Top Producers – Peter Asher

James Taylor / One Man Dog – Quick Listening Tests

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If you have a Hot Side One for One Man Dog you will know it in a hurry. The guitars and congas will leap out of your speakers at the beginning of One Man Parade.

If they don’t, forget it, move along to the next copy and keep going until you find one in which they do. There are plenty of subtle cues to separate the White Hot copies from the merely Hot, but if the sound doesn’t come to life right from the get go, it never will.

Side Two Has Bells

The first track is a bit dull on even the best copies, so don’t lose hope if your first track sounds rolled off. They almost all do. One Morning in May, the second track and the one featuring Linda Ronstadt on background vocals, is a much better test, as is track three, Instrumental II, the one with the lovely bells.

Wte paid a lot of attention to the bells on Instrumental II to help us get a handle on the top end. Sure enough, those bells are key to the best copies.

Fanfare is one of the few songs here with horns, so it became another key track. The horns need to have bite and texture, with the best copies really bringing out the breath in the sax. Any smearing or dulling of the sound and the horns go south in a hurry, along with the rest of the instruments. (more…)

James Taylor / Sweet Baby James

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Reviews and Commentaries for Sweet Baby James

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  • This STUNNING copy of Sweet Baby James boasts Shootout Winning Triple Plus (A+++) sound or very close to it from start to finish – exceptionally quiet vinyl too, especially for this album
  • All that lovely echo is a dead giveaway that this pressing has resolution far beyond that of the others you may have heard (and of course the Rhino Heavy Vinyl)
  • Top 100, inarguably a Masterpiece – Fire and Rain and Suite for 20 G (one of JT’s All Time Best) are killer here
  • 5 stars: “Sweet Baby James launched not only Taylor’s career as a pop superstar but also the entire singer/songwriter movement of the early ’70s that included Joni Mitchell, Carole King, Jackson Browne, Cat Stevens, and others…”

Vocal reproduction is key to the best sounding copies of Sweet Baby James, as it is on so many Singer Songwriter albums from the era.

To find a copy where Taylor’s vocals are front and center — which is exactly where they should be — but still rich, sweet, tonally correct and Tubey Magical is no mean feat. Only the best copies manage to pull it off.

Out of the dozen or more Green Label early pressings we play every year, relatively few have the full complement of midrange magic we know the best copies can have. As a rule of thumb, the hotter the stamper, the better the vocal reproduction on that copy.

Hot Stamper sound is rarely about the details of a given recording. In the case of this album, more than anything else a Hot Stamper must succeed at recreating a solid, palpable, real James Taylor singing live in your listening room. The better copies have an uncanny way of doing just that. (more…)

Linda Ronstadt – Living In The USA

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  • This Shootout Winning copy has Triple Plus (A+++) Demo Disc Linda Ronstadt sound throughout, and some of her biggest hits to boot!
  • Both sides are rich, Tubey Magical and spacious – Linda’s vocals on Alison are breathy and present like nothing else we played
  • Smokey Robinson’s “Ooh Baby Baby” with blistering sax work by David Sanborn has to be the highlight of the album for us

Do you have a copy that’s hard and lean in the midrange, lacking in bass down low and Tubey Magic everywhere else? We do too, more than one in fact.

Ah, but the good copies are rich, smooth, sweet 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:

  1. Back in the U.S.A.
  2. Just One Look
  3. Alison
  4. All That You Dream
  5. Oh Baby Baby
  6. Blowing Away
  7. Love Me Tender

That’s a lot of great songs on one album! (more…)

Linda Ronstadt – Get Closer

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  • Superb sound on both sides of this Asylum pressing from 1982 with each earning Nearly Triple Plus (A++ to A+++) grades, right up there with our Shootout Winner
  • Engineering prowess provided by Val Garay and George Massenburg, which means the sound is full-bodied, dynamic and lively, with plenty of bottom end punch
  • “Linda Ronstadt’s voice has never sounded better than it does on Get Closer… [her] ringing soprano vibrates with clarity and authority on the record’s best songs…” Rolling Stone, 4 Stars

(more…)

Linda Ronstadt – Lush Life

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  • An outstanding copy of Ronstadt’s 1984 release with both sides earning solid Double Plus (A++) grades – exceptionally quiet vinyl too
  • These sides were doing everything right — clean, clear, full-bodied and dynamic with wonderfully breathy vocals and a solid bottom end
  • “What’s New illustrated that Linda Ronstadt was no longer interested in contemporary pop, and since it was a surprise success, there was no reason not to repeat the formula on Lush Life. Working again with Nelson Riddle, Ronstadt runs through several pop standards — ‘When I Fall in Love,’ ‘Sophisticated Lady,’ ‘Falling in Love Again,’ ‘It Never Entered My Mind’…”

(more…)

Linda Ronstadt / Heart Like A Wheel – Does Bernie Ever Get Bored?

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Reviews and Commentaries for the Recordings of Linda Ronstadt

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Years ago we wrote:

One thing we noted with interest while doing this shootout was how compressed the first track is. When the chorus comes in, and Linda seems to be singing louder — should be singing louder, with a substantial coterie of vocalists backing her up — the volume is actually lower. In the verse immediately following you can hear that not only is she singing louder, but the amount of dynamic contrast in her voice is greater. Go figure.

The compression also means that that song will never sound the way we would wish it to. But that doesn’t mean it won’t sound good. It means it will sound good in more of a radio-friendly way. On a good copy, one with relatively little grain and plenty of bass, the music can still be very enjoyable, and that includes a Number One Pop Hit like “You’re No Good.”

Do we still see things this way? Well, yes and no. It’s not exactly that we were wrong, but that better cleaning and better playback (all that revolutions in audio stuff) have now allowed us to hear that some copies are actually much more dynamic on this track than others. Quite dynamic in fact.

Think about it. Bernie Grundman is going to cut this record many, many times, maybe more times than he wants to. Is he always going to apply exactly the same amount of compression to each cutting, or is he going to experiment a bit and see what works better over time? Or maybe he just learned a thing or two as he went along.

Which is pretty much what we do when playing copy after copy. The best pressings show us precisely what it is they are doing when they actually work. We can’t know that in advance; we’re learning on the job so to speak. (more…)

Linda Ronstadt – Prisoner In Disguise

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  • Insanely good Shootout Winning Triple Plus (A+++) sound or close to it on both sides of this copy of Prisoner, the followup to Linda’s Masterpiece, Heart Like a Wheel
  • This is an amazing recording, but it takes a special copy like this one to reveal all the magic that we know must be on the tape
  • 4 1/2 stars – Love Is a Rose, Tracks of My Tears and Heat Wave were hits, but Linda really pours her heart into Hey Mister, That’s Me up on the Jukebox
  • Andrew Gold (so critical to the success of HLAW) is still heavily involved, along with Emmylou Harris, James Taylor, Lowell George, David Lindley, JD Souther, and of course Peter Asher

The soundfield has a three-dimensional quality that was nonexistent on some of the other copies we played. Drop the needle on Many Rivers To Cross and check out the amazing sound of the organ coming from the back of the room. Only the highest resolution copies give you that kind of soundstage depth.

The piano sounds natural and weighty. The fiddle on The Sweetest Gift (played by our man David Lindley) is full of rosiny texture.

Emmylou Harris, dueting here with Linda, sings beautifully.

All in all, you will find truly Demonstration Quality Sound on the best copies. (more…)

James Taylor – JT

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  • This KILLER copy of an exceptionally well-recorded album boasts Shootout Winning Triple Plus (A+++) sound or close to it throughout
  • It’s a superb recording – a member of our Top 100, in fact – but it takes a pressing like this to show you just how BIG and LIVELY it can sound
  • The big hits Your Smiling Face and Handy Man both sound great here – thanks Val Garay!
  • 4 stars: “JT was James Taylor’s best album since Mud Slide Slim and the Blue Horizon because it acknowledged the darkness of his earlier work while explaining the deliberate lightness of his current viewpoint, and because it was his most consistent collection in years.”

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Linda Ronstadt / Heart Like A Wheel – Truly a Country Rock Masterpiece

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  • With Shootout Winning Triple Plus (A+++) grades or close to them, this copy was giving us KILLER sound for Linda Ronstadt’s Best Album
  • Both sides here are rich, full-bodied and warm, with harmonically rich guitars and real immediacy to Linda’s heartfelt vocals
  • A Must Own Classic, the best album Ms Ronstadt ever made, and a True Country Rock Masterpiece virtually without peer
  • 5 stars: “What really makes HLAW a breakthrough is the inventive arrangements that producer Peter Asher, Ronstadt, and the studio musicians have developed. …[they] help turn Heart Like a Wheel into a veritable catalog of Californian soft rock, and it stands as a landmark of ’70s mainstream pop/rock.”

I’ve been playing HLAW since the year it came out, roughly 46 years by my calculation, and I can tell you it is no easy task to find this kind of smooth, sweet, analog sound on the album. Folks, we heard it for ourselves: the Heart Like A Wheel magic is here on practically every song.

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.

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. (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 up against run-of-the-mill Mastering Lab domestic pressings, only to find, somewhat surprisingly, at least at that time, that the DCC came up short, as you will see in the review below.]

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 cleaner, 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 properly mastered, properly pressed LP. 

I like rich sounding records just like Steve does, but his version of this title is too rich for my blood. If your system is lean sounding you may prefer the DCC, but we found it less than agreeable over here.