The Pop List, Part 1
(Best-Sounding Recordings, Including Some Jazz)

This article was originally published in late 1998. Note: since I've written this, I've found it necessary to buy CD copies of many of the LPs I said I didn't need CD copies of, so I could hear the CDs on my portable player while riding the agony that is the Long Island Rail Road, or on my boombox while in the back yard.

Frank's Favorites, or,
The All-Time Greatest Hits of Frank Doris, Volume One

A few months ago, I promised I'd compile a "best all-time recordings" list for this column. I also noted that I wanted to make sure such a list wouldn't be a half-baked, half-realized effort (I am incapable of doing anything half-baked, and consider mediocrity the malady of the modern age).

Good thing I wrote while under the throes of rare insight. In the ensuing months, I came to realize just how daunting the task of compiling such a listing would be. In my estimation, I have over 8,000 records and CDs in my collection, and re-listening to all the worthy candidates in an effort to verify each recording's worthiness for inclusion would take years, if not decades, if not the rest of my allotted time on this spinning rockball.

I then figured if I limited the recordings to only those of supreme quality—such as For Duke by Bill Berry and His Ellington All-Stars (M & K RealTime RT-101, to use a well-known audiophile example), it would make the task something less than Herculean—until I realized two things. First, I still had to listen to hundreds of candidates, because, as many of us have discovered as we've upgraded our systems and re-listened to old favorites, some recordings that sounded merely good on a good system are in fact revealed as great recordings on a great one. Second, I didn't want to be that restrictive. There are many recordings that fall shy of the five-note rating yet are excellent-to-superb sonically, and most important, musically—and I didn't want to leave them out.

Although a recording won't appear in these listings unless it's at least of three-note quality, I'm not limiting them to "ultimate-quality" recordings. And if a record has a duff cut or two, but is superior overall, I'm not disqualifying it—track-to-track variation is an unavoidable fact of life, and many otherwise great discs have a sonic clinker or three.

Note I said "installments," plural. If I were to do an all-inclusive evaluation of my entire collection, you'd never read it, because of the time constraints mentioned above. So the editors and I decided I'd list what I consider to be the greatest recordings in my collection in regular installments, reporting my findings as I went along and also discovering newly-released worthy recordings. I'm going to skip around—don't think that this first installment contains the cream of the crop—it's the tip of the iceberg, and in fact, deliberately random. (You won't think I've forgotten about Roy Orbison, Kraftwerk, Michael Hedges, Ella Fitzgerald's Clap Hands Here Comes Charlie, Bill Evans, the rest of the Zappa catalog etc. etc. etc., will you?)

When people read any kind of "best-of" listing of recordings, they tend to think of it as an all-knowing, unimpeachably definitive determination that takes into account every record ever recorded. When you stop to think about it, this is an utter impossibility, and yet, such listings are inevitably perceived that way by the nature of their authoritative stance, whether they're Harry Pearson's landmark Super Disc listings, or Stereophile's "Records to Die For," or anyone else's. Please look at my ratings in the spirit in which it they are intended—as informed judgments as to which recordings out there are exceptional, and as a means to share those special LPs and CDs that have given me so much musical pleasure, and yes, sonic thrills. (Let's admit it—a big part of why we're all in this is to get an emotional rush over the sheer sound of our systems when playing back a great recording.)

A recording will not appear unless I like the music. I don't care how well-recorded a disc is; if the music doesn't move me, it doesn't make it. Disagreements with my musical and sonic tastes are welcome, and I suppose inevitable. Hell, I don't always agree with what my peers have to say in these regards. Many discs will have appeared on other critics' lists—a great recording is a great recording. Most of what I listen to is rock and pop, followed by jazz; my listings reflect this. I'll leave classical to the experts and the expert listings, such as HP's aforementioned Super Disc list and Jonathan Valin's The RCA Living Stereo Bible.

Many recordings will be accompanied by short descriptions. I assume you'd like to know something about the music on the discs! Also, you won't find many comparisons of the original LP and its CD re-issue here—if I own the LP, I see little need to buy the CD unless I must have the CD also, for whatever reason.

OK, enough blather. LP unless otherwise indicated:

Chet Atkins and Les Paul: Chester and Lester
RCA AYL1-3682 ****

Chet Atkins and Les Paul: Guitar Monsters
RCA APL1-2786 *** 1/2

Bill Berry and His Ellington All-Stars: For Duke
M & K RealTime MK-101 *****

Yes, it really is that good. Utterly phenomenal instrumental presence, dynamic impact and realism—if ever it can be said that the musicians sound like they're truly "in the room," the most overused cliche in the audiophile lexicon, it's on this recording. Incredible resolution, transparency and tonal balance. The playing by ex-members of Ellington's original band is top-notch—"Take the 'A' Train" is unreal. This is one LP it's worth paying stupid money for.

Be-Bop Deluxe: Axe Victim
Harvest SHVL 813 *** 1/2

Blue Oyster Cult: Agents of Fortune
Columbia PC 34164 *** 3/4

The commercial breakthrough for America's most intelligent, multifaceted guitar-based rock band, featuring the immortal "(Don't Fear) The Reaper" (about love that transcends mortality, not suicide as the uninformed often espouse), and the monumental "E.T.I. (Extra Terrestrial Intelligence)", a song about men in black and suppressed UFO sightings years before such topics became fashionable. A superb stereo mix with power and presence, outstanding tonal balance with exceptional high frequency extension (a little bit of tape hiss, but so what?) and deep, luxuriously spacious mixes by the redoubtable rock engineer Shelly Yakus. Not to mention Buck Dharma's inventively melodic and utterly astonishing guitar playing. The Mobile Fidelity Ultradisc II CD [UDCD 97] re-issue is excellent also.

Larry Coryell: Spaces
Vanguard VSD 6558 ****

Flabbergasting virtuosity from two of the greatest jazz guitarists to ever grace the planet—Larry Coryell and John McLaughlin, along with drummer Billy Cobham, bassist Miroslav Vitous and no less than Chick Corea on Fender Rhodes piano. This disc is so musically awesome it's almost incomprehensible—the level of musicianship and white-hot improvisational interplay is quite literally breathtaking to listen to. Sound is natural, open and inviting, with a beautiful, warm tonal balance and spaciousness that perfectly serves the music. Get this now.

The English Beat: What Is Beat?
I.R.S. SP 70040 *** 1/2

Duke Ellington and His Orchestra: Ellington Indigos
Columbia CS 8053 ****

Donald Fagen: The Nightfly
Warner Bros. 23696-1 *** 1/2

The solo album from the then-former Steely Dan member is of the earliest digital recordings (1982), yet decidedly un-digital sounding, with excellent fidelity. How did engineer Roger Nichols do it?

Tal Farlow: Cookin' on All Burners
Concord Jazz CJ-204 *** 1/2

Superb playing from a well-known jazz legend and able backup musicians. Excellent sound, although the image placement of the drums and piano is wide and unfocused, and the top end is a hair bright. Still, Farlow's guitar sounds gorgeous, and his playing is dazzling.

Gentle Giant: In A Glass House
WWA 002 **** 3/4

Reviewed in the April, 1998 issue. Brilliant, complex musicianship and songwriting, from this extraordinarily talented band, for whom the appellation "progressive rock" is far too confining. One of the most well-recorded rock albums ever.

Gentle Giant: The Power and the Glory
Capitol ST-11337 ****

Also extraordinary. Sound quality not quite as astonishing as Glass House, but still superb, and the music is amazing.

The New Stan Getz Quartet Featuring Astrud Gilberto: Getz Au Go Go
Verve V6-8600 ***

A wonderful "you are there" live recording from the early sixties, also featuring a young Gary Burton on vibes.

Grateful Dead: One From the Vault
Grateful Dead Records GDCD40132 **** (2 CD set)

A great Grateful Dead recording, a live recording that captures an excellent performance at San Francisco's Great American Music Hall on August 13, 1975. Recorded with the legendary Wally Heider Remote Truck using no noise reduction or signal processing, this is one of the most natural and dynamic live recordings I've ever heard, and is evidence of the fact that on a good night, Jerry Garcia and company could achieve truly cosmic musical heights of instrumental interplay and guitar playing that reaches ever-greater heights. There's a reason the band had a rabid following spanning generations; "Help On the Way/Franklin's Tower," Sugaree," "Eyes of the World, " "U.S. Blues" and much more provide ample musical evidence.

Merle Haggard: It's All In The Game
Epic FE 39364 **** 1/2

One of the most well-recorded albums, let alone country music albums, of all time by a true legend. Exceptionally natural and realistic sound quality; in fact, amazing.

Haircut 100: Pelican West
Arista AL8-8035 ****

Lightweight yet fiercely melodic pop from this buoyant early Eighties post-New Wave, post New Romantic band, featuring the hits "Boy Meets Girl," "Love Plus One" and more. Unusually clean, transparent sound quality with excellent transient detail that complements the wealth of percussion instruments and the hyperactive rhythm guitars. "Lemon Firebrigade" is a demonstration cut.

Iron Butterfly: Ball
Atco SD 33-280 ***

The Kinks: Misfits
Arista AB 4167 *** 1/2

Arto Lindsay and the Ambitious Lovers: Envy
Editions EG EGED 39 ****

Willie Nelson: Stardust
Columbia JC 35305 **** 1/2

Madonna
Sire 23867-1 *** 1/2

The surprisingly good first recording from the Material Girl, with excellent clarity and punch, along with wideband frequency response including an airy, detailed top end. The many dance tracks stand the test of time, and "Holiday," mindless pleasure though it is, still sends me into rapture every time I hear it.

The Mothers of Invention: One Size Fits All
Discreet DS 2216 **** 1/2
A phenomenal recording in every respect. Zappa at his iconoclastic greatest from note one. A "big" recording with an immensity of instrumental detail, incredible presence and dynamic range and huge soundstage. Zappa was one of the few rock musicians who truly deserved to be called a genius; certainly, the virtuosity of his musicians and the complexity of his arrangements is unparalleled. The guitar solo on "Inca Roads" is considered to be perhaps Zappa's greatest—inevitably, tears come to my eyes whenever I hear it.

Willie Nelson: Stardust
Columbia JC 35305 **** 1/2

New Order: Blue Monday
Factory Factus 101(2-inch 45) **** 1/2

Sometimes, you just want to hear a high-energy dance music disc that kicks butt and pummels the room with pounding percussion, gut-wrenching low bass and subterranean synths. Ho ho, this will do the trick! This monumental, melodic cut from New Order, one of the greatest electronic bands ever is an awesome sonic accomplishment, guaranteed to kick your adrenaline into hyperdrive. Pristine fidelity, incredible transient speed, staggering power and if you're not careful and play it too loud, the ability to destroy your speakers as surely as if you aimed an anti-tank mortar at them.

Les Paul Now
London Phase 4 SP44101 ***

Steely Dan: Gaucho
MCA-66102 ****

Steely Dan: Aja
ABC AA-1006 *** 1/2

The Strawbs: Hero and Heroine
A&M SP3607 *** 1/4

Talking Heads '77
Sire SR 6036 *** 1/2

Stevie Wonder: Innervisions
Tamla T 3261 **** 1/2

Reviewed in the February, 1998 issue. An almost perfect album in every musical and sonic respect.

XTC: Drums and Wires
Virgin VA 13134 ****

Neil Young: After the Gold Rush
Reprise 6383 ****

This Seventies landmark is one of Young's all-time greatest, with classic songs like the title track, "Only Love Can Break A Heart" and "Southern Man." Young's emotionally affecting voice sounds remarkably natural—while others may reach for Dusty Springfield or Harry Belafonte, this is the record I use when I want to show those who have never heard a high-end system just how real recorded music can sound. Although the producers tried too make it a little too perfect—on a good system you can hear that they edited out Young's breath intakes on the title track, an effect that, once you're aware of it, is disconcerting. (Sorry I ruined it for you.)

Neil Young: Harvest Moon
Reprise 9 45057-2 *** 1/2

Released a few years ago, this marks a return to form for Young; it's considered one of his best in years, with strong, acoustically-based songs and sound quality so good you'd not think it a CD at first listen.

Frank Zappa: The Yellow Shark
Barking Pumpkin R2 71600 **** 1/2

See ya next time.