The sweetness and transparency to the guitars and vocals on this wonderful pressing won us over
“Who Knows Where the Time Goes” – one of our favorite Judy Collins songs – is achingly powerful here
4 stars: “Enthusiasts of Judy Collins rank this among their favorite recordings and it is likewise a perfect touchstone for the burgeoning listener as well.”
If you’re a fan of Judy’s, this early pressing from 1968 surely belongs in your collection
The complete list of titles from 1968 that we’ve reviewed to date can be found here.
Finding the Best Sound
Most copies were a bit thinner than ideal, and even the best pressings we heard had a bit of that quality. Frequency extension high and low was also hard to come by.
If the sound is rich and full-bodied, yet clear and transparent, you probably have yourself one of the few that were mastered and pressed properly — and one of the few that survived the turntables of their day to be playable forty-plus years later on the revealing equipment you undoubtedly own.
If you don’t own such a copy, and with all due respect chances are you don’t, we have a lovely copy right here for you, only a click away.
This is a Minty Elektra Red Label LP with two AMAZING sounding sides! Typical copies are dull and thin sounding, making Judy Blue Eyes’ beautiful voice sound honky and weak like she has a head cold. This copy is the remedy!
It has rich, full-bodied sound with the sweetest highs and tons of ambience, especially around the guitars and bass. Most importantly, there is virtually NO STRAIN on the her vocals, which is extremely rare.
Out of the three labels we listened to for this shootout, nothing could compare to this Red Label.
The Gold Labels could have some sweet, musical qualities, but they were consistently dull and lifeless.
Out of the multiple Butterfly Labels we listened to, we could not find one that didn’t sound like a bad cassette.
This Red Label was by far the best sounding copy of Judy Collins #3 we’ve EVER HEARD!
This superb compilation boast a Shootout Winning Triple Plus (A+++) side one mated with an outstanding Double Plus (A++) side two – exceptionally quiet vinyl too
The sound is especially rich, warm and natural, with exceptional immediacy to Judy’s vocals and Tubey Magic for days
Tons of breath of life, superb production and mastering, and some of the best sounding echo ever recorded
Note that Artisan cut this record a whole helluva lot better than DCC – the so-called audiophile label – ever did
4 1/2 stars: “Lovingly programmed (it leads off with her excellent country-pop hit ‘Someday Soon,’ an Ian Tyson classic), this is Collins at her finest… This anthology brings the ‘best-of’ collection to a new art form.”
If you’re a Judy Collins fan, this is a Must Own Classic from 1972 that belongs in your collection.
The complete list of titles from 1972 that we’ve reviewed to date can be found here.
I remember being a bit taken aback by how much better my original Artisan pressing sounded compared to the supposedly superior DCC, pressed at high quality Heavy Vinyl at RTI to the most exacting standards possible.
What finally turned me completely against DCC were the awful Paul Simon solo albums they remastered. Two were released, two I had as unreleased test pressings, and all of them were barely second rate compared to a good original pressing.
So much for believing in DCC. Since that time we have learned that placing your faith in any record label or cutting operation is a mistake. You have to play the records to know how they sound. Nothing else works, and nothing else can work.(more…)
Fifth Album finally makes its Hot Stamper debut here with outstanding Double Plus (A++) sound from first note to last on the Big Red E label
These sides are exceptionally good, especially compared to most of what we played – only the best early pressings managed to get Collins’ voice to sound natural and real
“… 5th Album, cut in late 1964, may very well be her definitive folk statement… A trio of Bob Dylan songs act as the album’s centerpiece, clearly showing Collins’ growth into more progressive songs. In addition to these, Gordon Lightfoot’s “Early Morning Rain” is given its classic reading, with Collins’ voice echoing the song’s melancholy and eerie but mellifluent precision and emotion. “
Judy Collins superb 1967 release finally returns to the site after many years with STUNNING Shootout Winning Triple Plus (A+++) sound on both sides of this Gold Label original stereo pressing
The sound is rich, sweet and open, with Judy’s voice especially clear and breathy – if you’re not quite sure what Tubey Magic is all about, the sound of this pressing will show you just how Tubey Magical the real deal can be
There is plenty of wonderful music on this album, including two of best songs Judy ever recorded (in our opinion), Michael from Mountains and Since You Asked, as well as two of Leonard Cohen’s best-penned tunes
“Soothing. Unique. Natural. These are clear adjectives used best when describing the style and grace of Judy Collins and her album Wildflowers. Her blend of folk and meditative music paints a tapestry of soft, nurturing colors that transcends the mind of the listener and seeks one’s soul.”
The first three songs on side one alone are worth the price of the album, three of the best Judy ever recorded. Joni Mitchell’s Michael from Mountains is one of the best songs on her debut album; Judy sings it with comparable taste and skill. Since You Asked is Judy’s own composition, her first to be recorded in fact. In this writer’s opinion, it’s the best song she ever wrote, “as good as it gets” as we like to say. And of course, Leonard Cohen’s Sisters of Mercy is one of his many masterpieces and brilliant in all respects as performed here.
Grammy Award for Best Folk Performance that year by the way.(more…)
When I finally got around to comparing the two, I remember being taken aback by how much better my original Artisan pressing sounded than the supposedly superior DCC, the one pressed at high quality Heavy Vinyl at RTI to the most exacting standards possible, yada, yada, yada.
What finally turned me completely against DCC were the awful Paul Simon solo albums they remastered. Two were released, two I had as unreleased test pressings, and all of them were clearly and markedly inferior to the good original pressings I had on hand.
So much for believing in DCC. Since that time we have learned that placing your faith in any record label or cutting operation is a mistake.
You have to play the records to know how they sound. Nothing else works, and nothing else can work.
White Hot A+++ sound on side two of this 2-pack, with Shootout Winning sound. Great material including The Moon Is a Harsh Mistress and Sondheim’s Send in the Clowns. Another 2-pack that proves our case – the good sides here are wonderful, the bad sides plainly awful.
The engineer for Judith is Phil Ramone, who went on to win the Grammy the following year for Still Crazy After All These Years.(more…)
With a nearly Triple Plus (A++ to A+++) side two and a seriously good Double Plus (A++) side one, this Elektra Gold Label stereo pressing will be very hard to beat – reasonably quiet vinyl too
Two of the best tracks are here on this Nearly White Hot side two: Sunny Goodge Street and In My Life, and both sound every bit as good as you would expect from a side with such a high grade
Here’s the midrange magic that’s missing from the reissues and whatever 180g pressing has been made from the tapes (or, to be clear, a modern digital master copied from who-knows-what-tapes)
“Judy Collins was already an accomplished interpretive singer before recording this album, but In My Life found her widening her horizons and revealing an even greater gift than one might have imagined.”
Superb sonics. Judy has never sounded better. Not a big seller for DCC but it should have been. Those sweet acoustic guitars are hard to beat. No modern recording has sounded like this for over twenty years, so if you’ve forgotten what a real acoustic guitar sounds like, buy this record and get reacquainted with that sound. Tons of breath of life, superb production and mastering so you can clearly hear her hitting those flat notes (!), and some of the best sounding echo ever recorded.
Addendum to the above comments, posted 11/07
I wrote the above review many many years ago. As you may have read countless times on the site by now, it is my opinion that all such dated judgments are suspect. The majorREVOLUTIONS in vinyl playback that have occurred over the last dozen years have turned many of these old comments on their heads.
Hot Stamper pressings again and again have revealed magic in the mass-produced copies that is simply nowhere to be found in their audiophile counterparts.
Whether this is true for this particular title I can honestly say I don’t know. We are going to play some copies of the album and will report our findings down the road, so Judy Collins fans, stay tuned.
With a nearly Triple Plus (A++ to A+++) side one and a seriously good Double Plus (A++) side two, this pressing will be very hard to beat – exceptionally QUIET vinyl too
The “breath of life” is alive and well on these old LPs, the best reason for the truly serious audiophile to stay committed to analog
“Having established herself as one of the foremost interpreters of traditional material, Collins did the same for contemporary folk songwriters on this album, which mixed standards with pristine covers of compositions by Dylan, Pete Seeger and Shel Silverstein. With Jim (Roger) McGuinn arranging and playing second guitar and banjo, this album, which included a fine version of Seeger’s “Turn! Turn! Turn!,” had a clear (if overlooked) influence on the folk-rock he pioneered with the Byrds.”
We had a devil of a time finding clean, quiet, good sounding copies of this album. The mono pressings, which are far more common than the stereo pressings, didn’t sound right to us, and everything produced after the Big Red E label era is a joke, which leaves the Folksinger label pressings from 1963 and the Gold Label pressings from 1965. Both can be good. This LP was by far the quietest we played, which makes it very special indeed.(more…)