RICKIE LEE JONES, s/t NIMBUS SUPERCUT NEAR MINT UK LP

	£		161
	$		213

Tracklist A1Chuck E.'s In Love 3:31 A2On Saturday Afternoons In 1963 Arranged By [Orchestral Arrangements] – Nick DeCaro 2:35 A3Night Train Arranged By [Orchestral Arrangements] – Nick DeCaro 3:18 A4Young Blood 4:07 A5Easy Money 3:20 A6The Last Chance Texaco 4:08 B1Danny's All-Star Joint 4:06 B2Coolsville Arranged By [Orchestral Arrangements] – Johnny Mandel 3:52 B3Weasel And The White Boys Cool 6:03 B4Company Arranged By [Orchestral Arrangements] – Johnny Mandel 4:54 B5After Hours Arranged By [Orchestral Arrangements] – Nick DeCaro 2:15 Credits Accordion – Nick DeCaro Arranged By [Horns] – Rickie Lee Jones Art Direction, Design [Cover] – Mike Salisbury Backing Vocals – Arno Lucas, Joe Turano, Leslie Smith, Michael McDonald, Michael Wiener, Rickie Lee Jones Bass – Red Callender Bass [Fender] – Willie Weeks Drums – Andy Newmark, Jeffrey Porcaro*, Mark Stevens (2), Steve Gadd, Victor Feldman Engineer – Lee Herschberg, Loyd Clifft Engineer [Additional Engineering] – Roger Nichols, Tom Knox Guitar – Buzzy Feiten, Fred Tackett, Rickie Lee Jones Horns – Chuck Findley, Ernie Watts, Tom Scott Keyboards – Mac Rebennack, Neil Larsen, Ralph Grierson, Randy Kerber, Rickie Lee Jones, Victor Feldman Mandolin – Fred Tackett Mixed By, Mastered By – Lee Herschberg Percussion – Mark Stevens (2), Rickie Lee Jones, Victor Feldman Photography [Cover] – Norman Seeff Producer – Lenny Waronker, Russ Titelman Producer [Production Assistant] – Penny Ringwood Synthesizer – Michael "Bobby" Boddicker*, Randy Newman Written-By – Rickie Lee Jones

UK NIMBUS SUPERCUT VINYL LP ON HIGH QUALITY VIRGIN VINYL.

THESE PRESSINGS WERE ISSUED IN REGULAR 'MADE IN GERMANY' WARNERS SLEEVES WITH A NEW STICKER ON THE FRONT, AND WERE SOLD IN VERY LIMITED QUANTITIES THROUGH HI-FI TODAY MAGAZINE. THEY WERE CUT AND PRESSED ONLY FOR THE MAGAZINE'S READERS BY NIMBUS IN THE UK.

THERE IS MUCH DEBATE AS TO WHETHER THEY 'SOUND' BETTER THAN FIRST PRESSINGS OF THE SAME TITLE, BUT WE THINK THIS DEBATE IS RATHER MISSING THE POINT AND SOMEWHAT ILLOGICAL BECAUSE AFTRE CAREFUL LISTENING COMPARISSONS, THEY SOUND 'DIFFERENT', NOT 'BETTER' OR 'WORSE' - ONE THING IS FOR SURE, THEY HAVE MORE MUSICAL DEFINITION AND CLARITY THAN ANY OTHER PRESSINGS WE HAVE HEARD, SO OUR VIEW IS WHY NOT OWN A FEW PRESSINGS OF A FAVOURITE LP? WHEN YOU WANT DEFINITION YOU PLAY THE NIMBUS, WHEN YOU HAVE FRIENDS ROUND FOR DINNER AND WANT TO IMPRESS THEM WITH HOW GOOD YOUR HI FI SOUNDS AND YOU KNOW THEY SURE WON'T 'LISTEN' PROPERLY BUT WILL BE IMPRESSED BY YOUR FIRST PRESSING, THEN YOU PLAY THAT COPY. WHEN YOU WANT IT ON IN THE BACKGROUND, YOU PLAY YOUR CD (IF YOU EVER STOOP THAT LOW...).

THE VINYL USED ON THE NIMBUS IS OF SUCH SUPERIOR QUALITY TO REGULAR PRESSINGS THAT IT MAKES US ANGRY TO THINK THAT THE REGULAR 'RE-PROCESSED OLD-CAR-TIRES WILL DO' THAT AMERICAN RECORD COMPANIES PASSED OFF ON THE PUBLIC AS A VINYL RECORD IN THE 1970s WAS EVEN ACCEPTABLE (YOU WERE LUCKY IF YOU COULD FIND A DISC WITHOUT THE LABELS OF SOME OTHER DISC IN THE GROOVES BACK THEN). ACTUALLY LISTENING TO A NIMBUS SUPERCUT ON A TOP END HI-FI IS ONCE AGAIN MAKES HEARING THE MUSIC A PURE PLEASURE - NO CRACKLES, POPS OR OTHER BIZARRE SQUEAKS/NOISES, YOU COULD ACTUALLY LISTEN TO THE MUSIC FOR ONCE, EVEN THE QUIET PARTS - A USA FIRST PRESSING MIGHT SOUND 'BETTER' - I.E. BE CUT LOUDER WITH MORE BOTTOM END (BUT IS THAT 'BETTER' IF THE LABEL THEN GOES AHEAD AND PRESSES IT ONTO A BATCH OF RE-HEATED PAT BOONE ALBUMS?) ALL THE NIMBUS SUPERCUTS WERE PRESSED WITH GREAT ATTENTION TO MUSICAL DETAIL, ESPECIALLY IN THE MID AND TOP-RANGES, WHERE THERE IS CLEAR DEFINITION AND SEPERATION, ESPECIALLY ON VOCAL BASED MUSIC THAT SIMPLY IS NOT THERE ON REGULAR PRESSINGS. THE VOICE SITS OUT FRONT WITH THE MUSIC BEHIND, JUST LIKE IT MIGHT IN A WELL-PRESENTED CONCERT. THIS PRESSING OF RICKIE'S CLASSIC DEBUT IS WITHOUT ANY DOUBT, AN AUDIOPHILE EXPERIENCE - BUT ONLY IF YOU HAVE THE SYSTEM TO EXTRACT THE INFORMATION HELD IN THE GROOVES IN THE FIRST PLACE - BUNG THIS LP ON A REGULAR $300 DECK AND YOU'LL PROBABLY WONDER WHAT ALL THE FUSS IS ABOUT - BUT PLAY IT ON A VPI OR BETTER AND YOUR HI-FI WILL BE TALKING TO YOU WITH MUSICAL OVERTONES THE LIKES OF WHICH REGULAR PRESSINGS SELDOM ACHIEVE.

Only 800-1200 of each title were made, and they're very hard to find these days. They are unique masterings from the licensed UK master tapes - the agreement for the license was that there would be no further pressings and the metalwork was destroyed. The whole program was conceived by the UK magazine Practical Hi Fi. These are the least 'hyped' up of the audiophile pressings of the time (there's a just a sticker on the sleeve to indicate theya re different to regular releases), but there are classy, subtle differences that reveal themselves with time, like a fine wine. I confess to first playing the Joni Mitchell 'Hissing of Summer Lawns' Nimbus Supercut and thinking, 'this isn't that good...' but after refering back to a white label USA pressing, a UK first pressing and a regular USA pressing, I began to hear what the difference was - the emphasis is on the detail - and NO OTHER pressings seem to have this detail, other pressings may have a better bottom end or sound punchier, but they do not sound as DETAILED - remember, Nimbus were a UK classical label, and any classical listener will tell you, the DETAIL in the music is the important element, not how loud it is or how boomy the bass is - Ya pays ya money and makes ya choices - we seriously recommend this album to audiohiles who know what to listen to in music and can hear past upfront knock-em out pressings that later lack warmth and clarity.

Nimbus Supercut
Nimbus Records have achieved somewhat of a legendary status within the audiophile circle for their 'Supercut' releases, which were only available by mail order through the Hi-fi magazines 'Practical Hi-fi' and 'Hi-fi Today' in the early 1980s. Nimbus mastered each release from the original master tapes using the best available mastering processes. Infact, Nimbus employed many techniques for each release that were not commonly used. For example, generally when bass moves from channel to channel on an LP, groove modulation is employed to reduce the movement of the stylus and this results in this bass being centered more over both channels. Most audiophiles would argue that this - and in fact anything, which changes the original recording should be avoided although this is common practice on most LPs. For example, the release of 'Joan Armatrading' had bass moving from channel to channel in several places, but Nimbus did not limit this, resulting in an outstanding pressing.
Nimbus also had the ICI company produce an extremely pure vinyl for the LPs, which has amazing frequency reproduction and is virtually noise free - similar in quality to the 'super vinyl' used on earlier Mofi pressings. Due to their rarity and small pressing quantities, they are often more expensive than audiophile LPs from other labels, but the sums paid can be justified by the outstanding quality of the pressings and the fact that they tend to rise in value over time and as such are deemed as investments by some audiophiles. Other releases included Pink Floyd's 'Wish You Were Here', Beatles 'Sgt Pepper' and Wings 'Band on the Run' and many other excellent titles. (wwwaudiophilelps)

STAMPERS: K56628 A / B [both sides NIMBUS ENGLAND]

SLEEVE: NEAR MINT EXCEPT FOR ONE SMALL CORNER BUMPT/CREASE.

DISC: NEAR MINT. THIS WAS ACTUALLY BOUGHT NEW AT TIME OF RELEASE AND HAS BEEN PLAYED ONCE ON A TOP END DECK/STYLUS. IT IS A COLLECTION DUPLICATE AND IS BEING SOLD NEAR MINT BUT IS ESSENTIALLY MINT. YOU WILL NOT FIND A BETTER CONDITION COPY OF THIS GEM ANY TIME SOON. TREAT YOUR EARS.

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