Top Producers – Peter Asher

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.

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:

Back in the U.S.A.;

Just One Look;

Alison;

All That You Dream;

Oh Baby Baby;

Blowing Away and

Love Me Tender.

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

James Taylor / JT – Listening in Depth

Musically this is one of Taylor’s best. Every track is good and many are wonderful. There are five or six James Taylor records that are Desert Island Discs for me. I know they probably wouldn’t let me take six of the same artists’ records to my island, but I would hope they would make an exception for James Taylor, because his albums really do set a standard that few other singer/songwriters’s albums can meet.

Start with Sweet Baby James, the first album (which we can’t find for you because only the British ones sound good and they are just to hard to find in clean condition) and JT. The next group to pursue would contain Mud Slide Slim, One Man Dog and Dad Loves His Work, and then maybe Flag.

As audiophiles we all know that sound and music are inseparable. After dropping the needle on a dozen or so copies, all originals by the way, you KNOW when the music is working its magic and when it’s not. As with any pop album there are always some songs that sound better than others, but when you find yourself marvelling at how well-written and well-produced a song is, you know that the sound is doing what it needs to do. It’s communicating the Musical Values of the material.

The most important of all these Musical Values is ENERGY, and boy do the best copies have it

In-Depth Track Commentary

Side One

Your Smiling Face

Our favorite test track for side one. The best copies have bass and drums that are hard to beat!

There We Are
Honey Don’t Leave L.A.

One of the toughest tests for side one is the sax solo in this song. You want the sax to be breathy and full with just the right amount of bite. If it doesn’t have enough bite, the sound is going to be overly smooth elsewhere.

Another Grey Morning

You’ll almost always be battling at least a bit of surface noise on this quiet track. On the best copies the sound will be tubey-magical, with plenty of warmth, richness, and sweetness.

Bartender’s Blues
Secret O’ Life

Side Two (more…)

Linda Ronstadt / Prisoner In Disguise – Give It Up Again For Val Garay

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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 pretty much nonexistent on most 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, is SUPERB, with truly Demonstration Quality Sound on the best copies.

The acoustic guitars are tonally Right On The Money throughout — the transient information is captured perfectly. Listen to the opening guitar in the right channel of The Sweetest Gift; we used it as a test track and when that guitar is RIGHT THERE you know you have a copy with Hot Stampers. (more…)

Linda Ronstadt – Hasten Down The Wind

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  • Two incredible sides each earning Shootout Winning Triple Plus (A+++) grades, making this the best copy to ever hit the site
  • This copy is doing it all right — huge, rich and lively, with Linda’s vocals reproduced to near perfection
  • “Her big but pretty voice is a stunning instrument for expressing feelings, particularly intense feelings that require a slightly understated delivery… a fine album that begs closer inspection than, I fear, many of us are willing to give to Linda Ronstadt’s art. Like the best moments of the preceding nine, though, the best moments of Hasten Down the Wind will be with us a long, long time.”

The sound is rich, smooth, full-bodied and natural on both sides. In other words, this is Classic Analog from the ’70s, recorded by none other than Val Garay, one of our favorite engineers.

Most pressings of this album have quite obvious problems. If you own the record see if you don’t notice some of them on your own copy. Some have a phony boosted top end, a subject we have discussed on Linda’s records before. Some are just too fat and Tubey. Perhaps the result of too much Aphex Aural Excitement? Some are thick, some are thin, some are too clean, some are not clean enough, every sonic issue you can imagine can be heard on this album if you have enough copies to play, and we had plenty.

We know that this copy is about as correct as can be. We know because we cleaned and played it and listened to it critically in comparison to other copies, and we did it all by ourselves. (Of course we did. There’s really no other way to do it.) (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

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