A stunning sounding copy and the best to hit the site in many years — Triple Plus (A++) sound throughout
Both sides here are incredibly lush, big and spacious with a huge bottom end, no smear and tons of energy
Extremely quiet for this title — Mint Minus to Mint Minus Minus
“Cut from the same cloth as the band’s 1973 Deliver the Word LP, War’s 1975 Why Can’t We Be Friends? is a masterpiece in its scope and breadth.” – All Music, 4 Stars
Low Rider sounds AWESOME on this one. This is the kind of record you can take to any stereo store or audiophile friend’s house and bring their stereos to their knees. Audiophile systems are rarely designed to play this kind of music at the levels it demands, but that doesn’t mean they shouldn’t be. Records like this are the challenge we audiophiles need to make our stereos even better. When the music is this good it’s worth the effort!(more…)
WONDERFUL JAZZ / FUNK / SOUL SOUND from start to finish! We just finished our first big shootout for this fun album — the All Music Guide calls it “a magical ride with plenty of surprises to keep the listener on his or her toes” and we couldn’t agree more! This copy gives you punchy bass, airy flutes, hard-hitting percussion and loads of Tubey Magic. Most copies we played had too much hardness, edge, and honk, but this one is smooth, sweet and rich.
Engineered by the brilliant Chris Huston, this recording displays all his trademark gifts. His mixes feature lots of bass; huge, room-filling choruses that get loud without straining or becoming congested; and rhythmic energy that few pop recordings could lay claim to in 1972.
As for the choruses, allow me to paraphrase our listing from Commoner’s Crown.
This is one of the rare pop/rock albums that actually has actual, measurable, serious dynamic contrasts in its levels as it moves from the verses to the choruses of many songs. The first track on side two, Four Cornered Room, is a perfect example. Not only are the choruses noticeably louder than the verses, but later on in the song the choruses get REALLY LOUD, louder than the choruses of 99 out of 100 rock/pop records we audition. It sometimes takes a record like this to open your ears to how compressed practically everything else you own is.