This outstanding pressing boasts solid Double Plus (A++) sound from start to finish – exceptionally quiet vinyl too
An extremely tough album to find with the kind of big, spacious, Tubey Magical sound this pressing offers
Clean, clear and open are nice qualities to have, but the richer, smoother, more natural sounding copies are the ones that win our shootouts
4 1/2 stars: “…he was never more in tune with his audience: Still Crazy topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance.”
If you’re a Paul Simon fan, this has to be considered a Must Own Title of his from 1975.
The complete list of titles from 1975 that we’ve reviewed to date can be found here.
The overall sound here is big and rich. You get texture to the instruments (check the strings in the title track) but a smooth quality to the vocals instead of the grit and strain you hear on most copies. There’s extension up top and weight down low. (more…)
You’ll find Shootout Winning Triple Plus (A+++) sound on side two of this killer copy, the best sounding album Billy Joel ever made
Side two is especially clean, clear and present, yet still rich and full-bodied — you’ll have a hard time finding a better sounding pressing on the planet
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
4 stars on Allmusic, Grammy award for Album of the Year, and Billy Joel’s best batch of songs, even better than The Stranger
“…he dazzles with his melodic skills and his enthusiastic performances… not only… one of the biggest-selling artists of his era, but one of the most enjoyable mainstream hitmakers”
In our opinion this is the Best Sounding album Billy Joel ever made, and when you hear this pressing you’ll understand why.
We heard some amazing sound coming from the grooves of 52nd Street, but let’s give credit where credit is due — the recording and mastering engineers involved with this album. Jim Boyer and Ted Jensen can both take great pride in the SUPERB work they have done here. (more…)
You’ll find outstanding Double Plus (A++) sound from first note to last on this copy of Joel’s ninth studio album
Dynamic and open, with driving rhythmic energy – this early pressing brings this great batch of songs to life
Jam packed with hits: An Innocent Man, The Longest Time, Tell Her About It, Uptown Girl, Leave a Tender Moment Alone, and more – seven singles in all
4 stars: “[H]e’s effortlessly spinning out infectious, memorable melodies in a variety of styles, from the Four Seasons send-up “Uptown Girl” and the soulful “Tell Her About It” to a pair of doo wop tributes, “The Longest Time” and “Careless Talk.” Joel has rarely sounded so carefree either in performance or writing, possibly due to “Christie Lee” Brinkley, a supermodel who became his new love prior to An Innocent Man.”
Both of these sides have the huge soundstage and startling clarity and immediacy that characterizes this album, but they also add an ingredient missing from most we heard — a full, rich, musical midrange!
On many pressings, the vocals can get hard and harsh on the uptempo tracks (“Uptown Girl” is a notable offender, and never sounds quite as good as the rest of the album), but this copy manages to fix that problem (mostly) without sacrificing transparency or top end.
This was a monster in its day, generating a Number One hit and seven total single releases out of the ten songs that comprise it. Seven out of ten, not a bad track record. We couldn’t find a weak song on the album either, which is surely one of the reasons it sold seven million copies in the states alone. (more…)
We heard some amazing sound coming from the grooves of 52nd Street, but let’s give credit where credit is due — the recording and mastering engineers involved with this album. Jim Boyer and Ted Jensen can both take great pride in the SUPERB work they have done here.
The first two tracks on side one really tell you everything you need to know about the sound of the side. It’s all about balance.
Big Shot is a big, balls-out rock song that packs a lot of punch. Typically the problem you run into is compression. When you get too much compression, the top end becomes pinched and shrill. You can hear this on Billy Joel’s vocals in the verses and in the guitar solo during the outro. Most copies make those squealing guitar notes rip your head off. The best copies give you a full-bodied Billy Joel; if he doesn’t sound right, what’s the point? Next!
Also, listen to the cymbal crashes throughout the song. They should really sound like cymbals and not like someone making explosion noises through a walkie-talkie. (Believe me, this analogy hurts me too, but they can really sound god-awful on some pressings.)(more…)
Records with too much bass and especially too much top end can’t be played loud. The louder you play them the worse they sound. Try playing the average MoFi at a loud volume. All that extra 10k starts to make your brain hurt. The CBS half-speed of this album is like that. It’s frustrating — the music makes you want to turn it up but the sound says forget it. Not the good pressings. They sounds BETTER when you play them loud.
You know how you can tell when you have a Hot Stamper? It’s the side you play through to the end. When the sound is right you want to hear more. Since the opening track of this record is one of the keys to knowing whether it’s mastered and pressed properly, once you get past the sibilance hurdle on track one, the next step is to find out how the challenges presented by the rest of the tracks are handled on any given LP. Some advice follows. (more…)
DEMO DISC LIVE ROCK CONCERT SOUND, Baby! This one has it ALL. The sound has so many wonderful ANALOG qualities when you get a good copy — the hash and hardness of the typical pressing just disappears, leaving surprisingly transparent and sweet sound on virtually every track. The WHOMP FACTOR here is off the scale. There are few studio recordings that have these kinds of dynamics. We forget how compressed most of them are. It takes a record like this to show you how much LIFE there is in LIVE MUSIC.(more…)