Album Reviews

A young James Taylor arrived on the crowded late ‘60’s musical scene a mature, fully formed artist. His voice was unique, rich-sounding and immediately identifiable, as was his acoustic guitar playing. His songwriting was accomplished both lyrically and melodically well beyond his 20 years.

After the breakup of his group the Flying Machine (with longtime cohort Danny Kortchmar), Taylor signed to Apple Records. Given the quality of his songs and performing abilities, why producer Peter Asher chose to grossly overproduce his Apple debut remains a mystery. Perhaps it was to camouflage and add sparkle to the very dark “mental health” subject matter of many of the songs, or because the record was Apple Records’ first non-Beatles release and given the group’s high production values, Asher decided he needed brass and strings and backup singers. Of course, he didn’t

Despite the overproduction, the Trident Studio sonics were spacious and spectacular (at least on the UK original vinyl. The Capitol pressing was only so-so) and the songwriting sublime. Yet despite tunes like “Something in the Way She Moves,” “Rainy Day Man,” “Sunshine, Sunshine,” and of course “Carolina In My Mind,” the album stiffed.

Taylor signed to Warner Brothers and again with Asher producing, came up with this timeless gem. Eschewing the busy production of the Apple album, Asher put Taylor and his guitar front and center, intimately miked and then added only what was necessary to fill out the picture.

For those of us who’d grown accustomed to the first album’s opulent sound, this one sounded primitive and underproduced, though of course there was plenty of brass behind “Steamroller” and Carole King’s piano, Russ Kunkel’s drums and some backup singing fill out the spare mixes.

The problem was, on stereos back then, many, even good ones, had trouble with the sibilants, so “steamroller” became “ssssteamroller.” I remember trying to get that tracking right and failing. I also remember having a negative feeling about what sounded like closed in, dull sound, though of course the music was and remains magical, especially in the way it seemed to capture a cozy New England vibe. That’s where I was living when the album was released, which only added to the album’s resonant quality. When you’re driving from Stockbridge to Boston after Thanksgiving and the Berkshires have just gotten a frostin’ and you’re listening to the album in your car, well, it was special.

Over time, as one’s stereo improved, so did the sound of the original record. The acoustic behind Taylor’s voice appeared, the articulation of the guitars improved, especially the bass parts, the background singer’s took on individual character and on and on until what was once a closed-in dull acoustic began to really take on a warm, yet detailed aura. Truly, over time, the recording by Bill Lazerus, rose from the dead (sorry couldn’t help myself).

Every original green WB “keystone” pressing I’ve owned since the record was first issued had a “Hi James” inscribed on the lead out groove area of side one, and a crossed-out “That’s all folks” (the Porky Pig WB cartoon sign off) on side two. And every copy still had a bit of a sibilance problem. Last year I found what had to have been a later pressing since the jacket had printed on it “contains ‘Fire and Rain’ and ‘Country Road.’” I picked that one up at a church rummage sale still sealed for a buck. That one had neither “That’s all folks” nor “Hi James” on it but in tiny letter etched right next to the label was “Lazerus,” which tells me this copy was mastered by the recording engineer himself, and it’s easily the best sounding copy I’ve heard….until this new 180g Warner Brothers reissue mastered at AcousTech by Kevin Gray and Steve Hoffman. This too has a curious lead out groove area that contains a stamp of the new catalog number. Now that’s something I’ve not seen on a Gray/Hoffman mastering.

Whatever. This is easily the best sounding edition of this record that I’ve heard yet. It’s warm, yet detailed, three dimensional and harmonically full. Taylor’s vocals are cleanly rendered as are the sibilants. Finally a clean “Steamroller”! Perhaps Gray used a “de-esser.” There’s a bit of a prominence to the very top of Taylor’s voice, but that’s been there from the beginning.

So nothing’s lost in this transfer but plenty has been gained. No doubt you can find cheap originals but none will approach the rich and detailed, three dimensional sound of this reissue that comes complete with the original insert containing lyrics on one side and a black and white photo of a very young JT on the other.

With classic and timeless tunes like “Sweet Baby James,” “Country Road,” “Fire and Rain,” “Blossom,” and “Anywhere Like Heaven,” if you’re going to have but one James Taylor album in your collection, this is the one to have. Though who’s got only one? There are so many great ones (and a few that are not so great). A superb reissue in every way that’s simply meant to be heard on AAA vinyl. Don’t miss it!