CHRIS THOMAS is one of our favorite engineers and producers. Click on the links below to find our Chris Thomas engineered or produced albums, along with plenty of our famous commentaries.
It’s exceedingly difficult to find audiophile quality sound on The White Album. The Beatles were breaking apart, often recording independently of each other, with their own favorite engineers as enablers, and George Martin nowhere to be found most of the time. They were also experimenting more and more with sound itself, which resulted in wonderful songs and interesting effects. However, these new approaches and added complexity often result in a loss of sonic “purity.”
Let’s face it, most audiophiles like simplicity: A female vocal, a solo guitar — these things are easy to reproduce and often result in pleasing sound, the kind of sound that doesn’t take a lot of expensive equipment or much effort to reproduce.
Dense mixes with wacky EQ are hard to reproduce (our famous Difficulty of Reproduction Scale (DORS) comes into play here), and the White Album is full of that sound, taking a break for songs like Blackbird and Julia.
Some of the Tubey Magic that you hear on Pepper is gone for good. (Play With a Little Help from My Friends on a seriously good Hot Stamper to see what has been lost forever.)
Looks at the lineup for side one. Is there a rock album on the planet with a better batch of songs?
Having done shootouts for the White Album by the score, we can also say with some certainty that side one is the most difficult side to find White Hot stamper sound for. It’s somewhat rare to find a side one that earns our top Triple Plus (A+++) sonic grade, even when all the other sides do. (Actually what happens more often than not is that we take the best second discs and mate them with the best first discs to make the grades consistent for the whole album. But don’t tell anybody.) (more…)
- You’ll find excellent Double Plus (A++) grades on both sides of this early British import LP – quiet vinyl too
- There’s some real Tubey Magic on this album, along with breathy vocals and plenty of rock and roll energy
- I Guess That’s Why They Call It The Blues – the best song Elton’s done in the last 35 years – is killer here
- One of engineer Bill Price’s best efforts behind the boards in the ’80s, and Chris Thomas’s production is State of the Art as usual
- Allmusic 4 1/2 Stars: “Happily, this is a reunion that works like gangbusters, capturing everybody at a near-peak of their form.”
Much of the production — the smooth, sweet harmony vocals, the rich, grungy guitars, the solid, warm piano — reminds me of Goodbye Yellow Brick Road, one of the classics from back in the day when Gus Dudgeon was running the show.
Caribou (1974) and Captain Fantastic and the Brown Dirt Cowboy (1975) have a similarly glossy, perfectionist approach to production as well of course. It was 1975’s Rock of the Westies that went off in another direction. (more…)