- An outstanding copy of Ronstadt’s 1984 release with both sides earning solid Double Plus (A++) grades – exceptionally quiet vinyl too
- These sides were doing everything right — clean, clear, full-bodied and dynamic with wonderfully breathy vocals and a solid bottom end
- “What’s New illustrated that Linda Ronstadt was no longer interested in contemporary pop, and since it was a surprise success, there was no reason not to repeat the formula on Lush Life. Working again with Nelson Riddle, Ronstadt runs through several pop standards — ‘When I Fall in Love,’ ‘Sophisticated Lady,’ ‘Falling in Love Again,’ ‘It Never Entered My Mind’…”
- With Shootout Winning Triple Plus (A+++) grades or close to them, this copy was giving us KILLER sound for Linda Ronstadt’s Best Album
- Both sides here are rich, full-bodied and warm, with harmonically rich guitars and real immediacy to Linda’s heartfelt vocals
- A Must Own Classic, the best album Ms Ronstadt ever made, and a True Country Rock Masterpiece virtually without peer
- 5 stars: “What really makes HLAW a breakthrough is the inventive arrangements that producer Peter Asher, Ronstadt, and the studio musicians have developed. …[they] help turn Heart Like a Wheel into a veritable catalog of Californian soft rock, and it stands as a landmark of ’70s mainstream pop/rock.”
I’ve been playing HLAW since the year it came out, roughly 46 years by my calculation, and I can tell you it is no easy task to find this kind of smooth, sweet, analog sound on the album. Folks, we heard it for ourselves: the Heart Like A Wheel magic is here on practically every song.
Pay special attention to Andrew Gold’s Abbey Road-ish guitars heard throughout the album. He is all over this record, playing piano, guitar, percussion and singing in the background. If anybody deserves credit besides Linda for the success of HLAW, it’s Andrew Gold.
A key test on either side was to listen to all the multi-tracked guitars and see how easy it was to separate each of them out in the mix. Most of the time they are just one big jangly blur. The best copies let you hear how many guitars there are and what each of them is doing. (more…)
- An outstanding copy with solid Double Plus (A++) sound or close to it on both sides, proof positive that Trio is a surprisingly well-recorded album – fairly quiet vinyl too
- Big, rich, smooth, and sweet, how did George Massenburg pull off this kind of analog sound in 1987?
- We don’t know, but we do know good sound when we hear it, and we heard exceptionally good sound on this copy
- 4 1/2 stars: “…that rare example of an all-star collaborative effort that truly shows everyone involved to their best advantage, and it ranks with the best of all three headliners’ work.”
*NOTE: On side two, a mark makes 4 soft ticks during the intro to Track 5, Farther Along.
With three brilliant and accomplished singers harmonizing in the studio you can imagine that faultless midrange tonality is key to the best copies, and you would be right.
Some copies had the girls’ sounding a bit dark and veiled. Some had them a bit thin and bright. The Goldilocks Principle comes into play here as it does in so many of our shootouts: the best copies find the right balance of richness and clarity. (more…)
[This review was written many years ago, around 2004 I think. This was one of the first DCC records I did a shootout with up against run-of-the-mill Mastering Lab domestic pressings, only to find, somewhat surprisingly, at least at that time, that the DCC came up short, as you will see in the review below.]
Sonic Grade: C
As much as I admire Steve Hoffman’s work for DCC, on this title the DCC is not as good as the best domestic copies. The best domestic pressings are cleaner, leaner and meaner than the DCC, and just plain more fun.
The DCC sounds thick in the midrange and fat in the bass, although some of that boost in the bass could have been used to the advantage of some of the domestic pressings we played. 1 DB or so at 50-60 cycles would help, but the DCC has a boost in the middle and upper bass that causes the bass to sound bloated next to a properly mastered, properly pressed LP.
I like rich sounding records just like Steve does, but his version of this title is too rich for my blood. If your system is lean sounding you may prefer the DCC, but we found it less than agreeable over here.
- This Shootout Winning copy has Triple Plus (A+++) Demo Disc Linda Ronstadt sound throughout, and some of her biggest hits to boot!
- Both sides are rich, Tubey Magical and spacious – Linda’s vocals on Alison are breathy and present like nothing else we played
- Smokey Robinson’s “Ooh Baby Baby” with blistering sax work by David Sanborn has to be the highlight of the album for us
Do you have a copy that’s hard and lean in the midrange, lacking in bass down low and Tubey Magic everywhere else? We do too, more than one in fact.
Ah, but the good copies are rich, smooth, sweet and clear, precisely the kind of sound we’ve come to expect from the team of Val Garay and Peter Asher in the ’70s. The bass is deep and punchy, the keyboards tubey rich, and the whole of the ensemble displays both energy and conviction on this top quality batch of songs.
Check out the best of them, tracks that still get airplay today:
Back in the U.S.A.;
Just One Look;
All That You Dream;
Oh Baby Baby;
Blowing Away and
Love Me Tender.
That’s a lot of great songs on one album! (more…)
- Insanely good Shootout Winning Triple Plus (A+++) sound or close to it on both sides of this copy of Prisoner, the followup to Linda’s Masterpiece, Heart Like a Wheel
- This is an amazing recording, but it takes a special copy like this one to reveal all the magic that we know must be on the tape
- 4 1/2 stars – Love Is a Rose, Tracks of My Tears and Heat Wave were hits, but Linda really pours her heart into Hey Mister, That’s Me up on the Jukebox
- Andrew Gold (so critical to the success of HLAW) is still heavily involved, along with EmmyLou Harris, James Taylor, Lowell George, David Lindley, JD Souther, and of course Peter Asher
The soundfield has a three-dimensional quality that was pretty much nonexistent on most of the other copies we played. Drop the needle on Many Rivers To Cross and check out the amazing sound of the organ coming from the back of the room. Only the highest resolution copies give you that kind of soundstage depth.
The piano sounds natural and weighty. The fiddle on The Sweetest Gift (played by our man David Lindley) is full of rosiny texture.
Emmylou Harris, dueting here with Linda, is SUPERB, with truly Demonstration Quality Sound on the best copies.
The acoustic guitars are tonally Right On The Money throughout — the transient information is captured perfectly. Listen to the opening guitar in the right channel of The Sweetest Gift; we used it as a test track and when that guitar is RIGHT THERE you know you have a copy with Hot Stampers. (more…)
- Two incredible sides each earning Shootout Winning Triple Plus (A+++) grades, making this the best copy to ever hit the site
- This copy is doing it all right — huge, rich and lively, with Linda’s vocals reproduced to near perfection
- “Her big but pretty voice is a stunning instrument for expressing feelings, particularly intense feelings that require a slightly understated delivery… a fine album that begs closer inspection than, I fear, many of us are willing to give to Linda Ronstadt’s art. Like the best moments of the preceding nine, though, the best moments of Hasten Down the Wind will be with us a long, long time.”
The sound is rich, smooth, full-bodied and natural on both sides. In other words, this is Classic Analog from the ’70s, recorded by none other than Val Garay, one of our favorite engineers.
Most pressings of this album have quite obvious problems. If you own the record see if you don’t notice some of them on your own copy. Some have a phony boosted top end, a subject we have discussed on Linda’s records before. Some are just too fat and Tubey. Perhaps the result of too much Aphex Aural Excitement? Some are thick, some are thin, some are too clean, some are not clean enough, every sonic issue you can imagine can be heard on this album if you have enough copies to play, and we had plenty.
We know that this copy is about as correct as can be. We know because we cleaned and played it and listened to it critically in comparison to other copies, and we did it all by ourselves. (Of course we did. There’s really no other way to do it.) (more…)
- Superb sound on both sides of this Asylum pressing from 1982 with each earning Nearly Triple Plus (A++ to A+++) grades, right up there with our Shootout Winner
- Engineering prowess provided by Val Garay and George Massenburg, which means the sound is full-bodied, dynamic and lively, with plenty of bottom end punch
- “Linda Ronstadt’s voice has never sounded better than it does on Get Closer… [her] ringing soprano vibrates with clarity and authority on the record’s best songs…” Rolling Stone, 4 Stars
A distinguished member of the Better Records Rock and Pop Hall of Fame.
The sound is EXTRAORDINARILY rich, smooth, full-bodied and natural on both sides. We have never heard What’s New sound like this.
With two White Hot sides this pressing gets two critically important elements of the recording more right than any copies we have ever heard: the strings in the orchestra, and, even more importantly for obvious reasons, Linda’s voice. Both sides give you a much more natural sounding Linda than you have ever heard. She’s fuller, sweeter, breathier, less spitty (some tracks more than others) and just plain less artificial than any others we played.
We’ve criticized the engineer George Massenburg on this site in the past, but with this copy we almost want to take it all back.
What he gets right on this recording is the sound of an orchestra, augmented with various jazz musicians (Ray Brown, Tommy Tedesco, Plas Johnson, Bob Cooper), all performing live in a huge studio. The sound stretches far to Linda’s left, far to her right, as well as back far behind her in a huge semi-circle. She is of course singing in a vocal booth, with her vocal placed front and center in the soundstage.
As an aside, George Massenburg went on to record the Trio album with Dolly Parton, Linda Ronstadt and Emmylou Harris. The analog sound he produced was shockingly rich, smooth and sweet — and in 1987 no less! (more…)
Click on the link below to pull up the many reviews and commentaries we’ve written, as well as Hot Stamper copies that are currently available on the site.
and click on this link to the
entry for the album to read about it in real depth
Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your copy of Heart Like a Wheel.
A key test on either side was to listen to all the multi-tracked guitars and see how easy it was to separate each of them out in the mix. Most of the time they are just one big jangly blur. The best copies let you hear how many guitars there are and what each of them is doing.
Pay special attention to Andrew Gold’s Abbey Road-ish guitars heard throughout the album. He is all over this record, playing piano, guitar, percussion and singing in the background. If anybody deserves credit besides Linda for the success of HLAW, it’s Andrew Gold. (more…)