TWO EXCELLENT SIDES for this Red Label pressing, including a shootout-winning, A+++ side one. The sound here is big and open, with the kind of life and presence we just don’t hear on the typical pressings. And the material is TOP NOTCH — Dixon was one of the blues’ greatest songwriters, responsible for Spoonful, Hoochie Coochie Man, Little Red Rooster, Back Door Man and other songs you’ve probably heard your favorite classic rock band covering.(more…)
This Minty looking Columbia Six Eye Demo LP has SUPERB SOUND and some of the quietest Six Eye vinyl I’ve ever heard. If you’re a fan of either Dave Brubeck or Jimmy Rushing you can’t do better than this album. The sound is as close to perfection as I can imagine.
An outstanding copy of this Must Own Live Blues album, with Double Plus (A++) sound for both sides
Accept no substitutes – no reissue of the album can ever give you the energy, size and you-are-there presence that’s on this disc
Mint Minus to Mint Minus Minus – finding these originals with top quality sound and surfaces this quiet is not getting any easier
“Live Wire/Blues Power is one of Albert King’s definitive albums. Recorded live at the Fillmore Auditorium in 1968, the guitarist is at the top of his form throughout the record — his solos are intense and piercing… he makes Herbie Hancock’s “Watermelon Man” dirty and funky and wrings out all the emotion from “Blues at Sunrise.””
This is one of the all time great live Blues albums. THIS IS BLUES POWER!(more…)
This CBS Orange Label Import LP is one of the BEST SOUNDING Fleetwood Mac albums ever
With Double Plus (A++) grades on both sides, this was one of the better copies from our shootout
Original Fleetwood Mac (1971) is an undeniably strong collection culled primarily from the band’s first incarnation, featuring John McVie, Mick Fleetwood, Peter Green, and Jeremy Spencer.”
The music on this album was recorded when they were still a blues band — tracks left off their early albums for one reason or another.
As is so often the case with unreleased material, these songs do not have that overproduced, too-many-generations-of-tape sound. This sounds like Fleetwood Mac live in the studio most of the time. In other words, awesome. If the drum sound on the first track isn’t enough to convince you this is an amazing sounding record, I don’t know what would.(more…)
Another in our series of Home Audio Exercises with advice on what you should be listening for when critically evaluating your copy (or ours) of the album.
It was pretty easy to separate the men from the boys in this shootout. A quick drop of the needle on each side would immediately answer our number one question: “How BIG is the sound?” The copies that lacked top end extension or heft in the bottom end were just too uninvolving. This is the BLUES, baby — you think it’s supposed to sound small and distant?
Another problem we ran into on many copies was excessive smoothness. When a copies was overly rich or smeary, it usually lacked the “gritty” feel that music like this should have.
I don’t know about you, but if I’m listening to the blues I am not looking for glossy sound. Give me the texture and the detail that Willie Dixon put on the tape. I don’t want his sound to be “fixed” after the fact.(more…)
With two Triple Plus (A+++) shootout winning sides, this original Bluesway pressing from 1969 simply could not be beat
Surprisingly dynamic, with great energy, this copy brought BB King’s music to life in our listening room like no other could
This copy had the Tubes and the Big Bass that this music needs to work it’s Electric Blues Magic from The Master himself
“…a worthy recording on its own merits, divided evenly between live and studio material. King’s always recorded well as a live act, and it’s the concert tracks that shine brightest…”
Some of the Bluesway pressings we’ve auditioned recently have had exceptionally big, rich, lively sound, and that’s the way we like our music to sound.
There are plenty of dogs in the King canon, especially in the ’70s, so you have to be somewhat careful with the man’s recordings, but good titles in the ’60s with excellent sound can still be found if you’re willing to do the work (or you’re willing to let us do it for you). (more…)
160 gram Simply Vinyl pressing of this EXCELLENT LP. This is the early, BLUESY Mac, about as far from Rumours as you can get. The sound here is excellent — dark and smooth like a good British Blues album should be. Simply Vinyl did a superb job here.
Correction: an unnamed mastering engineer at the label that owns the tape did a superb job. Simply Vinyl isn’t in the business of mastering or remastering ANYTHING. They leave that up to the pros at the record labels.
Sometimes those guys screw it up and sometimes they get it right.
Commenting about the first Hot Stamper pressing of this album ever to come our way, we noted:
This original Stax LP has AMAZING sound. You could not make this record sound any better. We really liked the Sundazed copy of this record until we heard this bad boy. It MURDERS their pressing! It has far more life, energy and presence than the Heavy Vinyl pressing. We always suspected that a good original would be better but we had no way of knowing since all the copies we saw were beat to death.
Some of the Bluesway pressings we’ve auditioned recently have had exceptionally big, rich, lively sound, and that’s the way we like to hear our music. There are plenty of dogs in the King canon, especially in the ’70s, so you have to be somewhat careful with the man’s recordings, but good titles in the ’60s with excellent sound can still be found if you’re willing to do the work (or you’re willing to let us do it for you). Watch for more B. B. King albums coming to the site soon.(more…)