ARSC Journal Review of “Judy Garland – Four Classic Albums Plus”

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Judy Garland: Four Classic Albums Plus. Avid Easy, AMSC 1228 (2 CDs).

Judy Garland Four Classic Albums PlusThe good news about this collection of four Judy Garland (1922-1969) LPs – A Star Is Born (Columbia Records, 1954), Miss Show Business (Capitol Records, 1955), Judy (Capitol Records, 1966), and Alone (Capitol Records, 1957), plus her four 1953 Columbia singles – is the splendid audio restoration by the renowned remasterer, Nick Dellow, who, in an email, writes “I hope I have been respectful to the original sound – I have tried to be.” These public domain discs are “needle drops,” or transfers from the original LPs. Dellow points out that “Source recordings were the original Capitol LPs, and, in the case of A Star Is Born, the original Columbia box set (BL 1201).” The attentive listener will not find outtakes, such as the recently discovered complete “Lose That Long Face” from A Star Is Born, “I’m Old Fashioned” from Judy, and “Then You’ve Never Been Blue” from Alone, because they are still in-copyright, even though released in the past few years by JSP Records and Capitol. As a bonus which concludes the set, Avid Easy has included the four 1953 singles – “Send My Baby Back to Me,” Heartbroken,” “Without a Memory,” and “Go Home, Joe” – Garland recorded for Columbia just prior to the A Star Is Born sessions, all of which have been deftly restored by Dellow.

Compiled by Colin Davey, the set is a delight for those interested in hearing back-to-back recordings that are among Garland’s best in the 1950s. Although not sourced from the master tapes, these transfers and restorations more often than not jump at you by their vibrancy. Dellow writes that “No compression was used except for some de-essing of the sibilances, which were sometimes quite pronounced. In addition, the mid-range of some of these mono LPs was a little on the harsh side (I realize that such things can be rather subjective!) – a very gentle re-equalization around 1-2.5 kHz helped to slightly “soften” this, when necessary. Apart from that, I carried out declicking and decrackling using iZotope RX software. As the LPs were all near mint, the declicking and decrackling was a comparatively simple and straightforward job. De-hissing was also carried out using a simple low-pass filter, being careful not to cut into the music. Of course, declicking, decrackling and also dehissing were required for the 78s I used as ‘bonus tracks.’ Again, these were from near mint copies from my own collection, and two were actually 78s pressed on vinyl material rather than shellac, so the sound quality was consequently better.” One exception to the generally superb audio would be the A Star Is Born sides, which suffer from a harsh original sound recording. In mono, these tracks have decent sound, albeit with little bass and high treble, but have no punch. The result is that the beauty of Garland’s voice is unfortunately not to be heard. It is also unfortunate that the song order chosen here does not correspond to any LP or the film itself; Dellow regrettably has reversed his sides from the BL 1201 Columbia LP. On the positive side, Dellow has chosen not to no-noise the LP to death; as a result, some surface noise can thus be heard. It is strange to go from A Star Is Born to Miss Show Business, which was Garland’s first Capitol LP and her first LP ever, in the blink of an eye. Another exception to the general excellence of these transfers and restorations, the sound on the Miss Show Business tracks, as heard here, cannot come close to the recent high-resolution mastering that was based on the master tape and released by Capitol as a digital download. The best moments on the Avid Easy can be heard on the Judy and Alone tracks. Concerning the former, the sound has great depth, with solid bass, sparkling treble, and great presence. Alone, which is perhaps one of Garland’s best albums at Capitol, with its lush soundstage, here sounds like new. The four Columbia sides, all in mono, have been expertly transferred and restored, and have great clarity. Again, no-noise has been used in moderation, and these 64-year old recordings sound as if Garland were in the room.

Although Capitol released a high-resolution download of Miss Show Business, expertly remastered by Robert Vosgien, in 2015 (see Schulman, Lawrence. ARSC Journal [2015;46(2):364-366]), the last time Capitol/EMI issued a physical CD devoted to Garland was the 3-CD 2007 The Very Best of Judy Garland: The Capitol Recordings 1955-1965 (see Fisher, James. ARSC Journal [2008;39(2):326-329]), which was remastered remarkably well by Dave McEowen. The Avid Easy set is thus a long time coming and a welcome addition to the Garland discography. Equally welcome is a new edition of Alone, which last came out in 2002 as a twofer along with Judy in Love, both remastered by the audio guru Steve Hoffman. The four 1953 Columbia singles were transferred and restored by the legendary Robert Parker in the 2008 Judy Garland: Classiques et inédits 1929-1956 from Frémeaux & Associés (See Fisher, James. ARSC Journal [2008;39(2):324-326]). All this is to say that Dellow has stiff competition from other distinguished restorers, but can rightfully claim a well-deserved place in this rarified club of audio engineers.

Judy Garland has not been well-served by Capitol/EMI, now owned by Universal Music Enterprises, insofar as their releasing a set that includes all of her recordings, including alternates and outtakes, at the label. Whether on CD, SACD, or BD, such an integral is long overdue. As for Columbia, a set that includes recordings from A Star Is Born plus her Columbia singles, along with alternates and outtakes from the singles session (April 3, 1953), is also long overdue. Until that day, music lovers should be grateful to such public domain labels as Avid Easy, which continue to issue remastered Garland compilations or whole albums in order to preserve her unique legacy. Reasonably priced, at 77:55 for CD1 and 80:57 for CD2, and with an 8-page brochure that includes complete track listings along with reproductions of the backs of the original LPs, this set is well worth the investment. Reviewed by Lawrence Schulman

ARSC Journal Vol. 48, No. 1,  Spring 2017.  ©Association for Recorded Sound Collections 2017. All rights reserved. Printed in USA. Republished at The Judy Room with permission.

This review was first published in the Spring 2017 issue of the ARSC Journal (Volume 48, No. 1). The paper edition of the ARSC Journal can be purchased at the ARSC Journal page ( of the ARSC website (





  1. Hi!

    Nice you’ve brought to life such old recordings!

    I was wondering what happened to the master tapes? Why wasn’t it possible to make this copy from the original source?

    “Although not sourced from the master tapes, these transfers and restorations more often than not jump at you by their vibrancy.”


    1. Hi Mike,

      Unfortunately, Capitol Records doesn’t seem interested in remastering and re-releasing the Garland catalog. I believe this is due to the fact that the industry, in general, doesn’t see the CD market as viable as they used to. Capitol’s most recent releases were a few vinyl re-releases in 2015 ( as well as a digital download version of “Miss Show Business” in HD, also in 2015 (). What’s amazing about these “needle drop” releases is that because they’re transferred from pristine vinyl and remastered using the latest technology, they sound so much better than previous CD releases. 🙂

  2. I never cared for the stereo Star Is Born CD releases which include all the movie sound effects. I used to have the old “stereo enhanced” version on the Harmony LP. Sadly that is long gone but I do have a soundtrack CD of the mono tracks plus additional bonus Garland songs. In addition, I also have that Garland/Carol Channing oddity to get the Paul Weston tracks that I’ve always adored. A bit of a a side step here: my question… are these A Star Is Born tracks the originals from the pre-CD era? It sounds to me like it is, but I want to make sure.


  3. Thanks for the reply. I wasn’t looking for the stereo enhanced version as that was made for stereo equipment in the 60’s & 70’s with one mono channel treble enhanced and one channel bass enhanced (I think) to fool your brain into thinking it is stereo. I just prefer the original released versions to those film soundtrack stems that appear to now be accepted as the official versions. I lived for decades with the versions I know from the 60’s & 70’s.

    1. I know what you mean! I had those and the MGM “electronically enhanced for stereo” LPs as well, which used the same basic effect. These are the original mono versions. 🙂

  4. Sorry to be a PIA here. My confusion comes from the cover in the link above. When the CD with 24 tracks was issued in 2004 by Sony, which used all the soundtrack noises and songs that go from stereo to mono and back to stereo again, especially the version of The Man That Got Away that I know & love (what I call the Frankenstein mixes), Sony used that exact same cover as the original LP. I bought it and was very unhappy with it. Sony should not have used the same artwork; they are both exactly the same including the circled LP. I am have the CD in front of me as I type this.

  5. It is the same remasterd used in the album “Five Clasic Albums” released by Real Gone Music (even the A Star Is Born it’s listed with the side B before the A side…)?!

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