• Waters’ superb 1960 tribute to Big Bill Broonzy makes its Hot Stamper debut here with Shootout Winning Triple Plus (A+++) sound or close to it from start to finish
• We guarantee there is dramatically more space, richness, vocal presence, and performance energy on this copy than others you’ve heard, and that’s especially true if you made the mistake of buying whatever Heavy Vinyl pressing is currently on the market
• We found this title to be exceptionally well recorded, which means this copy has true DEMO DISC QUALITY sound
• 4 1/2 stars: “Waters’s tribute album to the man who gave him his start on the Chicago circuit, this stuff doesn’t sound much like Broonzy so much as a virtual recasting of his songs into Muddy’s electric Chicago style.”

This vintage Chess pressing has the kind of Tubey Magical Midrange that modern records rarely begin to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back.

Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.).

Hot Stamper sound is rarely about the details of a given recording. In the case of this album, more than anything else a Hot Stamper must succeed at recreating a solid, palpable, real Muddy Waters singing live in your listening room. The better copies have an uncanny way of doing just that.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but less than one out of 100 new records do, if our experience with the hundreds we’ve played over the years can serve as a guide.

What the best sides of Muddy Waters Sings Big Bill Broonzy 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 kind of Tubey Magic that was on the tapes in 1960
• Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
• Natural tonality in the midrange — with all the instruments having the correct timbre
• Transparency and resolution, critical to hearing into the three-dimensional space of the studio

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss 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.

Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record! We know, we’ve heard them all.

Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.

Tube smear is common to most vintage pressings and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.

What We’re Listening For on Muddy Waters Sings Big Bill Broonzy

• Energy for starters. What could be more important than the life of the music?
• The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
• Then transient information — fast, clear, sharp attacks, not the smear and thickness common to most LPs.
• Tight, note-like bass with clear fingering — which ties in with good transient information, as well as the issue of frequency extension further down.
• Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the players.
• Then: presence and immediacy. The vocals aren’t “back there” somewhere, way behind the speakers. They’re front and center where any recording engineer worth his salt would have put them.
• Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

The Players

Muddy Waters – vocals, guitar
James Cotton – harmonica
Otis Spann – piano
Pat Hare – guitar
Andrew Stephenson – bass
Francis Clay – drums

TRACK LISTING

Side One

Tell Me Baby
Southbound Train
When I Get To Thinking
Just A Dream (On My Mind)
Double Trouble

Side Two

I Feel So Good
I Done Got Wise
Mpper’s Blues
Lonesome Road Blues
Hey, Hey

AMG 4 1/2 Star Review

Waters’s tribute album to the man who gave him his start on the Chicago circuit, this stuff doesn’t sound much like Broonzy so much as a virtual recasting of his songs into Muddy’s electric Chicago style. Evidently the first time Waters and his band were recorded in stereo, the highlights include high voltage takes on “When I Get to Drinkin'” and “The Mopper’s Blues,” with some really great harp from James Cotton as an added bonus.