- You’ll find excellent Double Plus (A++) sound on both sides of this 1973 album of primarily acoustic Folky Blues
- If you like the music of Ry Cooder this album should be right up your alley – it’s as well recorded as Ry’s stuff, and that’s saying something
- As quiet as we can find them – Mint Minus to Mint Minus Minus
- “Ooh So Good ‘N’ Blues takes a more straight-ahead approach that keeps the experimentation down to a minimum. As a result, this is one of his most consistently enjoyable and even albums.”
Taj does his own material and a few classics by the likes of Mississippi John Hurt, Elmore James and Willie Dixon. With the Pointer Sisters singing backup on some of the songs, fans of authentic acoustic blues will find much to like here.
What the best sides of this Folky Blues album from 1973 have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the Tubey Magic that was on the tapes in 1973
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with the guitars and drums having the correct sound for this kind of recording
- Transparency, resolution and freedom from smear
No doubt there’s more but we hope that should do for starters. Playing the record is the only way to hear all of the above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Shootout Criteria (What To Listen For)
What are sonic qualities by which a Folk or Rock record — any Folk or Rock record — should be judged? Pretty much the ones we discuss in most of our Hot Stamper listings: energy, vocal presence, frequency extension (on both ends), transparency, spaciousness, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, three-dimensionality, and on and on down the list.
When we can get many of the qualities above to come together on the side we’re playing we provisionally award it a Hot Stamper grade, which may or may not be revised over the course of the shootout as we hear what the various other copies sound like. Once we’ve been through all our side ones, we then play the best of the best against each other and arrive at a winner. Other copies have their grades raised or lowered depending on how they sounded relative to the shootout winner. Repeat the process for the other side and the shootout is officially over. All that’s left is to see how the sides of each pressing match up.
That’s why the most common grade for a White Hot stamper pressing is Triple Plus (A+++) on one side and Double Plus (A++) on the other. Finding the two best sounding sides from a shootout on the same LP certainly does happen, but is sure doesn’t happen as often as we would like (!) — there are just too many variables in the mastering and pressing processes to insure consistent quality.
Record shootouts may not be rocket science, but they’re a science of a kind, one with strict protocols developed over the course of many years to insure that the results we arrive at are as accurate as we can possibly make them.
The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on our Hot Stamper pressing — or your money back.
Buck Dancer’s Choice
Little Red Hen
Oh Mama Don’t You Know
Frankie And Albert
Dust My Broom
Built For Comfort
Teacups Jazzy Blues Tune
Ooh So Good ‘N’ Blues, takes a more straightahead approach that, with the exception of the the jazzy mis-step titled “Teacup’s Jazzy Blues Tune,” keeps the experimentation down to a minimum. As a result, this is one of his most consistently enjoyable and even albums.