T-Bone Walker – Stormy Monday Blues

More T-Bone Walker

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  • A KILLER sounding copy with Triple Plus (A+++) sound on side one – nothing could touch it
  • Both sides here are clean, clear and spacious, with full-bodied, present vocals and the relaxed naturalness that comes from an authentic All Analog vintage vinyl pressing
  • “The high level of creativity in play here isn’t obvious on a cursory listen, since a lot of the tracks favor the same sort of midtempo blues shuffle, but a closer listen reveals a stunning guitarist who plays the blues with a jazzman’s soul.. when he cuts loose a little on guitar, the sparks fly with elegant tension.” – All Music

Vintage covers for this album are hard to find in clean shape. Most of them will have at least some ringwear, seam wear and edge wear. Some will have cut corners. 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 enough cover for you.

This vintage ABC 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 Stormy Monday Blues 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 1968
  • 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 Listen For on Stormy Monday Blues

  • 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.

TRACK LISTING

Side One

I’m Gonna Stop This Nite Life
Little Girl, Don’t You Know
Every Night I Have To Cry
I’m Still In Love With You
Cold Hearted Woman

Side Two

Treat Me So Down Low
Stormy Monday
Confusion Blues
I Gotta Break Baby
Flower Blues

AMG  Review

The high level of creativity in play here isn’t obvious on a cursory listen, since a lot of the tracks favor the same sort of midtempo blues shuffle, but a closer listen reveals a stunning guitarist who plays the blues with a jazzman’s soul, and while Walker isn’t a flashy singer, he gets the job done with enough conviction that you can feel the country dust settling in behind his urbane delivery, and when he cuts loose a little on guitar, the sparks fly with elegant tension. The highlight here, of course, is Walker’s umpteenth version of “Stormy Monday Blues,” a track he originally recorded way back in 1947, giving the world a bona fide blues classic, and if he revisits it again here, that’s fine.

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