Her vocals on both sides can be very DYNAMIC, but only the best copies will present them with no hint of STRAIN or GRAIN, two problems that make most pressings positively painful to listen to at the loud volumes we prefer.
Linda really belts it out on this album — face it, it’s what she does best — and only the rarest copies allow you to turn up the volume good and loud and let her do her thing.(more…)
This White Hot Stamper side one had the kind of sound that just JUMPS out of the speakers! This side one had more of everything: more size and weight. more separation, more ambience, more vocal dynamics, more presence, more bottom end (which is unusual in that most copies of this album tends to be bass shy); in short, more LIFE. This copy, more than any other we played, showed us just how good the master tapes must be.(more…)
This White Hot Stamper side one was clearly the best we heard in our most recent shootout — the sound is rich and full, yet Judy’s voice comes across as especially clear and breathy. Yes, vintage analog pressings can do it all, with a naturalness that no modern LP or CD can begin to equal, making this side one the obvious choice for those who want to hear just how good Wildflowers gets.
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.(more…)
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!(more…)
We were surprised that so few copies had the Tubey Magical qualities that we’ve come to expect from Elektra in 1967. The label was home to two very well-recorded (by none other than Bruce Botnick) bands at the time, The Doors and Love. What happened here? John Haeny, the engineer, worked on Waiting for the Sun, which is an amazing sounding Doors album on the right pressing. Why so few great sounding Wildflowers?
Michael from Mountains Since You Asked Sisters of Mercy Priests A Ballata of Francesco Landini
Both Sides Now La Chanson des Vieux Amants (The Love Song of Old Lovers) Sky Fell Albatross Hey, That’s No Way to Say Goodbye