R2D4’22 DEATH-DEFYING TUNES
So, what’s this all about? Most of you already know—after all, we’ve been doing it since 1991, and it’s one of our most popular features. But if you’re new to Stereophile, here it is: Originally, the light-hearted conceit was, these are the records you’d be willing to lay down your life for. (This foie gras is to die for!) But, let’s be real: That ain’t gonna happen, or so I hope.
My favorite formulation was laid down by music critic John Swenson in March 2021 in a My Back Pages essay. He called them death-row discs: These are the records that, at the end of your life, you’d want—you’d need—to hear one last time. Maybe these records—and that desire—would even keep you alive a little longer. If that weren’t so depressing, and if R2D4 wasn’t already so well-known, I might consider changing the name of the feature.
There aren’t many rules—just a couple. First, you must not have selected a record previously for R2D4. You only live once (unless you are a cat, or James Bond), so you cannot choose the same record twice.
If you’ve been doing this for as long as some of our writers have, this isn’t an easy rule to follow. It’s easy to lose track, and after a while, your personal R2D4 list grows long.
There’s an exception even to that rule, sort of: While you’re not allowed to choose exactly the same record twice, you can choose a new reissue of a previous choice. More than one reviewer took advantage of this exception this year to name the new Analogue Productions reissue of a certain record with initials KoB.
The only other rule is that the record must not be unobtainium. It must be possible to obtain it, even if it requires significant bodily or monetary sacrifice and/or serious determination.
I admit that my enforcement of this rule is lax. My heart isn’t really in it. This year, Michael Fremer nominated one LP that is obtainable—it technically qualifies—but only if you’re willing to commit a crime—I’m considering it—or transfer large sums into someone else’s PayPal or Venmo account. With his typical insight and wit, Mikey noted in an email to me, “If it really has to be ‘reasonably obtainable,’ maybe the feature name should be changed to ‘Records to Be Inconvenienced For.’” That’s not what we’re after here.
So, without further ado, here it is: Records to Die For, 2022.
JOHN ATKINSON
PROCOL HARUM
LIVE: IN CONCERT WITH THE EDMONTON SYMPHONY ORCHESTRA
Procol Harum, Edmonton Symphony Orchestra, Lawrence Leonard, cond.; Da Camera Singers
Chrysalis CHR1004 (UK LP). 1972. Mobile Fidelity Sound Lab MFCD 788 (CD) 2007. Gary Brooker, orchs.; Chris Thomas, prod.; Wally Heider, Ray Thompson, Tom Scott, Ken Caillat, Biff Dawe, engs.
The end of the 1960s was a Golden Age for British “progressive” rock bands. Following the demise of Cream in 1968, those that had the biggest effect on this budding audiophile were King Crimson, The Nice, Yes, and Procol Harum. I saw the first three live on a number of occasions but Procol only once, in June 1972. Only pianist, vocalist, and composer Gary Brooker was left from the “Whiter Shade of Pale” band, but with B.J. Wilson on drums, Chris Copping on Hammond organ, Dave Ball on guitar, and Alan Cartwright on bass, they were touring to promote their then-new album recorded live in 1971 with an orchestra and choir in Edmonton, Canada. (Insights into the making of this album can be found at bit.ly/3HvBnVQ and bit.ly/3qTR1V6.) To my disappointment there was no orchestra at the June 1972 concert, but the new band still held the audience in thrall. Most live rock albums are mixed for sonic impact, but this one is different. Because of leakage into the mikes used for the orchestra and choir, the band used smaller amplifiers than usual and, reportedly, even B.J. Thomas played with less bombast than usual.
The album’s cover reflects what was captured on this album (due to that mike leakage): the band in front of the orchestra, which is in front of the choir. The individual images are appropriately sized, and the dynamic range is wide; at the concluding cry of “Shalimar” in “Whaling Stories,” lyricist Keith Reid’s enigmatic tale of shipwreck and redemption, a shiver never fails to run down my spine. I wager this was the only album with audiophile sound quality to reach the Top Five in the Billboard Pop Music chart.
GABRIELI CONSORT
SILENCE & MUSIC: WORKS BY DOVE, ELGAR, GRAINGER, HOWELLS, MACMILLAN, STANFORD, VAUGHAN WILLIAMS
Gabrieli Consort; Paul McCreesh, cond.
Signum Classics/Winged Lion SIGCD490 (16/44.1 FLAC, Tidal, Qobuz). 2017. Adrian Peacock, prod.; Neal Hutchinson, eng.; Paul McCreesh, Adrian Peacock, David Hinitt, editing.
“The music is not in the notes, but in the silence between.” Was it Mozart
