Top Engineers – Val Garay

Linda Ronstadt – Living In The USA

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Living In The USA

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

Both sides here are rich and smooth yet still clean 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; Alison; All That You Dream; Oh Baby Baby; Blowing Away and Love Me Tender. That’s a lot of great songs on one album! (more…)

Andrew Gold – What’s Wrong With This Picture? (2015)

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What’s Wrong With This Picture?

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

The best copies of Gold’s sophomore release are incredibly rich, sweet and Tubey Magical. They also have tons of deep punchy bass and wonderfully breathy vocals.

If you own many Asylum records, you know this title is yet another example of classic Asylum Analog. Think of the sound of the Eagles first album and you won’t be far off.

AAndrew Gold is another talented popster who got little respect from the critics, or the public for that matter. His music has a lot of the same qualities as Buddy Holly’s: simple catchy tunes about love, with clever lyrics and tons of hooks. He covers one of Holly’s songs on this very album. (more…)

Linda Ronstadt – The Middle of the Midrange Is Key

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Another in our series of Home Audio Exercises.

Here’s what we learned when doing our recent shootout: many copies sounded like they were half-speed mastered. For those of you who don’t know what that is, it’s a lot of things. In this case, these half-speed sounding ones had a little something phony added to the top of Linda’s voice, they had a little bit of suckout right in the middle of the midrange, the middle of her voice, and they had an overall diffuse, vague quality, with sound that lacked the SOLIDITY we heard on the best pressings. 

These hi-fi-ish qualities that we heard on so many copies reminded us of the audiophile sound we decry at every turn. We’ve played literally hundreds and hundreds of MoFi’s and other half-speed mastered records over the course of the last twenty years, and one thing we know well is THAT SOUND.

But think about it. What if you only had one copy of the album — why would you have more than one anyway? — and it had that Half-Speed Sound? You’d simply assume the recording had those qualities, assuming you could even recognize them in the first place. (Let’s face it, most audiophiles can’t, or all these companies would have gone out of business and stayed out of businesss, and their out of print records would sell for peanuts, not the collector prices they bring on ebay and audiophile web sites.) (more…)

Linda Ronstadt – Hasten Down The Wind

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Hasten Down The Wind

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

This copy is huge, rich and lively, with Linda’s vocals reproduced to near perfection.

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 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. (more…)

Andrew Gold – Andrew Gold – Our Shootout Winner from 2010

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Andrew Gold – Andrew Gold

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

As audiophiles we all know that sound and music are inseparable. My comments for this side two note how spacious and present and full of energy it is. After dropping the needle on a dozen or so copies, all originals by the way, you KNOW when the music is working its magic and when it’s not.

As with any pop album there are always some tracks that sound better than others, but when you find yourself marvelling at how well-written and well-produced a song is, you know that the sound is doing what it needs to do. It’s communicating the Musical Values of the material. This Hot Stamper copy brings Andrew Gold’s music to LIFE. (more…)

Something Phony This Way Comes

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Here’s what we learned when doing our most recent shootout.

Many copies sounded like they were half-speed mastered.

They had a little something phony added to the top of Linda’s voice, they had a little bit of suckout right in the middle of the midrange, the middle of her voice, and they had a somewhat diffuse, vague quality, with sound that lacked the SOLIDITY we heard on the best pressings. These hi-fi-ish qualities that we heard on so many copies reminded us of the kind of audiophile sound we decry at every turn. We’ve played literally hundreds and hundreds of MoFis and other half-speed mastered records over the course of the last twenty years, and one thing we know well is That Sound.
(more…)

Linda Ronstadt – Rockin’ Out on Simple Dreams

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More Simple Dreams

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

Clearly this is one of Linda’s best albums, and I would have to say, based on my fairly extensive experience with her recorded output, that it is in fact THE BEST SOUNDING record she ever made. I love Heart Like a Wheel, but it sure doesn’t sound like this, not even on the Triple Plus copies that win our shootouts. 

Kudos once again must go to VAL GARAY, the man behind so many of our favorite recordings: James Taylor’s JT (a Top 100 title), Andrew Gold, Prisoner In Disguise, etc. (more…)

Val Garay Rocks the Sound of JT

Yet another album we are clearly obsessed with

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.

JT

 

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The good copies REALLY ROCK on a song like Honey Don’t Leave L.A. or I Was Only Telling A Lie, yet have lovely, sweet transparency and delicacy on the ballads such as Another Grey Morning or There We Are.

Just turn up the volume and play the opening to Honey Don’t Leave L.A. — this is James Taylor and his super tight studio band at the peak of their powers. Russ Kunkel hits the drum twice, then clicks his sticks together so quickly you can hardly notice it, then goes back to the drums for the rest of the intro. On a superb copy like this one, the subtleties of his performance are clearly on display. (Until copies like this one came along, we had never even noticed that stick trick. Now it’s the high point of the whole intro!) (more…)

Listening in Depth to Heart Like a Wheel

Yet another album we are clearly obsessed with

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.

Heart Like a Wheel

and click on this link to the

Classic Tracks

entry for the album to read about it in real  depth

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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…)

Today’s Heavy Vinyl Mediocrity – Linda Ronstadt’s Greatest Hits on DCC

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[This review was written many years ago, around 2004 I think.  This was one of the first DCC records I did a shootout with against regular TML domestic pressings and found wanting.]

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 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 good pressing.  (more…)