Elimination round: Which LPs to ditch?
I'm picking off likely candidates, listening to stuff I picked up for some deluded reason, and never played.
1. Jo Stafford - Jo's Greatest Hits [Columbia 6 eyeCL1228 mono]
Compressed. And distorted. And blah. "Hawaian War Chant" has feisty swing drums. But...Out.
Sure, the six-eye label was sonically often strong (IIRC, the label and female vocalist genre were the draws). An all tube mastering system was still the norm, and these really early mono singles (compiled) sound fine apart from Columbia's sub-standard vinyl, and heavy-handed compression.
2. Red Nichols and His Pennies - Parade of the Pennies [RCA LM 1455]
The typical whiter than white front man for RCA in 1960, but Downbeat magazine have given this their stamp of approval, and Red Nichols trumpet playing has sounded fine elsewhere. Crackly stuff. 1939 recordings reissued, transferred from 78s I assume. Not a terrible transfer, but not something I'd reach for.
3. Squeeze - Babylon and On [A&M 1987 DMM]
Mastering engineer Jack Skinner at Sterling Sound NYC...50 years later. Despite the direct metal master approach, Skinner delivers a punchy 80s sound. Wet Wet Wet-style pop. Really pop, in a bad way. This is gone. Based on Allmusic's reviews, Argy Bargy sounds like the place to start, so I'm not counting them out yet.
4. Squeeze - Singles [A&M US 1982]
OK. Now, I get them. "Goodbye Girl" has song-writing, distinct instrumentation and tonality. Sonically, this is fine. Perhaps the UK pressing is better, but I'm cranking this, and realizing that Squeeze charted for good reason. Its a keeper. Best to get back to more dubious stuff. And yet, the LP is still playing. "Up The Junction"...I hadn't realized this was Squeeze. Great! Keeper
Next is a Phoebe Snow fiesta: 3 LPs, other than the DCC self-titled LP. The only reason I investigated anything as evidently uncool as Snow is that Steve Hoffman mastered her debut.
6. Phoebe Snow - Something Real ["Audiophile vinyl" promo on Elektra 1989, Masterdisk DMM]
White label pressings are so alluring for their sonic potential. And despite not featuring his "RL" this is most likely Robert Ludwig's handiwork, as he is credited in the liner notes. Snow's songwriting is lite-FM dull. So, once again, a sonic pleasure, if a little dated - adult-contemporary 80s power balladeering, but musically, nada.
7. Phoebe Snow - Never Letting Go [CBS 1977 promo Masterdisk, Robert Ludwig "RL"]
Great sound. Really lovely sonics and quiet vinyl. But the music is uninspired. "Garden of Joy Blues" has pleasant guitar and organ. I have to admit I listened all the way through, and it went down easily, but this is out.
8. Phoebe Snow - Second Childhood [Columbia 1976 promo Sterling]
Schmaltzy sax. But I'm intrigued. What is "Two-fisted love"?
Ron Carter on bass on "Inspired Insanity", and Phil Ramone as engineer...and background vocals on "Sweet Desperation". Hmm. Solid sonics. But Dave Sanborn on sax. Can you say "Schmaltz"? Side two is notably louder. Have to turn down the Allmusic recommended track "All Over". OK, so 8 originals, how are the covers? Snow's song-writing just doesn't appeal (in fact, I need to go back to the debut to confirm that there's anything at work with this artist). The standard "Going Down for the Third Time" (what's with the innuendo?) doesn't do much. The electric piano on "There's A Boat..." at least has some distinction, solid Gershwin, but this is gooone.
9. Lena Horne and Harry Belafonte - Porgy and Bess [RCA LOP 1507, from 1959, I think this is stereo, although it doesn't explicitly say]
Engineer Ernest Oelrich from RCA has vocals right in your ear, with the orchestra way back. The Rockaway pressing is a drag. Belafonte sings with such conviction. After the drab Ray Charles and Cleo Laine version, I'm drawn into the story. And then...Horne kicks off "Summertime". Oh mi gosh. Whose the bassist!? This blow away the other versions of Porgy and Bess I have. A keeper.
The cheesey, coffee colored RCA poster stars are amusing.
1. Jo Stafford - Jo's Greatest Hits [Columbia 6 eyeCL1228 mono]
Compressed. And distorted. And blah. "Hawaian War Chant" has feisty swing drums. But...Out.
Sure, the six-eye label was sonically often strong (IIRC, the label and female vocalist genre were the draws). An all tube mastering system was still the norm, and these really early mono singles (compiled) sound fine apart from Columbia's sub-standard vinyl, and heavy-handed compression.
2. Red Nichols and His Pennies - Parade of the Pennies [RCA LM 1455]
The typical whiter than white front man for RCA in 1960, but Downbeat magazine have given this their stamp of approval, and Red Nichols trumpet playing has sounded fine elsewhere. Crackly stuff. 1939 recordings reissued, transferred from 78s I assume. Not a terrible transfer, but not something I'd reach for.
3. Squeeze - Babylon and On [A&M 1987 DMM]
Mastering engineer Jack Skinner at Sterling Sound NYC...50 years later. Despite the direct metal master approach, Skinner delivers a punchy 80s sound. Wet Wet Wet-style pop. Really pop, in a bad way. This is gone. Based on Allmusic's reviews, Argy Bargy sounds like the place to start, so I'm not counting them out yet.
4. Squeeze - Singles [A&M US 1982]OK. Now, I get them. "Goodbye Girl" has song-writing, distinct instrumentation and tonality. Sonically, this is fine. Perhaps the UK pressing is better, but I'm cranking this, and realizing that Squeeze charted for good reason. Its a keeper. Best to get back to more dubious stuff. And yet, the LP is still playing. "Up The Junction"...I hadn't realized this was Squeeze. Great! Keeper
Next is a Phoebe Snow fiesta: 3 LPs, other than the DCC self-titled LP. The only reason I investigated anything as evidently uncool as Snow is that Steve Hoffman mastered her debut.
6. Phoebe Snow - Something Real ["Audiophile vinyl" promo on Elektra 1989, Masterdisk DMM]
White label pressings are so alluring for their sonic potential. And despite not featuring his "RL" this is most likely Robert Ludwig's handiwork, as he is credited in the liner notes. Snow's songwriting is lite-FM dull. So, once again, a sonic pleasure, if a little dated - adult-contemporary 80s power balladeering, but musically, nada.
7. Phoebe Snow - Never Letting Go [CBS 1977 promo Masterdisk, Robert Ludwig "RL"]
Great sound. Really lovely sonics and quiet vinyl. But the music is uninspired. "Garden of Joy Blues" has pleasant guitar and organ. I have to admit I listened all the way through, and it went down easily, but this is out.
8. Phoebe Snow - Second Childhood [Columbia 1976 promo Sterling]
Schmaltzy sax. But I'm intrigued. What is "Two-fisted love"?
Ron Carter on bass on "Inspired Insanity", and Phil Ramone as engineer...and background vocals on "Sweet Desperation". Hmm. Solid sonics. But Dave Sanborn on sax. Can you say "Schmaltz"? Side two is notably louder. Have to turn down the Allmusic recommended track "All Over". OK, so 8 originals, how are the covers? Snow's song-writing just doesn't appeal (in fact, I need to go back to the debut to confirm that there's anything at work with this artist). The standard "Going Down for the Third Time" (what's with the innuendo?) doesn't do much. The electric piano on "There's A Boat..." at least has some distinction, solid Gershwin, but this is gooone.
9. Lena Horne and Harry Belafonte - Porgy and Bess [RCA LOP 1507, from 1959, I think this is stereo, although it doesn't explicitly say]
Engineer Ernest Oelrich from RCA has vocals right in your ear, with the orchestra way back. The Rockaway pressing is a drag. Belafonte sings with such conviction. After the drab Ray Charles and Cleo Laine version, I'm drawn into the story. And then...Horne kicks off "Summertime". Oh mi gosh. Whose the bassist!? This blow away the other versions of Porgy and Bess I have. A keeper.
The cheesey, coffee colored RCA poster stars are amusing.
posted by David Poole at 9:38 PM
2 Comments:
"Up The Junction" - desert island disc for sure, amongst my personal top 10.
Must have been on the mix tape I gave you way back in Lancs. I think I kept buying their releases in spite of them letting me down again and again. - Must get this version of "Porgy and Bess". Thanks for the recommendation.
Ernest Oelrich was my uncle he passed away in 1989 he was a good man. His wife just passed away the other day at age 98. It is amazing to see that he did such a wonderful job as a musical engineer, I know he worked with Elvis too. I am so glad that he was a part of music history.
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