- A Long Way From Home makes its Hot Stamper debut here with Shootout Winning Triple Plus (A+++) sound on both sides of this original Bluesway pressing
- The sound here is shockingly good – the space is huge, the vocals and instruments clear, and there is a surprising amount of solid, note-like bass, the kind we did not expect to find on a Bluesway album from this era
- Recorded over two days, this album is basically a live-in-the-studio affair – having neither the time nor the budget to screw up the sound of the band means that this album has the audiophile goods like practically no other Blues album you may have heard
- 4 stars: “Solid, relaxed, rockin’ grooves are the hallmarks here with both artists in fine form.”
This original Bluesway pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of 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 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 A Long Way From Home 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 studio space
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.
What We’re Listening For on A Long Way From Home
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- 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 so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also 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 instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Long Way From Home
Rock Island Line
Night And Day
You Just Usin’ Me For A Convenience
Hole In The Wall
Life Is A Gamble
Don’t Mistreat Me
Packin’ Up, Gettin’ Ready
Wailin’ And Whoopin’
AMG 4 Star Review
Music from Brownie and Sonny’s latter period, circa March and September of 1969. This combines two albums (A Long Way from Home and I Couldn’t Believe My Eyes, both cut in two days) recorded for ABC-BluesWay, with the inclusion of a stray unreleased track, “Beggin’ You,” from the second session in September. The personnel stays basically the same for both sessions with excellent rhythm section support from drummer Panama Francis and bassist Jimmy Bond, while the September session also includes Earl Hooker on guitar. Solid, relaxed, rockin’ grooves are the hallmarks here with both artists in fine form.