With a Triple Plus (A+++) shootout winning side one and a superb Double Plus (A++) side two, this copy could not be beat
The unprocessed quality found throughout the album has its audiophile credentials fully in order, especially in the area of guitar harmonics, as well as drums that sound like real drums actually sound
The foundation of the music is provided by two legendary guitar heavyweights, Bert Jansch and John Renbourn, with Jacqui McShee’s almost unbearably sweet vocals soaring above them
The best material from Pentangle’s amazing first six albums, with sound that’s full of British Analog Tubey Magic
“Pentangling is filled to the brim with some of the finest recordings the British folk movement had to offer…”
This album presents the classic 1969 lineup at its best, with superior sonics to boot.
The unprocessed folky sound found throughout the album has its audiophile credentials fully in order, especially in the area of guitar harmonics, as well as drums that sound like real drums actually sound. (How many of the ’70s rock albums in our Top 100 have that natural drum sound? Not many when you stop to think about it.)
When I was selling audio equipment back in the ’70s this was one of our Demo Discs. The song Pentangling has beautifully recorded drums and string bass. The first track, I’ve Got A Feeling, is lovely as well.
Notice how there is nothing — not one instrument or voice — that has a trace of hi-if-ishness. No grain, no sizzle, no zippy top, no bloated bottom, nothing that reminds you of the phony sound you hear on audiophile records at every turn. Silky sweet and Tubey Magical, this is the sound we love here at Better Records.(more…)
This very nice Nautilus Half-Speed Mastered LP has SURPRISINGLY GOOD SOUND and plays pretty quiet, mostly Mint Minus. We played this against the 180g Discovery reissue that Doug Sax remastered and it SMOKED it. What a piece of muddy trash that Discovery pressing is.
Members of both Toto and Chicago play on this album, so fans of either should get a kick out of this music.
Lee Ritenour has long been the perfect studio musician, one who can melt into the background without making any impact. While he possesses impressive technique, Ritenour has mostly played instrumental pop throughout his career, sometimes with a Brazilian flavor. His few jazz efforts have found him essentially imitating Wes Montgomery, but despite that he has been consistently popular since the mid-’70s. After touring with Sergio Mendes’ Brasil ’77 in 1973, Ritenour became a very busy studio guitarist in Los Angeles, taking time off for occasional tours with his groups and in the mid-’90s with Bob James in Fourplay. He also recorded many albums as a leader.