More Elton John
More Reviews and Commentaries for Goodbye Yellow Brick Road
The richness, sweetness and freedom from artificiality is most obvious where you often hear it on a Pop Rock Big Production like GYBR: in the loudest, densest, most climactic choruses.
We set the playback volume so that the loudest parts of the record are as huge and powerful as they can possibly become without crossing the line into distortion or congestion.
On some records, Dark Side of the Moon comes instantly to mind, the guitar solos on Money are the loudest thing on the record.
On Breakfast in America the sax toward the end of The Logical Song is bigger and louder than anything on the record, louder even than Roger Hodgson’s near-hysterical multi-tracked screaming “Who I am” about three quarters of the way through the track. Those, however, are clearly exceptions to the rule. Most of the time it’s the final chorus of a pop song that gets bigger and louder than what has come before.
A pop song is usually designed to build momentum as it works its way through the verses and choruses, past the bridge, coming back around to make one final push, releasing all its energy in the final chorus, the climax of the song. On a good recording — one with real dynamics — that part of the song should be very loud and very powerful.
Testing the Climaxes
The climax of the biggest, most dynamic songs are almost always the toughest tests for a pop record, and it’s the main reason we play our records loud. The copies that hold up through the final choruses of their album’s largest scaled productions are the ones that provide the biggest thrills and the most emotionally powerful musical experiences one can have sitting in front of two speakers. Our Top 100 is full of records that reward that kind of intense listening at loud levels.
We live for that sound here at Better Records. It’s precisely what the best vintage analog pressings do so brilliantly. In fact they do it so much better than any other medium that there is really no comparison, and certainly no substitute. If you’re on this site you probably already know that.
Two to Listen For
Number one: Too many instruments and voices jammed into too little space in the upper midrange. When the tonality is shifted-up, even slightly, or there is too much compression, there will be too many elements — voices, guitars, drums — vying for space in the upper part of the midrange, causing congestion and a loss of clarity.