as any CSN three part (four part?) harmony you have ever heard. This song rivals Helplessly Hoping for vocal blend.
When you get a good copy of this album, this song sounds like it was lifted right off of a Hot Stamper copy of Deja Vu itself. It’s so rich and Tubey Magical you’d swear it couldn’t get any better. Huge amounts of deep bass. Acoustic guitars that ring for days. Midrange magic to die for. Not many of them sound this way, unfortunately.
If I could indulge in some more MoFi and Half-Speed bashing for a moment, the bass “solo” at the end of this song is a great test for bass definition. The notes are relatively high, and it’s easy for them to sound blurred and wooly. The MoFi, like virtually all Half-Speed mastered records, has a problem with bass definition. If you own the MoFi, listen for how clearly defined the notes are at the end of this track. Then play any other copy, either of So Far or Deja Vu. It’s a pretty safe bet that the bass will be much more articulate. I know how bad the MOFI is in this respect. Rarely do “normal” records have bass that bad.
Stephen Barncard Does It Again
Listen to this song and compare it to anything on the Barncard-engineered first solo LP by David Crosby. That is the sound of Barncard’s engineering — open, spacious, rich, sweet; tons of deep bass; absolutely no trace of phony eq on vocals; acoustic guitars that ring for days — the man is a GENIUS. Thank god he was involved with music of this quality. If only more of the LP pressings did a better job of revealing the exquisite beauty of the recordings themselves. (I suppose that burden must be carried by the few Hot Stamper copies we can dig up.)(more…)
This is one of the records that convinced me that I should enthusiastically and actively pursue high quality home audio, That I had to devote the time, energy and money into improving my system so that I could play records like Songs for Beginners louder and get them to sound better.
I had such inexpressibly deep feelings while listening to the album that I knew I had to do everything in my power to make it sound as good as possible.
And the song that really did it for me on the album was Better Days.
I was originally thinking of calling this commentary “Why I Became an Audiophile,” but I quickly realized that being an audiophile — a lover of sound — doesn’t necessarily involve buying lots of expensive audio equipment or searching out recordings with higher fidelity.
No, being an audiophile simply means you love good sound. Where you find it — at clubs, at home, in the concert hall or the car — makes no difference whatsoever.
Songs for Beginners couldn’t make me an audiophile; I already was one. It did, however, make me a more dedicated audio enthusiast. It’s precisely the kind of record that rewards the 40 plus years I’ve put into this hobby, trying to get it and hundreds, now thousands, of other wonderful records to sound their best.(more…)
This is a Minty and wonderful British import Red Label Polydor LP from 1976. The sound is quite good — a bit of hardness creeps in to the loud sections from time to time, but the music is so enjoyable it’s easy to look past that. The Hollies wrote and performed so many great songs in the sixties that I grew up with, playing this record was a real joy. Allan Clarke has such an incredible pop voice, and his bandmates harmonize with him beautifully, it reminds me of how good the radio used to be when I was growing up. They sure don’t sing ’em like this anymore!
Graham Nash is missing, and his high harmony vocal would be a nice addition, but you can’t have everything. What you can have is a beautifully sung pop album full of great songs.
Two insanely good Shootout Winning Triple Plus (A+++) sides for one of James Taylor’s best softer rock albums
Soulful JT at his best, an underappreciated album by our man and one that belongs in your collection
Mexico, How Sweet It Is (To Be Loved By You) and I Was A Fool To Care are standouts – there are no weak tracks here
Rolling Stone notes, “With Gorilla, Taylor is well on his way to staking out new ground. What he’s hit upon is the unlikely mating of his familiar low-keyed, acoustic guitar-dominated style with L.A. harmony rock and the sweet, sexy school of rhythm and blues.”
*NOTE: On side one, a mark makes 12 light ticks at the beginning of Track 1, Mexico.
This is soft rock at its best, made up primarily of love songs, and helped immensely by the harmonically-gifted backing vocals of Graham Nash and David Crosby.
Rolling Stone notes that “With Gorilla, Taylor is well on his way to staking out new ground. What he’s hit upon is the unlikely mating of his familiar low-keyed, acoustic guitar-dominated style with L.A. harmony rock and the sweet, sexy school of rhythm and blues.”
To be honest, the recording of Gorilla itself cannot compete with the likes of Sweet Baby James or JT, both of which are Top 100 Titles. It can be a good sounding record, not a great one, certainly not in the same league as those two.(more…)
With two amazing Shootout Winning Triple Plus (A+++) sides, this original pressing has the analog magic in its grooves
We love the All Analog Tubey Magical sound of the recording, especially on a copy as rich and full-bodied as this one
Arguably the best of the solo CSN albums – a founding member of our Top 100 Rock and Pop List and, with grades like these, a True Demo Disc
4 1/2 stars: “From the soaring “I Used to Be a King” through the gossamer “Simple Man” to the wah-wah-laden “Military Madness,” the record is filled with gorgeous melodies, flawless singing, and lyrical complexities that hold up decades later.”
When you hear Chicago here you will not believe how cinematic the sound is! It’s everything we love about analog and then some.
Most of the credit must go to the team of recording engineers, led here by the esteemedBill Halverson, the man behind all of the Crosby Stills Nash and Young albums. Nash was clearly influenced by his work with his gifted bandmates, proving with this album that he can hold his own with the best of the best. Some songs (We Can Change The World, Be Yourself) are grandly scaled productions with the kind of studio polish that would make Supertramp envious. For me, a big speaker guy with a penchant for giving the old volume knob an extra click or two, it just doesn’t get any better.
Others (Sleep Song, Wounded Bird) are quiet and intimate. Their subtlety is highlighted by the big productions surrounding them. This is the rare album in which every aspect of the production, from the arrangements to the final mix, serves to bring out the best qualities in the songs, regardless of scale.(more…)
This outstanding pressing boasts solid Double Plus (A++) sound or close to it on all FOUR sides
The “naked” sound of the real thing – the real voices and the real guitars and the real everything else, in a way that would never happen again
Bill Halverson worked his magic, but only the best pressings let his genius shine the way it does here
4 1/2 stars: “4 Way Street, released in April of 1971: a live double-LP set, chock-full of superb music distilled down from a bunch of nights on that tour that more than fulfilled the promise of the group.”
Rolling Stone raves that “Crosby, Stills. Nash, and Young are all performers of unquestionable talent, and mostly because they stay out of each others’ way, 4 Way Street must surely be their best album to date.”
With a Triple Plus (A+++) Shootout Winning side one and a Double Plus (A++) side two, this copy had some of the best sound we have ever heard on Nash’s underrated second album
The sound is Classic 1973 Analog – smooth, rich, warm and tonally correct, with real energy and the kind of natural sound that’s a hallmark of the better Crosby, Stills, Nash and Young recordings
Filling out the band: Joni Mitchell, David Crosby, Dave Mason, Neil Young, David Lindley and too many others to list
“Nash speaks from his heart on Wild Tales and those that are willing to get past its sparse arrangements will be able to accept it for the masterpiece of folk-rock that it is.”
This is a criminally underappreciated album, and perhaps that has to do with just how poor the average copy sounds. When you get a copy like this one you cannot fail to appreciate how powerful and deeply emotional these songs are. Drop the needle on the title track or Grave Concern to see what I mean. To read what another fan, and much better writer, had to say about the album, click on the Rave Review tab above.
The sound has the LIFE and ENERGY of rock and roll. This is Graham fronting a band, and on the best copies the recording and the music both work together to make them sound like they’ve been playing together forever. This is not the Big Production that Nash’s first album was. Been there done that; who needs the headache?
Working Their Magic
This is an album where top players got together and worked their magic on a bunch of good songs, playing for the most part live in the studio, which is practically the only way to communicate the feel of a real band (cf. Almost Cut My Hair).
What happens when you clean and play a bunch of copies? You come to recognize what the best ones are doing that the average ones aren’t. And the effect of that understanding on this particular title was simply to recognize the nature of this project, that these are a great bunch of well-crafted songs played with energy and enthusiasm by a very talented group of top flight musicians, totally in sync with each other. This is what they were trying to do, and really, what more can you ask for?
This copy had the kind of transparency that allowed us to really hear into the soundfield and pick out every instrument and recording effect. If your stereo is up to it you can hear some of the band members talking during the music and before the songs.(more…)
A STUNNING sounding copy and the first to hit the site in many years — Shootout Winning Triple Plus (A+++) sound throughout
These sides are dripping with Analog magic — transparent, sweet and rich from beginning to end and the bass is especially meaty and well-defined
Those of you who have tried our Hot Stampers of JT will know exactly what to expect; Garay LOVES BASS and so do we
“An abundance of riches can be heard in Andrew Gold’s first solo album. There are great Beatlesque melodies here, as well as heartfelt love songs that are Gold’s specialties. Playing nearly all of the instruments himself makes this a truly “solo” effort.” – All Music, 4 Stars
As audiophiles we all know that sound and music are inseparable. My comments for this copy note how spacious and present and full of energy it is. After dropping the needle on a dozen or so copies, all originals by the way, you KNOW when the music is working its magic and when it’s not.
As with any pop album there are always some tracks that sound better than others, but when you find yourself marvelling at how well-written and well-produced a song is, you know that the sound is doing what it needs to do. It’s communicating the Musical Values of the material. This Hot Stamper copy brings Andrew Gold’s music to LIFE.
This record is dripping with Analog Tubey Magic. It’s transparent, sweet and rich from beginning to end. The bass is especially meaty and well-defined. Val Garay puts plenty on his recordings, one of the reasons we love listening to them. The vocals are present and clear, the studio is huge, and the snare is FAT the way it always is on Val’s recordings.(more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame and a Forgotten Classic from 1974.
Like the man’s first album, no one pays much attention to this music nowadays, but Better Records is trying to remedy that situation by making available to the audiophile public numerous copies of this album, every one of which is guaranteed to turn you into a fan. This is not new music, but it may be new music to you, so “discovering” it will be every bit as much fun for you in 2016 as it was for me in 1973.
This is not an “audiophile” record. It ain’t never going to make the TAS List or get a mention by anyone in the Audiophile Press Corps. This is a record for music lovers who care about good sound. If you’re reading this, that’s you. Us too, and proud of it.
From one audiophile to another, this is a great record that belongs in your collection.(more…)
Close to Shootout Winning sound on both sides – Nearly Triple Plus (A++ to A+++) – one of the best copies of this shockingly well recorded album to hit the site in years
The vocals are exceptionally breathy, smooth and sweet here – this recording is the very definition of Midrange Magic, thanks to the engineering of Bill Halverson
4 stars: “This self-titled release is one of most impressive side project to arise from CSN. The best elements of each are readily available here, punctuated at every turn by their complicated vocal arrangements and air-lock harmonies.”
Where in the world did all the Midrange Magic that we were hearing on this copy of the album come from?
On a song like Where Will I Be the sound is so unbelievably transparent, open and intimate it sounds like an outtake from David Crosby’s first album, one of the ten best sounding rock records ever made. How did Bill Halverson learn how to record as well as Stephen Barncard all of a sudden?
I was in high school when I first played this album and I remember being disappointed with it, mostly because I was expecting another Deja Vu. As I grow older I appreciate other qualities in a recording; I’ve come to appreciate this album for what it is: not the Grand Musical Statement that Deja Vu is, but a simpler, more intimate portrait of two artists at the start of a lifelong harmonious collaboration. With a damn fine batch of songs to sing.
Top Quality Sound
The Midrange Magic on some of these tracks is off the scale. The transparency is also remarkable, with richness and sweetness matched by few copies in our huge shootout.
Listen to the three-dimensional quality of the piano on the first track of side two. Skip to the second track and you will hear some of the best bass to be found on the side. The song is not about the bass, obviously, so we hasten to point out the vocals and harmonies — the sine qua non of any CSN or Y record — are Truly Right On The Money as well.(more…)