Top Producers – Lenny Waronker

Rickie Lee Jones – Self-Titled

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Reviews and Commentaries for Rickie Lee Jones’ First Album

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  • A KILLER copy of Rickie Lee’s self-titled debut, with Shootout Winning Triple Plus (A+++) sound or very close to it throughout
  • Exceptionally present, real and resolving, this pressing is guaranteed to murder any remastering undertaken by anyone, past, present and future
  • The superbly talented musicians and engineers deserve much of the credit for making this album a Grammy Winning Must Own Audiophile Favorite
  • 4 stars: “One of the most impressive debuts for a singer/songwriter ever, this infectious mixture of styles not only features a strong collection of original songs but also a singer with a savvy, distinctive voice that can be streetwise, childlike, and sophisticated, sometimes all in the same song.”

(more…)

Randy Newman – Good Old Boys

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  • A superb original pressing of Good Old Boys, with Nearly Triple Plus (A++ to A+++) sound on both sides – just shy of our Shootout Winner
  • We guarantee there is dramatically more space, richness, vocal presence, and performance energy on this copy than others you’ve heard, and that’s especially true if you made the mistake of buying whatever Heavy Vinyl pressing is currently on the market
  • 5 Stars: “Good Old Boys is one of Newman’s finest albums; it’s also one of his most provocative and infuriating, and that’s probably just the way he wanted it.”

With Lenny Waronker and Russ Titelman producing, and Lee Herschberg and Donn Landee engineering, this album has the exceptionally smooth, rich, analog sound you would expect to find on a production guided by these men. It also happens to be a sound we love here at Better Records.

It’s the sound of vintage Reprise from 1974. (more…)

James Taylor – Gorilla

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  • Two insanely good Shootout Winning Triple Plus (A+++) sides for one of James Taylor’s best softer rock albums
  • Soulful JT at his best, an underappreciated album by our man and one that belongs in your collection
  • Mexico, How Sweet It Is (To Be Loved By You) and I Was A Fool To Care are standouts – there are no weak tracks here
  • Rolling Stone notes, “With Gorilla, Taylor is well on his way to staking out new ground. What he’s hit upon is the unlikely mating of his familiar low-keyed, acoustic guitar-dominated style with L.A. harmony rock and the sweet, sexy school of rhythm and blues.”

*NOTE: On side one, a mark makes 12 light ticks at the beginning of Track 1, Mexico.

This is soft rock at its best, made up primarily of love songs, and helped immensely by the harmonically-gifted backing vocals of Graham Nash and David Crosby.

Rolling Stone notes that “With Gorilla, Taylor is well on his way to staking out new ground. What he’s hit upon is the unlikely mating of his familiar low-keyed, acoustic guitar-dominated style with L.A. harmony rock and the sweet, sexy school of rhythm and blues.”

To be honest, the recording of Gorilla itself cannot compete with the likes of Sweet Baby James or JT, both of which are Top 100 Titles. It can be a good sounding record, not a great one, certainly not in the same league as those two. (more…)

Classic Tracks: “How Sweet It Is (to Be Loved by You)”

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Mixonline Classic Tracks

BY ROBYN FLANS

How sweet it is! The James Taylor track of that name with Carly Simon vocals and a David Sanborn sax solo went to Number 5 on the Billboard 100 in 1975, dominating radio and adding a sweet voice to the din of the turbulent mid-1970s.

The Russ Titelman/Lenny Waronker production of “How Sweet It Is (To Be Loved By You)” became the most successful version of the Holland-Dozier composition, originally recorded by Marvin Gaye in 1964. (more…)

Ry Cooder – Self-Titled

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More Debut Albums of Interest

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  • You’ll find outstanding Double Plus (A++) sound on both sides of this vintage Reprise pressing of Cooder’s debut album from 1970 – fairly quiet vinyl too
  • If you want to hear the brilliant Lee Herschberg’s All Analog Recording skills brought to bear on so many different instruments serving an assortment of sonic textures, this is the copy that will let you do it
  • 4 stars: “Cooder’s debut creates an intriguing fusion of blues, folk, rock & roll, and pop, filtered through his own intricate, syncopated guitar; Van Dyke Parks and Lenny Waronker’s idiosyncratic production… Cooder puts this unique blend across with a combination of terrific songs, virtuosic playing, and quirky, yet imaginative, arrangements.”

The music reminds me a lot of early Little Feat, which is a good thing. The sound is somewhat similar as well, which is to say that it is natural and musical, nothing like the hyped-up hi-fi sound of his TAS-listed album Jazz — and that’s a good thing as well.

There are some great songs here, including My Old Kentucky Home, One Meat Ball and How Can A Poor Man Stand Such Times And Live. It may even be his best album.

This Reprise stereo pressing has the kind of Tubey Magical Midrange that modern records rarely even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.

What the Best Sides of Ry Cooder Have to Offer Is Not Hard to Hear

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1970
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with all the instruments having the correct timbre
  • Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

Lee Herschberg

One of the top guys at Warners, Lee Herschberg recorded and mixed this album (with the help of four other engineers), as well as a number of others by Ry Cooder. You’ll also find his name on many of the best Doobie Brothers, Gordon Lightfoot and Frank Sinatra album credits, albums we know to have potentially excellent sound, not to mention an album most audiophiles know all too well, Rickie Lee Jones’ debut.

His pop and rock engineering credits run for pages. Won the Grammy for Strangers in the Night even.

The most amazing jazz piano trio recording we know of is on the list as well: The Three (Shelly Manne, Ray Brown and Joe Sample), along with most of the other Direct to Disc recordings released on Eastwind such as those by the LA Four.

What We’re Listening For on Ry Cooder’s brilliant debut

  • Energy for starters. What could be more important than the life of the music?
  • The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
  • Then transient information — fast, clear, sharp attacks for the piano, guitar, mandolin, and percussion, not the smear and thickness common to most LPs.
  • Tight, note-like bass with clear fingering — which ties in with good transient information, as well as the issue of frequency extension further down.
  • Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the players.
  • Then: presence and immediacy. The musicians aren’t “back there” somewhere, way behind the speakers. They’re front and center where any recording engineer worth his salt would have put them.
  • Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

Unusual Instrumentation

Like any Ry Cooder album, part of the charm here is the selection of unusual instruments that Ry and his cronies like to play.

But the variety of instruments alone are not what makes it so enjoyable, it’s that Cooder has a knack for knowing exactly what elements will work musically in a song. Anyone can find a few exotic elements and throw them together, but our man Ry has the good sense to use only the ideas and instruments that work for the material at hand.

It’s why Jazz, Chicken Skin Music, and Buena Vista Social Club — albums that are fairly different from one another — are equally successful, each in its own way. A lot of people can do these things, but only Ry can do them this well.

Vinyl Condition

Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and one side is even quieter than that. Since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of later pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic that is a key part of the appeal of these wonderful recordings.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.

A Must Own Pop Record

We consider Ry Cooder’s debut a Masterpiece. It’s a recording should be part of any serious popular Music Collection. Others that belong in that category can be found here.

TRACK LISTING

Side One

Alimony
France Chance
One Meatball
Do Re Mi
My Old Kentucky Home (Turpentine and Dandelion Wine)
How Can a Poor Man Stand Such Times and Live

Side Two

Available Space
Pigmeat
Police Dog Blues
Goin’ to Brownsville
Dark Is the Night

AMG Review

Cooder’s eponymous debut creates an intriguing fusion of blues, folk, rock & roll, and pop, filtered through his own intricate, syncopated guitar; Van Dyke Parks and Lenny Waronker’s idiosyncratic production; and Parks and Kirby Johnson’s string arrangements… Cooder’s need to stretch, tempered with a reverence for the past, helps to create a completely original work that should reward adventurous listeners.

James Taylor – Gorilla

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More Gorilla

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  • Two outstanding Double Plus (A++) sides, with excellent sound for one of James Taylor’s best softer rock albums
  • Soulful JT at his best, an underappreciated album by our man and one that belongs in your collection
  • Mexico, How Sweet It Is (To Be Loved By You) and I Was A Fool To Care are standouts – there are no weak tracks here
  • Rolling Stone notes, “With Gorilla, Taylor is well on his way to staking out new ground. What he’s hit upon is the unlikely mating of his familiar low-keyed, acoustic guitar-dominated style with L.A. harmony rock and the sweet, sexy school of rhythm and blues.”

This is soft rock at its best, made up primarily of love songs, and helped immensely by the harmonically-gifted backing vocals of Graham Nash and David Crosby.

Rolling Stone notes that “With Gorilla, Taylor is well on his way to staking out new ground. What he’s hit upon is the unlikely mating of his familiar low-keyed, acoustic guitar-dominated style with L.A. harmony rock and the sweet, sexy school of rhythm and blues.”

To be honest, the recording of Gorilla itself cannot compete with the likes of Sweet Baby James or JT, both of which are Top 100 Titles. It can be a good sounding record, not a great one, certainly not in the same league as those two. (more…)

Listening in Depth to Rickie Lee Jones

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Presenting another entry in our extensive Listening in Depth series with advice on what to listen for as you critically evaluate your copy of RLJ.

Here are some albums currently on our site with similar Track by Track breakdowns.

On the best of the Hot Stamper copies it becomes abundantly clear just how well the string bass was recorded — assuming you like the close-miked, maximum-presence quality they were after. You hear all the fingering, the wood of the body resonating; all the stuff you could never hear live unless you were ten feet from the guy. Natural it’s not, but natural is not what most hit records are all about anyway.

Credit — or blame — belongs squarely with LEE HERSCHBERG.  There’s no question that he knew exactly what he was doing, he’s the pro’s pro, so let’s give him credit for making the sound of the record really POP. (more…)