- Off the charts “Triple Triple” (A+++) sound for this classic Sunnyland Slim blues album – both sides earned our top grade of A+++
- Huge, Tubey Magical and dynamic, with solid weight down low and lots of space around the instruments, this copy is guaranteed to fill your listening room with truly brilliant electric blues
- We guarantee there is dramatically more space, richness, vocal presence, and performance energy on this White Hot stamper pressing than on any other in the world (and if you don’t see it our way, feel free to return the record for a full refund)
- “‘Slim’s Got His Thing Goin’ On’ may be classic, but it’s not ordinary. More, it’s totally unique. The blend of electric guitars, harmonicas and pianos is wonderful, production just rocks.”
Vintage covers for this album are hard to find in clean shape. Most of them will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you.
Need a refresher course in Tubey Magic after playing too many modern recordings or remasterings? These World Pacific pressings are overflowing with it. Rich, smooth, sweet, full of ambience, dead-on correct tonality — everything that we listen for in a great record is here.
This vintage stereo pressing has the kind of Midrange Magic that modern records barely begin to reproduce. Folks, that sound is gone and it ain’t coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage All Tube Analog recordings are known for — this sound.
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 maybe one out of a hundred new records do, and those are some pretty long odds.
What the best sides of Slim’s Got His Thing Going’ On 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 1969
- 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 Slim’s Got His Thing Going’ On
- 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.
Going Back To Memphis
Miss Bessie Mae
Got To Get To My Baby
You Used To Love Me
She’s Got A Thing Going On
Dust My Broom
Everytime We Get To Drinkin’
Little Girl Blues
My Past Life
This is the good old stuff mixed with modern blues musicians. Recorded in ’68 by Sunnyland Slim, a talented pianist straight from the delta, with George Smith, Big Mama Thornton, Luther Allison, Shakey Jake, Al Wilson, Henry Vestine, Larry Taylor, Luther Allison and, most important, Mick Taylor of John Mayall’s Bluesbreakers fame. Taylor plays on “You Used to Love Me”, “My Past Life”, “She’s Got A Thing Goin’ On” and “Substitute Woman”. … [this] Young British guitarist who was soon to join the Rolling Stones plays with confidence and respect to older bluesmen.
Slim’s piano and voice are good. So are compositions, all of them but Elmore James’ “Dust My Broom” credited to Albert Laundrew, which is the real name of Sunnyland Slim. Don’t let that fool you, though… After the first chords of “Goin’ Back to Memphis” you realize it’s “Rollin’ & Tumblin'” but under a different name. So is the case with most of the stuff here: it’s all the usual hooks played by black blues musicians in the delta. “Slim’s Got His Thing Goin’ On” may be classic, but it’s not ordinary. More, it’s totally unique. The blend of electric guitars, harmonicas and pianos is wonderful, production just rocks. It’s quite clear for a record like that! ..Scented Jasmine Tea
Thanks go to Enoch for providing this rip.
Albert Luandrew (September 5, 1906 – March 17, 1995), known as Sunnyland Slim, was an American blues pianist who was born in the Mississippi Delta and moved to Chicago, helping to make that city a center of postwar blues. The Chicago broadcaster and writer Studs Terkel said Sunnyland Slim was “a living piece of our folk history, gallantly and eloquently carrying on in the old tradition.”
Sunnyland Slim was born on a farm in Quitman County, near Vance, Mississippi. He moved to Memphis, Tennessee, in 1925, where he performed with many of the popular blues musicians of the day. His stage name came from the song “Sunnyland Train”, about a railroad line between Memphis and St. Louis, Missouri. In 1942 he moved to Chicago, in the great migration of southern workers to the industrial north.
At that time the electric blues was taking shape in Chicago, and through the years Sunnyland Slim played with such musicians as Muddy Waters, Howlin’ Wolf, Robert Lockwood Jr., and Little Walter. His piano style is characterised by heavy basses or vamping chords with the left hand and tremolos with the right. His voice was loud, and he sang in a declamatory style.
Sunnyland Slim’s first recording was as a singer with Jump Jackson’s band for Specialty Records in September 1946. His first recordings as a leader were for Hy-Tone Records and Aristocrat Records in late 1947. He continued performing until his death, in 1995.
He released one record for RCA Victor, “Illinois Central” backed with “Sweet Lucy Blues” (Victor 20-2733), under the name Dr. Clayton’s Buddy. In the late 1960s, Slim became friends with members of the band Canned Heat and played piano on the track “Turpentine Moan” on their album Boogie with Canned Heat. In turn, members of the band—lead guitarist Henry Vestine, slide guitarist Alan Wilson and bassist Larry Taylor—contributed to Sunnyland Slim’s Liberty Records album Slim’s Got His Thing Goin’ On (1969), which also featured Mick Taylor.
He was a recipient of a 1988 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States government’s highest honor in the folk and traditional arts. He died in March 1995 in Chicago, after complications from renal failure, at the age of 88.