Streams Videos All Posts. My Profile. Advanced Search. Born December 13, in Meridian, MS. Alive on Arrival. Jackrabbit Slim. Little Stevie Orbit. Steve Forbert. Rolling Tide Records. Related Latest Galleries Recommended.
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February FollowUp RoundUp. Samson and Delilah's Beauty Shop. The Oil Song. Listen to Me. Steve Forbert's Midsummer Night's Toast. Spotify Amazon. Romeo's Tune Steve Forbert. Cellophane City Steve Forbert. Song for Katrina Steve Forbert. Complications Steve Forbert.
Retrieved December 11, April Retrieved December 13, Virgin Books. The Boston Globe. Retrieved December 7, The New York Times. Village Voice.
December 18, Just maybe not for his hit song". Tampa Bay Times. NJ London: Guinness World Records Limited. The Penguin encyclopedia of popular music. The details of Forbert's guitar—the pops, squeaks, and twangs—were incredibly alive, and the vocal subtleties—the nuances of his inflections, his breathing, his moving around the mike, even the air moving through his throat—made it a true goosebump experience.
I wrestled with the C-J's tonal balance as well, trying unsuccessfully to fit it into my paradigm: soft at the frequency extremes, overly ripe in the mid- and upper bass, maybe a bit forward in the upper midrange. Wrong again. The C-J did sound a touch down at the very bottom, but its detail, pitch definition, and temporal precision were sufficiently good that it really didn't matter. There was a slight lack of weight in densely anchored orchestral pieces, but it never detracted from the music.
Instead of being elevated and slightly thick, it sounded clean and flat—if anything, slightly recessed. And no, I don't know which it actually was—he plays both. Similarly, the C-J's top end didn't sound completely neutral, but it didn't get in the way of the music. If I had to guess, I'd say that it was maybe down a bit at the very top end, and that the lower treble was maybe a touch elevated with respect to the upper midrange.
Cymbals were incredibly sweet and clear, and their overtones seemed to go on forever, eventually fading breathily into the hall's far reaches. On the other hand, perhaps their metallic shimmer wasn't quite as airy as it can be, and didn't permeate the surrounding air to the same degree as I have heard—but that's a minor, anal reviewer quibble.
Overall, the C-J's top end was lovely. I'm proud to say that not all of my preconceived notions about the Premier 17LS proved false. I just knew that it would have a glorious midrange, and boy oh boy, did it ever. Sweet, luscious, clean, defined, detailed, coherent, clear—my notes are full of page after page of audiophile superlatives, hoping, I guess, to achieve amplification through repetition. The Premier's midrange proved to be one of those standard-setting entities that makes a reviewer regret having used up all his or her superlatives on lesser components.
The C-J's midrange was so sweet, so detailed, so
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