Top Producers – Russ Titelman

James Taylor – Gorilla

More James Taylor

More of Our Favorite Pure Pop Recordings

  • Soulful JT at his best, an underappreciated album by the man who single-handedly created a new genre of music
  • “Mexico,” “How Sweet It Is (To Be Loved By You)” and “I Was A Fool To Care” are standouts – but, honestly, there simply are no weak tracks to be found on either side
  • 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.”
  • We’ve recently compiled a list of records we think every audiophile should get to know better, along the lines of “the 1001 records you need to hear before you die,” with an accent on the joy these amazing audiophile-quality recordings can bring to your life. Gorilla is a good example of a record audiophiles may not know well but might just benefit from getting to know better
  • If I were to compile a list of Must Own Rock and Pop Albums from 1975, this album would definitely be on it

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.

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.

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Ry Cooder – A Great Recording of Stringed Instruments

More of the Music of Ry Cooder

Hot Stamper Pressings of Roots Rock Albums Available Now

Much like our best copies of Jazz, this pressing really conveys the live-in-the-studio performance qualities of the music. This is a tight ensemble working at the top of their game, no surprise there; Ry surrounds himself with nothing but the best.

Absolutely crucial to this album is the sound of the various stringed instruments. Over the course of the two sides you’ll be treated to many different styles of guitar — electric, slack-key, Hawaiian, bottleneck, steel, and acoustic — plus mandolin, mandola, tiple, and more. You’ll need an open and spacious copy with superb transparency and clarity to fully appreciate the lovely and unusual sounds of these instruments.

Like we’ve said about Ry Cooder’s Jazz, rounding up a panoply of relatively exotic instruments for an album doesn’t make it especially noteworthy. Thankfully, it’s obvious that Ry Cooder’s up to a lot more than that. Using an ensemble of seriously talented musicians, as well as studio engineers who really understand how to capture these instruments, Cooder again succeeds in giving the audiophile public a full course spread of lovely and uncommon sounds.

What to Listen For

What typically separates the killer copies from the merely good ones are three qualities that we often look for in the records we play: transparency, speed, and lack of smear.

Transparency allows you to hear into the recording, reproducing the ambience and subtle musical cues and details that high-resolution analog is known for.

Note that most Heavy Vinyl pressings being produced these days seem to be quite Transparency Challenged. Lots of important musical information — the kind we hear on even second-rate regular pressings — is simply nowhere to be found.

Lack of smear is also important, especially on a recording with so many plucked instruments. The speed and clarity of the transients, the sense that fingers are pulling on strings, strings that are ringing with tonally correct harmonics, is what makes these Ry Cooder records so much fun to play.

The best copies really get that sound right, in the same way that the best copies of Cat Stevens’ records get the sound of stringed instruments right.

No two pieces of electronics will get this record to sound the same, and some will fail miserably. If vintage tube gear is your idea of good sound, this record may help you to better understand where its shortcomings lie.

These Are Some of the Qualities We’re Listening For in Our Ry Cooder Shootouts

Further Reading

Rickie Lee Jones on Rhino – Not Our Idea of Good Sound, and We Hope Not Yours

More of the Music of Rickie Lee Jones

Reviews and Commentaries for Rickie Lee Jones’ First Album

Sonic Grade: D

We were fairly unimpressed with the Rickie Lee Jones on Warners that came out a few years back [2008, time flies!].

It has that same phony Modern Mastering sound we find so unappealing on the Heavy Vinyl reissue of Blue. (We seem to be pretty much alone in not liking that one, and we’re proud to say we still don’t like it. We encourage you to play The Blue Game and maybe you’ll see why we feel the way we do.)

We liked the new Sweet Baby James Hoffman and Gray cut. We note in our review that

Hoffman and Gray can take pride in this Sweet Baby James. It’s some of the best work I’ve heard from them to date. If more DCC and Heavy Vinyl reissues sounded like this, we wouldn’t be so critical of them. Unfortunately they don’t, and there are scores of pages of commentary on the site to back up that statement for those of you interested in the subject.

We went on to say

The amazing transparency and dynamic energy of the best originals will probably never be equaled by an audiophile pressing like this. (It hasn’t happened yet and we remain skeptical of the possibility.) Considering that this pressing is sure to beat most reissues, imports and other such like, we have no problem heartily recommending it to our customers, especially at the price.

So, What’s Wrong With Rickie Lee?

Simple. They took a somewhat artificial, hi-fi-ish, close-miked, heavy-on-the-reverb recording and made it sound even more artificial, phony and hi-fi-ish (but less-heavy-on-the-reverb; there is always a noticeable loss of resolution in these modern mastering jobs).

What were they thinking?

The best copies have warmth, richness and sweetness to balance out the more unnatural elements in the recording. Copies with these qualities are not that common, but we’ve run across plenty of them in our shootouts and proudly offered them for sale, where of course they sold quickly for lots of money. Major league audiophile appeal, this one. In its day it was heavily demo’ed in every stereo store in town, and for good reason — the sound positively jumps out of the speakers.

It’s a Trap

The average copy of this album is a sonic disaster, akin to the average copy of Famous Blue Raincoat or — gulp, even worse — Graceland. If you’re a detail freak, this Rhino pressing may be just what you are looking for. It’s got detail all right.

But all that phony detail obscures what is wrong with the sound. Overly detailed sound is a trap.

Plenty of recordings designed to appeal to audiophiles strike us as being phony in this way. Stan Ricker cut a lot of overly-detailed records for Mobile Fidelity in the ’70s and ’80s, records that may have sounded fine on the lo-rez stereos of that era (like the one I owned), but are positively painful to play on the top quality equipment that is available (but rare) today. [1]

I would hope that the audiophile community would have developed their listening skills to a level sufficient to recognize what this pressing doesn’t have — warmth, richness and sweetness — but I get the feeling I will be proved wrong yet again in that regard.

High Performance?

Rhino Records has really made a mockery of the analog medium. Rhino bills their releases as pressed on “180 gram High Performance Vinyl”. However, if they are using performance to refer to sound quality, we have found the performance of their vinyl to be quite low, lower than the average copy one might stumble upon in the used record bins.

The CD versions of most of the LP titles they released early on are far better sounding than the lifeless, flat, pinched, so-called audiophile pressings they released starting around 2000. The mastering engineer for this garbage actually has the nerve to feature his name in the ads for the records. He should be run out of town, not promoted as a keeper of the faith and defender of the virtues of “vinyl”. If this is what vinyl sounds like I’d switch to CD myself.

And the amazing thing is, as bad as these records are, there are people who like them. I’ve read postings on the internet from people who say the sound on these records is just fine.

Their Grateful Dead titles sound worse than the cheapest Super Saver reissue copies I have ever heard.

The Yes Album sounds like a cassette, a mere ghost of the real thing.

[1] This is what the Revolutionary Changes in Audio link is all about. If you haven’t taken advantage of the many new technologies that make LP playback dramatically better than it was even five or ten years ago, Rickie Lee Jones’ first album won’t do what it’s supposed to do.

Trust me, there’s a world of sound lurking in the grooves of the best copies that simply cannot be revealed without Walker cleaning fluids, the Talisman, Aurios, Hallographs, top quality front ends, big speakers and all the rest.

Our playback system is designed to play records like RLJ with all the size, weight and power of the real thing.

An accurate playback system will reveal that this pressing is nothing but a fraud.

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Ry Cooder – Chicken Skin Music

More Ry Cooder

More Roots Rock

  • An early Reprise pressing of Cooder’s 1976 release boasting incredible Nearly Triple Plus (A++ to A+++) sound throughout – just shy of our Shootout Winner
  • Both of these sides are super transparent, lively and tonally correct from top to bottom with lots of deep, well-defined bass and exceptionally present and breathy vocals
  • The stringed instruments all sound natural, correct, and wonderful, with the accordion sounding particularly good here — you can really hear the instrument moving some air
  • 4 stars: “Chicken Skin Music is probably Ry Cooder’s most eccentric record since his first, but it’s also one of his most entertaining.”

These Nearly White Hot Stamper pressings have top-quality sound that’s often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers (“relative” meaning relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don’t agree, please feel free to return the record for a full refund, no questions asked.

From the moment the needle hit the groove, we were blown away by the huge soundfield and the in-the-room presence of all the musicians. Here was the massive amount of energy that had us believing that Ry and his crew were right there with us, playing their hearts out.

For me, this clearly one of Cooder’s two or three best LPs. The two cuts with Hawaiian great Gabby Pahinui are superb! What kind of cold-hearted person couldn’t love this music?

Much like the better copies of Jazz, this pressing really conveys the live-in-the-studio performance qualities of the music. This is a tight ensemble working at the top of their game, no surprise there; Ry surrounds himself with nothing but the best.

Absolutely crucial to this album is the sound of the various stringed instruments. Over the course of the two sides you’ll be treated to many different styles of guitar — electric, slack-key, Hawaiian, bottleneck, steel, and acoustic — plus mandolin, mandola, tiple, and more. You’ll need an open and spacious copy with superb transparency and clarity to fully appreciate the lovely and unusual sounds of these instruments.

Using an ensemble of seriously talented musicians, as well as studio engineers who really understand how to capture these instruments, Cooder again succeeds in giving the audiophile public a full course spread of lovely and uncommon sounds.

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Listening in Depth to Rickie Lee Jones

More of the Music of Rickie Lee Jones

Reviews and Commentaries for Rickie Lee Jones’ First Album

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 clearly 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.

Side One

Chuck E.’s in Love

Rickie’s biggest hit is a great test track for side one. The guitars should have some twang but not too much. The typical pressing errs in one of two ways here — either they are overly smooth and lacking texture, or they are a bit bright, giving the guitars a glary, hi-fi-ish sound.

Also listen for a big room around the finger snaps. If you don’t hear a lot of ambience around them you won’t hear it on the rest of the side either.

On Saturday Afternoons in 1963

This track should sound warm, sweet, and breathy, but will almost always be plagued by a bit of surface noise behind the quiet intro.

Night Train
Young Blood
Easy Money

This song is a great test for bass definition. No MoFi ever made will have the tight bass found on the best pressings of this record.

There’s a wonderful version of this song on Lowell George’s solo album that we love every bit as much. Check it out if you have a copy.

The Last Chance Texaco

Side Two

Danny’s All-Star Joint
Coolsville

Bar none the toughest test track for side two. Only a superb copy will get all the orchestral instruments right. Listen for texture on the strings, extension on the chimes, and lots of room around the timpani. This is another track with a quiet intro that will almost always be a bit noisy.

Weasel and the White Boys Cool

Much like Chuck E.’s In Love, you’ll want to hear just the right amount of twang on those guitars. If your copy doesn’t sound punchy and lively on this track, we suggest you contact us for a Hot Stamper pressing ASAP.

Company
After Hours (Twelve Bars Past Goodnight)

Further Reading

Rickie Lee Jones – Self-Titled

More Rickie Lee Jones

More Singer Songwriter Albums

  • Boasting two INSANELY GOOD Shootout Winning Triple Plus (A+++) sides, this vintage copy of Rickie Lee Jones’ debut LP could not be beat
  • 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.”
  • If you’re a Rickie Lee fan, this title from 1979 surely deserves a place in your collection

This vintage Warner Brothers LP has the kind of Tubey Magical Midrange that modern pressings barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back.

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Randy Newman – Good Old Boys

More Randy Newman

More Singer Songwriter Albums

  • 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…)

Eric Clapton – Journeyman

More Eric Clapton

More British Blues Rock

  • A superb import copy with Double Plus (A++) sound on both sides
  • Forget the commonly dry-sounding domestic copies – the pressings mastered in Germany and the UK were the only ones good enough for us to put in a shootout
  • Rich, lively, spacious – the right pressings are surprisingly good-sounding for a recording from 1989
  • The big hit was “Pretending,” but “Bad Love” (both went to Number One) won the Grammy for Best Male Rock Vocal
  • 4 1/2 stars: “… a laid-back and thoroughly engaging display of Clapton’s virtuosity. On the whole, it’s the best studio album he’s released since Slowhand.”

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Little Feat / Hoy-Hoy Sampler – A Demo Disc Disc Like No Other

More Rock and Pop Demo Discs

More Little Feat Albums We’ve Reviewed

  • An amazing Triple Plus side two and a Double Plus side one
  • This is the Big Rock Sound we love, huge and punchy with tons of space and a big bottom end
  • Knockout Demo Disc Rock and Roll sound and then some

It may contain only a handful of tracks from the Hoy Hoy album, but folks, stunning sound doesn’t begin to do justice to this EP. I would state categorically that there is not a single rock record on the TAS List that can hold a candle to it in terms of live-rock-in-your-living room blasting power. This is one of the most AMAZING DEMO DISCS of All Time. If it were an album I would put it on a Top Ten Best Sounding Rock and Pop List (if we had such a thing).

It’s really not fair to judge the Harry’s List by records like this, which have never been the man’s forte. We, on the other hand, know these kinds of records about as well as anyone, and to prove it we would love to send you this copy.

And do you know how we discovered it? We had a couple of these promos lying around, and after shooting out the Hot Stamper Hoy-Hoys, we figured what the hell, throw one of them on just for fun. To our shock and dismay, it blew the doors off our BEST Hot Stamper pressings song for song. As good as those album sides sound, the EP took the same material to an ENTIRELY NEW LEVEL of sonic splendor.

This EP may only hold four songs, but each is a Demo Disc Track of the highest order: Gringo (edited version) and Over The Edge for side one; Teenage Nervous Breakdown and Rock and Roll Doctor for side two. (more…)

Rickie Lee Jones – Good Demo Disc / Bad Test Disc

More of the Music of Rickie Lee Jones

Reviews and Commentaries for Rickie Lee Jones’ First Album

RLJ’s first album is what we would consider a Good Demo Disc but a Bad Test Disc.

Meaning that this record can sound good on really crappy stereos — which explains why it is so often heard at stereo stores and at shows, where really crappy stereos are unusually plentiful.

But it’s not what the System Doctor ordered if the goal is to work out some problem or fault with the reproduction of all your other recordings. In other words, records like this can be misleading. 

Of course, all records have that quality to one degree or another, which is why you need to use a basket of recordings to make judgments about equipment.

Don’t rely on any given recording to be The Truth. None of them are.

Wait a minute. Perhaps I spoke too soon. (more…)