More Living Stereo Recordings

• Here is a vintage pressing of Sings the Blues with seriously good Double Plus (A++) grades from top to bottom
• So hugely spacious and three-dimensional, yet with a tonally correct and natural sounding Harry, this is the way to hear it
• Lively, balanced and vibrant, with a healthy dose of the Tubey Magical Living Stereo richness these recordings need to sound the way they should
• This is yet another title that has taken us more than ten years to do and believe us when we tell you they usually don’t come as quiet as this
• “Belafonte nails every song on the album … his version of ‘Cotton Fields’ is as good as there is and his ‘God Bless the Child’ is outstanding”

If you’re looking to demonstrate just how good 1958 All Tube Analog sound can be, this killer copy may be just the record for you.

Naturally the vocals have to be the main focus on a Harry Belafonte record. He should sound rich and tubey, yet clear, breathy and transparent.

To qualify as a Hot Stamper the pressings we offer must be highly resolving, not crude and ambience-challenged the way so many modern LPs seem to be.

You should be able to hear every element of the recording, with the voice and instruments surrounded by the natural space of the studios in which the recording was made.

This copy is super spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.

The analog sound of this pressing makes a mockery of even the most advanced digital playback systems, including the ones that haven’t been invented yet. I’d love to play this for Neil Young so he can see what he’s up against. Good Luck, Neil, you’re going to need it.

This is the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. There actually is a CD of this album, and YouTube videos of it too, but those of us in possession of a working turntable could care less.

Truly a spectacular Demo Disc in its own right.

What The Best Sides Of Sings the 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 1958
• 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 Sings the 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.

Side One

A Fool For You 
Losing Hand 
One For My Baby 
In The Evening Mama 
Hallelujah I love Her 
The Way That I Feel

Side Two

Cotton Fields 
God Bless’ The Child 
Mary Ann 
Sinner’s Prayer 
Fare Thee Well

AMG Review

This 1958 release was Belafonte’s first stereo release and 1958 was the dawn of the RCA Living Stereo sound. It featured a great example of well done stereo, and Belafonte’s later Carnegie Hall albums became audiophile standards.

Sing the Blues has often been compared unfavorably to his other work as understated, but given the range of expression Belafonte brings to these tunes, I don’t consider that a negative. He sings three Ray Charles tunes, a Billie Holiday standard (“God Bless the Child”), and a couple of Charles Carter tunes that were Belafonte staples. Belafonte nails every song on the album, with the exception of the Johnny Mercer tune “One for My Baby”. I just don’t see Belafonte drunk at the bar spilling his heart out to a bartender. But his version of “Cotton Fields” is as good as there is and his “God Bless the Child” is outstanding.

Dennis Davis, HIFI+

After flirting with traditional African-American material in his previous albums, Belafonte, for the first time, devotes an entire album to the blues. However, of the eleven songs, only two could be classified as traditional blues: “In the Evenin’ Mama” and “Cotton Fields,” the latter given a five minute treatment. Belafonte would take this song on the road as part of his live act for the next decade.

Of the other songs, three were covers of Ray Charles standards (“A Fool For You,” “Hallelujah I Love Her So,” “Mary Ann”). Another highlight is Belafonte’s rendition of Billie Holiday’s “God Bless the Child.” With few exceptions, the entire album is understated and not as exciting or riveting as other Belafonte records.

Still, it’s solid listening, and taken track by track, thoughtful performances.

Footnote: this was the first Belafonte album recorded in stereo. Some releases feature a thick, dark blue spine.