- Amazing Shootout Winning Triple Plus (A+++) As Good As It Gets sound on both sides – maybe the best copy to ever hit the site
- You can thank Ken Scott for his Tubey Magical engineering and Richard Perry for his Big As Life production approach – this is our kind of sound!
- It’s one of Harry Nilsson’s four Must Own albums – for both sonics and music this copy is going to be very hard to beat
- “… a fantastic set of songs that illustrate what a skilled, versatile songsmith Nilsson was… if you appreciate Nilsson’s musicality and weirdo humor, he never got any better.” – All Music
The immensely talented engineer ROBIN GEOFFREY CABLE worked his audio magic on this album. You may recall that he recorded a number of the greatest sounding rock records of all time, Elton John’s self-titled second album and Tumbleweed Connection, both in 1970, as well as this album and Nilsson Schmilsson in 1972, with Richard Perry producing.
One more note: having your VTA set just right is critical to getting the best out of this album. The loudest vocal parts can easily strain otherwise. Once you get your settings dialed in correctly, a copy like this will give you the kind of rich, sweet sound that brings out the best in this music. (more…)
- With a Triple Plus (A+++) shootout winning side one and a Double Plus (A++) side two, this copy would be hard to beat
- The sound was huge, rich, Tubey Magical, smooth and – gulp! – natural in a way that no other copy was
- The big hits are here: Photograph, You’re Sixteen, Oh My My and many, many more
- “Ringo’s best and most consistent new studio album, Ringo represented both the drummer/singer’s most dramatic comeback and his commercial peak.”
This copy had the top and bottom that was missing from most of the pressings we played. It also had tremendous energy throughout, especially noticeable on a song like Photograph.
Like Nilsson Schmilsson, an amazing Richard Perry production with much the same amazing sound, the bad copies are really just awful — veiled, smeary, compressed, rolled off up top and leaned out down low. It’s a big studio pop production with a lot going on; when it doesn’t work it really doesn’t work. Thankfully, on some copies it does, and this is one of those. (more…)
Jump Into The Fire is one of the best tests we used for side two. Copies that are too smooth make the “just bass and drums” intro sound thick and smeared. Too bright and the vocals will tear your head off. The “just right” copies rock from the start and never get too far out of control, even when Harry does. The best we can hope for is that the loudest vocal parts stay tolerable. Believe me, it is not that easy to find a copy that’s listenable all the way through, not at the high volume I play the record at anyway!
Again, with Nilsson screaming at the top of his lungs you better have a good copy to get through this track, and even then it’s a bit of a problem.
A tough test for the old stereo, that’s for sure. Make sure your equipment is tuned up and the electricity is good before you get anywhere near a pressing of this album.
Big production pop like this is hard to pull off. Harry did an amazing job, but the recording is not perfect judging by the dozen or so copies I played this week and the scores I’ve suffered through before. Let’s face it: Jump Into The Fire will never be smooth and sweet; neither will Down on side one. But other tracks on this album have DEMONSTRATION QUALITY SOUND. (more…)