Emitt Rhodes (self titled) One Way CD

What's your thought on it?
I thinks pretty good myself.
There does seem to be a heavy amount of tape his on Promises I've Made, but I will take hiss over noise reduction anyday of the week.
Also the there seems to be a longer pause between Lullabye and Fresh As a Daisy.
Overall a nice AAD master of one my favorite albums.
I see no mastering credit on the back or on the insert, was curious to see who did do the mastering if anyone here knows?

It is under the One Way label, but I am pretty sure Uni made the actual product.

 

I prefer it to the same material on the "Emitt Rhodes Recordings" set, where it sounds like NR has been applied to it.

 

Is that the Hip O release the is now going for over three figures for a used copy?

 

Yes.

 

Pretty much any song on the album could have been a hit single, had the album been promoted correctly.

 

Huh?

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Shoot. I should have bought a bunch of copies from Amazon.co.uk when they had the 3CD set for around $10. Had them in my cart. Thought better of it. Oh well.

 

I don't hear NR per se on most of this maybe at the fade outs a bit. I just think they rolled off a bit of high end to eliminate it. My problem is that Bill Levenson allowed this to be mastered with a bit too much compression.

 

I haven't heard the actual tapes, but my guess is the Hip-O set is closer to flat, while the One Way CD has the highs boosted somewhat. Not that that's a bad thing. I don't detect any NR, though.

As far as compression goes, it seems very little, if any, was used. Comparing Fresh As A Daisy now, there's little to no visible limiting, and DR numbers are pretty close.

 

I will admit I haven't compared them in a while but I seem to remember (and I no longer have the One Way) that the One Way had no compression applied while the Hip-O had some unnecessary compressions applied. I will say though that you are right there was no peak limiting nor any applied which is a plus.

As far as NR goes like I said the only place it might have been used sparingly is on some of the fade outs but I don't detect any artifacts anywhere else.

 

I had no idea prices had gotten so high on that set.

 

I haven't compared every track, but as noted, any limiting/compression seems to be minimal on Fresh As A Daisy, and I don't detect any NR.

That said, regardless of what was or wasn't done, I do find s/t to be a bit rolled off sounding on the Hip-O set. While doing some quick experiments, I think something with the additional high end of the One Way, but with less midrange "honk", would be best.

 

That could be it, and what I'm hearing as NR is really just the high end rolled off. Whatever the reason, everyone seems to agree the One Way disc sounds better.

 

Could be. I haven't listened to the One Way in a couple of years and I did, briefly, have both (before I had to choose one to sell). I did find that they each had their own unique strong points. A pity I had to choose to sell one of them at the time but such is life. When a bill comes calling, my CDs, vinyl and SACD would probably go into hiding if they were alive!

I recall liking both but for very different reasons (the One Way disc certainly sounded less futzed with and there were a couple of EQ choices that I recall on the Hip-O that also enhanced certain tracks, etc.).

I hate hate having to choose between my kids!

 

As others have noted, the One Way releases are usually anonymous but I have often found that they are flat transfers for better or worse. The only One Way that I recall having a mastering credit that springs to mind immediately is "Consquences" by Godley & Crème.

 

I would like to see our host do a proper mastering of this classic album on cd, day one purchase for me (nice to dream)

 

It would be nice to hear I'm sure. It's a pity that Hip-O chose not to work with Emit on this release (he was involved initially in talks and when they briefly stalled, Hipp-O moved forward without his participation) as we could have gotten some previously unreleased stuff. After Emitt's last album, I keep hoping we will get an Archives styled release from him with material he worked on at the time from past to present that isn't owned by his label.

 

I hope Hip O sent some royalty checks his way, he could definitely use the $.
Not even sure if he got any royalties from the use of Lullabye in The Royal Tenenbaums?

 

Yes. Sadly OOP.

 

Hopefully his bitterness has dissipated. And he is getting royalties (though minuscule nowadays--though better than NOTHING from Dunhill!)...but if he is touring, he should be doing well. His new album sure sounds great -- like a renewed Emitt!

By the way..The Royal Tenenbaums has the best soundtrack for my money, ever! Nick Drake, Nico...Emitt...

 

I'll live with my first pressing vinyl!!...sweet! And the "Recordings" box.

 

The Kim Carnes releases had a mastering credit as well.

 

If he held on to his publishing, then he would have received royalties from The Royal Tanenbaums. The beauty of sync publishing rights, for an writer, is that they're separate from the master recording rights. So Universal might have kept all the royalties for the recording (asserting Rhodes still owed the label money), but Rhodes would STILL get paid for the sync rights, assuming he didn't sell his publishing off.

 

Larry Marks' son signed over the rights to the material as I recall to admit a couple of years back (or it might have been the royalties that Marks was collecting can't recall which).

 

Larry Marks was the producer and not involved in publishing.

Eddie Shaw was the one Emitt signed with for publishing, and his son Mark transferred their ownership back to Emitt.