About Naturally (Speakers Corner) by J.J. Cale:
Often copied, but successfully? When it comes to J. J. Cale, this question could well be answered with an emphatic 'yes' – were it not for the equally talented Johnny Cash, John Mayall and Deep Purple, who all contributed to the well-earned recognition of Cale’s genial songs. Even the smash hit "Cocaine" was written by Cale, although it is closely identified with Eric Clapton – Cale’s name fading into oblivion in comparison.
The present recording gives one an idea of how one of the most covered composer’s music originally sounded. Cale lends the mixture of styles – blues, rockabilly and country – his highly individual, understated and succint art of song. He is frequently characterized as being 'laid back', likes to sing slightly off-beat, and is accompanied by a well-equipped band which creates an ultra-cool sound. Cale is particularly committed to giving his songs sophisticated instrumentation, he doesn’t produce a new record for the market all too often, and is well-known for his dislike of stardeom. What better reasons to bring up from the annals this undercover artist’s debut album, polish it up and just enjoy the music.
- J.J. Cale (guitar, vocal)
- Ed Colis (harmonica)
- David Briggs (piano, organ)
- Bob Wilson (piano)
- Weldon Myrick (guitar)
- Walter Haynes (dobro)
- Carl Radle, Norbert Putnam (bass)
- Karl Himmel, Chuck Browning (drums)
Recording: September 1970 at Moss Ross Studio, Nashville, by James Long and October 1970 / June 1971 at Bradley's Barn, Mt. Juliet (Tennessee, USA), by Joe Mills and Jim Williamson
Production: Audie Ashworth
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky“), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects – excluding the exception above – and that the lacquer discs are newly cut.