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Elton John – Self-Titled

More Elton John

Reviews and Commentaries for Elton John’s Second Album

  • This is an original UK pressing with superb sound — it’s a Must Own album for all right thinking audiophile record lovers, not just Elton John fans
  • No modern record has ever sounded like this – these sides are HUGE, with sound that positively jumps out of the speakers
  • Some of the most remarkable string arrangements (and Tubey Magical string sound) ever recorded for a pop album
  • 4 1/2 stars: “Even with the strings and choirs that dominate the sound of the album, John manages to rock out on a fair share of the record. …Elton John remains one of his best records.”

Folks, if you’re looking for Classic Popular Music that still appeals to sophisticated adults fifty-plus years after it came out, this is the album for you. It’s one of the four Classic Elton John records (five if you count GYBR) that belong in every right-thinking audiophile’s collection.

(The others are, in order of quality: #1) Tumbleweed Connection, #2) Honky Chateau, #3) Goodbye Yellow Brick Road , and #4) Madman Across the Water.)

It’s full of analog Tubey Magic — the richness, sweetness, and warmth are nothing short of stunning. The transparency, clarity, texture, dynamics, energy, spaciousness, and three-dimensionality of this recording are really something to be heard.

The piano has real weight, the vocals are breathy and full, and the string tone is some of the best we have ever heard on a pop album.

Drop the needle on Border Song. When it hits the big “Holy Moses” chorus, you can pick out and follow all the different voices. What sounds like a harp on Sixty Years On is actually a Spanish Guitar. Whatever it is, it’s positively sublime on the best pressings.

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Elton John / Self-Titled – In Audio, We Live and Learn, Or At Least We’re Supposed To

More of the Music of Elton John

Reviews and Commentaries for Elton John’s Self-Titled Second Album

A classic case of Live and Learn.

Scroll down to read what we learned from our from a while back. To illustrate how the game is played we’ve copied some of the previous commentary into this listing to show the change in our understanding from 2004 to about 2010 or so, which is when all this was probably written.

Live and Learn, Part One

These domestic original pressings have the very same stamper numbers as the British pressings. It appears that the metalwork was produced in England and shipped to America for pressing on domestic vinyl. What’s strange is that the American pressings are consistently brighter than the British pressings. Why this should be is a mystery, but I have a theory to explain it. The British stampers are used to make British LPs on that lovely see-through purple vinyl, and I’m guessing that that compound is a little smoother sounding than the vinyl that Uni uses. Either that or there is some other way that Uni produces their records so that they end up being brighter, even using the exact same stampers as the British ones.”

Partly true. We have five British copies in stock, and the reason they don’t sound as good probably has less to do with British vinyl and more to do with the fact that the British ones we have are not the stampers we like the best. The domestic pressings with our favorite stampers have more highs and better highs and just plain sound better to us now.

Notice how I completely contradict myself below, yet both listings were up on the site all this time and nobody, especially me, seems to have noticed.

Live and Learn, Part Two

These original British pressings, with the lovely see-through purple vinyl, are the only good sounding versions of this album that I have ever heard. As you can imagine they are extremely difficult to come by in clean condition.

What is there to say about such a bald-faced turnabout? Simple. We make our judgments based on the records we have on hand to play. When better pressings come along, or our equipment improves to the point where we can appreciate other pressings, we will happily and unhesitatingly report what we hear.

There is not now, nor can there ever be, an absolutely correct answer to the question, “Which is the best version of Record X?”

All knowledge is provisional. We do the best we can, and we think we do it better than anybody else. That said, we keep our minds and our ears open to new and better pressings whenever they come our way. (If the remastered Blue had sounded good, I would have been perfectly happy to say so and sell them to all our customers like crazy. But that was not to be, not for any reason other than the record just didn’t sound right to us. Maybe someday I will come to appreciate it more — can’t say I won’t — but I’m sure not holding my breath until then.)

For Rock and Pop 1970 Might Just Be the Best Year of Them All

Hot Stamper Pressings from 1970 Available Now

1970 turned out to be a great year in music. I wouldn’t want to be without any of the 17 albums listed below.

Tea for the Tillerman,

Bridge Over Troubled Water,

Moondance,

Alone Together,

Tumbleweed Connection and the Self-Titled Album,

Sweet Baby James,

After the Goldrush,

The Yes Album,

McCartney / Self-Titled,

Stephen Stills / Self-Titled,

Van Morrison / His Band And Street Choir,

Deja Vu,

Workingman’s Dead,

Tarkio,

Stillness,

Let It Be,

Twelve Dreams of Dr. Sardonicus

and there are surely many other Must Owns from 1970 we could name if we simply took the time to list them.

Here is a more complete list of our favorite albums from 1970.

The complete list of titles from 1970 that we’ve reviewed to date can be found here.

Note that on any given day we do not have a single Hot Stamper pressing on the site of more than a few of the albums you see listed.

All of them are getting very hard to find with Hot Stampers in audiophile playing condition.

The book below tells the story of four of these albums well, and comes highly recommended: