- A superb pressing, earning Nearly Triple Plus (A++ to A+++) grades on both sides, right up there with the best we heard in our shootout all day
- 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.”
- 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…)
Presenting another entry in our extensive Listening in Depth series with plenty of advice on What to Listen For (WTLF) as you critically evaluate your copy of RLJ.
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…)