Essential Albums For Audio Professionals.

[Mats Olsson.]

Many good suggestions already, here's some more:

 

Toy Matinee - Toy Matinee (sonic bliss)

 

Little Village - Little Village (awesome album, mostly recorded without overdubs. Allen Sides engineered.)

 

Rubén Gonzales - Introducing (even better than "Buena Vista Social Club"!)

 

EST (Esbjörn Svensson Trio) - any album (Really!!)

 

Emmylou Harris - The Wrecking Ball

 

Nils Landgren - Funky ABBA (much better than you might expect. Good stuff!)

 

Joy Division - Unknown Pleasures (engineer/producer Martin Hannett creates a new sonic landscape)

 

I'd also like to mention something recorded by Roy Halee, but I can't make up my mind about what favorite recording to list here...

[Philip OKeefe]

Phil, I recently checked out the Cars again and I was surprised how bright the mixes were. It wasn't as enjoyable to listen to as I remembered. Kinda sad.

 

By any chance were you listening to a remastered CD Rob?

 

BTW, I agree about Miles Davis / Kind of Blue.

 

Well, since my first RTB production suggestion got shot down ( ), how abot Queen - A Night At The Opera? And we've got to have some of Tom Dowd's work represented, so how about Derek & The Dominoes' Layla And Other Assorted Love Songs?

 

I should have mentioned Aja... but I'd also suggest The Royal Scam too. I'm still working on more for you John.

[Stephen Fortner]

This might seem out of left field, but I always thought the Style Council's album "Ever Changing Moods," especically the title track, was such a musical, open-sounding mix. At least on vinyl... I have not heard it on CD.

 

I can also remember that Paul Simon's "Graceland" was the reason I bought my first CD player in 1988.

 

I also really love the sonics of "The Flat Earth," arguably Thomas Dolby's finest work.

[Bunny Knutson]

Originally posted by Mats Olsson.:

Rubén Gonzales - Introducing (even better than "Buena Vista Social Club"!)

 

Emmylou Harris - The Wrecking Ball

YES! And YES! Daniel Lanois produced the latter record, and it sounds so SWEET!

 

Originally posted by Stephen Fortner:

This might seem out of left field, but I always thought the Style Council's album "Ever Changing Moods," especically the title track, was such a musical, open-sounding mix. At least on vinyl... I have not heard it on CD.

Wow, I don't know many people who know that record! I love it, too, and also have it only on vinyl. That's Paul Weller of The Jam. Great-sounding stuff, and a VERY diverse album.

[Chip Curtis]

Alan Parsons (Anything) Where I ski, they have a PA set up so when you are going up the chairlift you can hear the program in 100ft stereo. Last time up they played I Robot. Not ideal sound for sure but killer stereo echoing through the trees.

 

Police Synchronicity and previous albums

 

Moving Pictures/2112/Hemispheres/Kings/Perm Waves

 

Jeff Beck Guitar Shop, Wired or Live w/Jan

 

CAB

 

Vital Techtones

 

G3 With Vai, Johnson and Satriani.

[TBush]

I see Jellyfish mentioned- one of my all-time favs for mix coolness was The Greys- a couple of Jellyfish members and Jack Joseph mixing- really big, 3-D, and it was my "go to CD for getting a PA to kick in the mid-90's.

 

Dittos on "Highway to Hell"- pure tones...

 

For new metal check out Blindside "Silence"- my gosh what a huge low-end without mud.

[Philip OKeefe]

I've been searching (without any luck) for The Greys CD for ages now. Maybe someone online will have it. Any suggestions on where I can buy a copy?

[Bunny Knutson]

Phil: The Grays.

[Philip OKeefe]

Bunny you rawk.

[Philip OKeefe]

PS Thank you.

[Hanshananigan]

Can one of you pros give me a rudimentary lesson on the difference between "production" and "engineering," in the context of this thread's theme?

 

Some of my favorite "sounding" recordings include David Sylvian's "Secrets of the Beehive" and "Gone to Earth," "Appetite for Destruction", Edie Brickell & TNB "Shooting Rubberbands...", "PF's "DSOTM" and (unknown to most but Ontarians,) Starling's "Sustainer".

 

Especially for Sylvian and "Appetite," am I likely digging on the engineering or the producing?

[Hanshananigan]

Huh... I missed this on the OT threads... edited replies no longer are marked "edited," huh? that could make things interesting...

[Philip OKeefe]

Originally posted by Hanshananigan:

Can one of you pros give me a rudimentary lesson on the difference between "production" and "engineering," in the context of this thread's theme?

 

Some of my favorite "sounding" recordings include David Sylvian's "Secrets of the Beehive" and "Gone to Earth," "Appetite for Destruction", Edie Brickell & TNB "Shooting Rubberbands...", "PF's "DSOTM" and (unknown to most but Ontarians,) Starling's "Sustainer".

 

Especially for Sylvian and "Appetite," am I likely digging on the engineering or the producing?

That's a very good question, but a difficult one to answer IMO.

 

Engineering is usually done at the instruction of, or at least with the input of, or oversight / approval of, the producer. Think of the producer as being "the buck stops here" guy on a recording - kind of like a director of a film.

 

However, different producers have different styles. Some are very hands on and direct everything, while others take a more overall approach, and hire good people and leave much of the decisions regarding their work to them - as long as it meets with their final approval. Some producers are arrangers and writers, others are more "coaches" who try to get the artists to perform to their highest capabilities. Some producers also engineer, some don't. Some who have a dedicated engineer on the project are just as capable of doing the work themselves, but prefer to have someone else concentrating on that, thus freeing them up to concentrate on the business and musical aspects of the session, while others know little about the engineering side of things.

 

So IOW, there's a lot of different working styles out there, and so it's impossible to say what you're appreciating. Maybe it was the producer who pushed for a certain sonic approach, or maybe that is something the engineer is known for, and brings to the table. In general though, if it is a question of the recording quality, that's normally the engineer's doing. Of course, the instruments and playing the musicians bring to the table have a huge effect on the sonics too, but I digress. If it is a question of arrangements, "parts", instrumentation, song selections (and sometimes writing) and performances, then that's traditionally aspects the producer (and musicians) had something to do with.

[Bunny Knutson]

Originally posted by Philip O'Keefe:

PS Thank you.

No problem, dood.

 

Originally posted by Hanshananigan:

Huh... I missed this on the OT threads... edited replies no longer are marked "edited," huh? that could make things interesting...

I believe there is a five-minute period after submitting a post during which you are allowed to edit that post without it being marked. Just enough time to correct spelling errors.

[rog951]

Originally posted by Chip Curtis:

>>>Moving Pictures/2112/Hemispheres/Kings/Perm Waves<<<

Where the hell is that Terry Brown guy these days? I think I want him to record my CD! That warm, layered guitar sound went away with him in the early '80s. Maybe Alex was using his amp?

[Sp3nc3r]

Originally posted by rog951:

Originally posted by Chip Curtis:

>>>Moving Pictures/2112/Hemispheres/Kings/Perm Waves<<<

Where the hell is that Terry Brown guy these days? I think I want him to record my CD! That warm, layered guitar sound went away with him in the early '80s. Maybe Alex was using his amp?

Last news I had from Terry, is that he's still in Toronto doing a lot of post for film and video games (Sony in particular). He also has a few indie projects coming through his doors, as well as the occasional small label artist.

 

Cheers!

Spencer

[Hanshananigan]

Thanks for the great reply, Phil! That's what I kinda thought- if you want to assign accolades for the sound of an album you need to know the relative contribution of artist/producer/engineer(s) on developing the presence, "space," texture, etc. (that is, who put the bullet in the biscuit!)

 

Bunny- thanks much! if only life was so easy to edit...

[flyscots]

Hanshan... it sometimes depends on the background of the producer. Some producers are former musicians, some are former engineers.

 

You mentioned "Appetite for Destruction." Mike Clink produced that album. He came from an engineering background and is very hands on in the studio. So if you think that album is well produced and/or well engineered then chances are your thinking of Mike Clink's work, as well as the musicians themselves of course as Phil says.

[Funk Jazz]

everything by Aimee Mann but especially Lost In Space

 

Apple Venus and Wasp Star by XTC

 

evrything by Erik Truffaz for brilliantly arranged and recorded acoustic jazz

[kylen]

Originally posted by ihategarybettman:

It's a matter of taste, but I personally think that blues were never recorded any better than they were by Chess Records. Pick up Howlin' Wolf's "Howlin Wolf/Moanin at Midnight" - today's blues producers tend to isolate things too much and the drums are too loud in the mix.

 

While we're talking about classic sounds and greatest hits collections, try Buddy Holly's "From the Original Tapes" - the production is clean and innovative/imaginative (especially for the time) and Holly's guitar tone is terrific.

 

As far as modern production goes, I'm consistently impressed by the sound of Chris Isaak's records.

100% right on the money - everything...in fact I thought this was my post! That Chess sound is incredible in its character - even though more polished modern recorded sounds have taken over.

 

I use Chris Isaac for reference much of the time - I really like his recorded sounds but now that you mention it my Bubby Holly (pure sounds) is all vinyl...a trip to the CD store - yippee!

[hard truth]

Lots of good nominees here that I would have mentioned. Here's some more:

 

Material-Hallucination Engine

A very dense, complex and eclectic album that still sounds very unified and flowing. Everyone must hear this album!

 

For Peter Gabriel I would choose his third self titled album (AKA melt). This was an important, innovative album esp. for popularizing that 80s gated reverb big drum sound (credit producer Steve Lillywhite). That sound is a bit dated now, but is historically important and works well in the context of this album. Also don't miss Gabriel's Passion album, the soundtrack to the film Last Temptation of Christ. Like Hallucination Engine it is a very dense, complex and eclectic album that still sounds very unified and flowing.

 

Steve Tibbets-YR

Recorded on an eight track in a project studio in the mid-seventies it is humbling proof that fancy equipment isn't needed to record great music with beauty and clarity.

 

Crystal Method-Vegas

The best techno album I have heard shows what can be done with tight arrangements and dynamics. This is the one techno album that everyone likes, even if they think they don't like the genre.

[Rim]

I don't think these were mentioned yet:

 

Paul Simon's Graceland - sonically rich, powerful choir recording, clean with shimmer

 

Busta Rhymes' It Ain't Safe No More - I'm no rap/hiphop expert but I like this CD for giving your sub a workout. The lows aren't the same on every song - a nice, varied selection.

 

Jonatha Brooke's Steady Pull - very polished and modern sounding. Bob Clearmountain.