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Lightnin’ Hopkins with Sonny Terry – Last Night Blues
39,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartThe Bluesville Series from Craft Recordings and Acoustic Sounds! Inspired by the original Prestige label imprint established in 1959 Last Night Blues by Lightnin' Hopkins with Sonny Terry All-analog mastering by Grammy-nominated engineer Matthew Lutthans 180-gram vinyl pressed at Quality Record Pressings Obi strip with reflections written by Grammy-winning producer, writer, and musician Scott Billington Highlighting trailblazing blues musicians from legendary labels Last Night Blues is Lightnin' Hopkins' 1961 album, featuring Sonny Terry.?The second of three album collaborations, Last Night Blues showcases Hopkins' and Terry's different yet complementary styles to create a well-rounded listening experience. AllMusic declared, "this dynamite disc represents what the blues should be: stripped-down, soulful, and full of truth." Featuring all-analog mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios. Pressed on 180-gram vinyl at Quality Record Pressings, this album is released in partnership with Acoustic Sounds, and features a paper-wrapped tip-on jacket.1. Rocky Mountain 2. Got To Move You Baby 3. So Sorry To Leave You 4. Take A Trip With Me 5. Last Night Blues 6. Lightnin's Stroke 7. Hard To Love A Woman 8. Conversation Blues -
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Albert King – Live Wire/Blues Power
42,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartThe Bluesville Series from Craft Recordings and Acoustic Sounds! Inspired by the original Prestige label imprint established in 1959 Live Wire/Blues Power by Albert King All-analog mastering by Grammy-nominated engineer Matthew Lutthans 180-gram vinyl pressed at Quality Record Pressings Obi strip with reflections written by Grammy-winning producer, writer, and musician Scott Billington Highlighting trailblazing blues musicians from legendary labels Live Wire/Blues Power is a live album from Albert King recorded in 1968 at the Fillmore Auditorium in San Francisco, California. Featuring originals and King's rendition of classics, the album demonstrates Albert King's blues prowess. Featuring all-analog mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios. Pressed on 180-gram vinyl at Quality Record Pressings, this album is released in partnership with Acoustic Sounds, and features a paper-wrapped tip-on jacket. According to Rolling Stone, this album is "Just the unadulterated pure and simple blues.1. Watermelon Man 2. Blues Power 3. Night Stomp 4. Blues At Sunrise 5. Please Love Me 6. Look Out -
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T-Bone Walker – T-Bone Blues
82,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart -
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John Lee Hooker – Burning Hell
39,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartThe Bluesville Series from Craft Recordings and Acoustic Sounds! Inspired by the original Prestige label imprint established in 1959 Burning Hell by John Lee Hooker First worldwide LP release! Highlighting trailblazing blues musicians from legendary labels Burning Hell was recorded in 1959 in Detroit, MI, but wasn't released until 1964. Even then, it was only available in the U.K.. This 180-gram vinyl pressing marks the first official single LP worldwide release the album has seen. Pressed at QRP as part of the Bluesville Records / Acoustic Sounds series, the album features Hooker solo as he plays originals and classics. AllMusic states that, on this album, "Hooker shows himself to be an excellent interpreter who could have held his own with Delta bluesmen of any era." Craft Recordings, in partnership with Acoustic Sounds, is releasing Burning Hell as part of the Bluesville Series. Bluesville is a brand-new hub for all things blues, including vinyl reissues, curated playlists, and more! Inspired by the original label imprint established under Prestige Records in 1959, the Bluesville Series will highlight the many trailblazing musicians who contributed to the rich tradition of the blues, including titles from legendary artists on labels such as Vee-Jay, Riverside, Vanguard, Stax, and Rounder Records. The albums in the Bluesville Series are pressed on 180-gram vinyl at Quality Record Pressings and feature all-analog (AAA) mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios, plus a tip-on jacket and obi strip with notes written by Grammy-winning producer, writer and musician Scott Billington.
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Skip James – Today!
39,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemThe Bluesville Series from Craft Recordings and Acoustic Sounds! Inspired by the original Prestige label imprint established in 1959 Today! by Skip James Highlighting trailblazing blues musicians from legendary labels "I have multiple copies of this record and this Bluesville reissue is by far the best sounding. It puts you in the room with the artist, or the artist in your room, whichever you prefer and there's no mystery about why that is. Matthew Lutthans cut lacquers multiple ways: from the original two track tape, from a mix down he created from the four track tape and finally a live to lathe cut, which is what this is. The improvement in 'you are there' transparency will be obvious to anyone reading this who's a fan of the record and has a previous iteration. Add Doug Sax's lathe, once again operating as TML fans expect, a dead quiet QRP pressing, a Stoughton 'Tip-on' jacket and a $29.98 price and this is a 'must have' reissue, especially worth picking up if you're unfamiliar with the record and/or the artist, though of course everyone knows Cream's cover of 'I'm So Glad' found here in the original version (though if you listen casually it sounds nothing like the 'rocked up' cover). Another plus is Bruce Jackson's excellent original annotation that tells the whole story and more. And you get the original orange Vanguard Stereolab label (by 1966 the black and silver label had been changed to orange and black). The Bluesville series is now two for two!" — Music = 10/11; Sound = 10/11 — Michael Fremer, TrackingAngle.com. To read Fremer's full review, click here. Today! is Skip James' second album, originally released in 1966. The album features James solo on all but one track, "How Long," which includes Russ Savakus on bass. AllMusic asserts, "wonderful vocals, superb guitar and a couple of tunes with tasty piano make this essential." Craft Recordings, in partnership with Acoustic Sounds, is releasing Today! as part of the Bluesville Series. Bluesville is a brand-new hub for all things blues, including vinyl reissues, curated playlists, and more! Inspired by the original label imprint established under Prestige Records in 1959, the Bluesville Series will highlight the many trailblazing musicians who contributed to the rich tradition of the blues, including titles from legendary artists on labels such as Vee-Jay, Riverside, Vanguard, Stax, and Rounder Records. The albums in the Bluesville Series are pressed on 180-gram vinyl at Quality Record Pressings and feature all-analog (AAA) mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios, plus a tip-on jacket and obi strip with notes written by Grammy-winning producer, writer and musician Scott Billington.
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Stevie Ray Vaughan – In Step
88,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemWith his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock 'n' roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. On 1989's In Step, Vaughan found his own songwriting voice, blending blues, soul, and rock in unique ways, and writing with startling emotional honesty. Yes, there are a few covers, all well chosen, but the heart of the album rests in the songs he co-wrote with Doyle Bramhall, the man who penned the Soul to Soul highlight "Change It." Fueled by a desire to make up for lost time and delight in his reawakened commitment to life and sobriety, Vaughan turned in what many consider his greatest artistic statement, an album ensconced in sweat, soul, determination, and not an ounce of filler. "Travis Walk" offers a heady rush of flat-picking, "The House is Rockin'" is full-tilt roots-boogie, "Let Me Love You Baby" and "Leave My Girl Alone" are sweet blues epiphanies, and the nine-minute instrumental "Riviera Paradise" is a truly soulful mix of blues and jazz. By now, just a year before his untimely death, Vaughan had also tamed his bawling voice into a rich instrument. In short, this 1989 session is Vaughan at his artistic peak. As we did with our vaunted box set reissues, Texas Hurricane, again Analogue Productions is bringing you the finest-sounding Stevie Ray Vaughan collections ever preserved on 180-gram vinyl. Ryan Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at Quality Record Pressings. In Step remains one of the five greatest blues records of the past quarter century. There's not a link in this chain that wasn't absolute first-rate. The absolute best that money can buy. We're passionate about the blues AND Stevie Ray and the passion shows up here in spades. -
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Stevie Ray Vaughan – Texas Flood
88,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemThe 45 RPM Analogue Productions reissue of Stevie Ray Vaughan's Texas Flood is so good, as are its 45 RPM companions — Couldn't Stand The Weather and Soul To Soul — that they truly represent what Gregg Geller, producer and A&R representative described as "the best replication of the master tapes to date." We've already brought you the 33 1/3 RPM box set Texas Hurricane featuring the greatest Stevie Ray Vaughan tribute ever reissued — six of Vaughan's most classic album titles remastered for ultimate blues and guitar fanatics. We've now taken the extra step and done 45 RPM versions of these three standout LPs. We've used the original 30 inches-per-second, half-inch analog master tapes for all of these albums. Ryan K. Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at our Quality Record Pressings, maker of the world's finest-sounding LPs. Stevie Ray Vaughan's 1983 debut album, Texas Flood, was a phenomenal success, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. The record plays like a dynamite club show, filled with crowd-pleasing originals and covers, all performed with unbridled enthusiasm. Texas Flood was certified gold on August 13, 1990, and certified platinum on January 22, 1992. There's not a link in this production chain that wasn't absolute first-rate. The absolute best that money can buy. But beyond that we've poured our passion into this project. Acoustic Sounds is a big fan of the blues and Stevie Ray Vaughan. It's a big dream come true to work on this project and to make these records sound and look the best they ever have. -
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Lightnin’ Hopkins – Goin’ Away (Stereo)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart"At times the guitar seems a bit low in the mix, but on this remastered Analogue Productions LP, cut from the original master tapes by Kevin Gray, it sounds warm and natural while the boisterous vocals have have a commanding presence; the recording also does a fine job of capturing Leonard Gaskin's deep bass tones and the timbre of Herbie Lovelle's brushes." — Music = 4.5/5; Sonics = 4/5 - Jeff Wilson, The Absolute Sound, September 2016. Read more here. Sam “Lightnin’” Hopkins, a true poet who invented most of his lyrics on the spot and never seemed to run out of new ideas, was a blues giant of post-war blues whose style was rooted in pre-war Texas traditions. While he cranked up his amp to fierce proportions when performing for his friends at Houston juke joints, producers who recorded him for the so-called folk-blues market usually insisted that he use an acoustic guitar for more “authentic” results. Either way, Lightnin’ seldom made a bad record, and this June 4, 1963, session on which he played acoustic was among his finest, thanks much to the sensitive support of bassist Leonard Gaskin and drummer Herbie Lovelle, who did a remarkable job of following his irregular bar patterns and abrupt song endings.
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John Lee Hooker – The Healer
82,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartThe Healer is a critically acclaimed album by the legendary blues musician John Lee Hooker. Released in 1989, it stands as a testament to Hooker's profound influence on the genre and his ability to evolve his sound while staying true to his roots. The album showcases his distinctive guitar style, gritty vocals, and masterful storytelling, creating an immersive and emotionally charged musical experience. The Healer features an impressive array of guest artists, each bringing their unique talents to the table. Renowned musicians such as Carlos Santana, Bonnie Raitt, Robert Cray, Canned Heat, and Los Lobos join forces with Hooker, creating a rich tapestry of blues, rock, and soul. On the title track Hooker's deep, resonant voice combined with Santana's searing guitar work creates an unforgettable blues anthem that speaks to the power of music as a healing force. The lyrics are introspective, introspective, and poignant, reflecting on the struggles of life and the solace found in the blues. Throughout the album, Hooker explores a range of themes, from love and loss to societal issues and personal introspection. Tracks like "I'm in the Mood" and "Baby Lee" exude a raw sensuality, showcasing Hooker's ability to infuse his music with passion and desire. Meanwhile, songs like "Cry Baby" and "The Healing Game" delve into deeper emotional territory, capturing the pain and resilience of the human spirit. Hooker was 73 years of age when The Healer came out and earned his first — of many future — Grammy accolades, winning Best Traditional Blues Recording for "I'm In The Mood." This edition features lacquers cut by Bernie Grundman, and pressing on 180-gram vinyl at Quality Record Pressings, for superior sound. With its exceptional musicianship, thought-provoking lyrics, and powerful collaborations, The Healer remains a standout album in John Lee Hooker's discography.
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Muddy Waters -Folk Singer
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemFollow along as writer/professor Wayne Goins explores the creation of Folk Singer, and leads a visual tour of the former Chess Records studios, here. There are a handful of landmark albums in any genre. In the blues, one of them is Muddy Waters' Folk Singer. It's been an audiophile staple for years. Originally released in 1964, Folk Singer was the only acoustic album Waters ever recorded, thus becoming the first and perhaps best blues concept album ever. Muddy of course started out playing acoustic blues in the Delta, and he's clearly very comfortable in this return to his roots, which was designed to appeal to the mid-1960s surge of interest in folk music. Muddy's supporting cast includes a very young Buddy Guy on guitar, Willie Dixon at the upright bass and Clifton James on drums. This recording has enormous presence with ample room for Muddy's booming voice to resonate. Praise for our 45 RPM edition of Folk Singer: "The Quality Record Pressing is drop-dead quiet-as silent as the best Japanese pressings from the late 1970s-and the amount of inner detail released is simply astonishing...the sound is sweet, liquid and free of harshness and edge. The dynamics are mind-boggling. When Muddy takes it up ten notches to emphasize a point it's positively explosive in a way the 33 1/3 version only suggests." Music = 9/10, Sound = 10/10! — Michael Fremer, musicangle.com. "How about a 45 RPM set from Analogue Productions' recently launched Quality Record Pressings Facility, mastered by Bernie Grundman, in a beautiful gatefold jacket with extra sessions shots? It's been ages since I've heard LP surfaces this quiet — as in dead quiet. The expense and effort that Chad Kassem and company put into this venture are immediately obvious. ... Making music together bring this recording to life as never before. It's by far the best sounding and most engaging version yet... analog lovers will be in hog heaven." — Wayne Garcia, The Absolute Sound, May/June, Issue 223
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In stock
Stevie Ray Vaughan – Couldn’t Stand The Weather
88,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cartThe 45 RPM Analogue Productions reissue of Stevie Ray Vaughan's Couldn't Stand The Weather is so good, as are its 45 RPM companions — Texas Flood and Soul To Soul — that they truly represent what Gregg Geller, producer and A&R representative described as "the best replication of the master tapes to date." We've already brought you the 33 1/3 RPM box set Texas Hurricane featuring the greatest Stevie Ray Vaughan tribute ever reissued — six of Vaughan's most classic album titles remastered for ultimate blues and guitar fanatics. We've now taken the extra step and done 45 RPM versions of these three standout LPs. We've used the original 30 inches-per-second, half-inch analog master tapes for all of these albums. Ryan K. Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at our Quality Record Pressings, maker of the world's finest-sounding LPs. Couldn’t Stand The Weather is the remarkable sophomore album by Stevie Ray Vaughan and Double Trouble. It follows their critically acclaimed debut, Texas Flood. Incorporating the same winning formula of musicianship and songwriting, Couldn’t Stand The Weather cemented Vaughan’s place as one of music’s greatest. It is their first to earn gold certification and their first platinum-seller. It includes breathtaking renditions of Clark’s “Cold Shot” and Hendrix’s “Voodoo Child.” A staple on the Billboard charts, this definitive masterpiece received praise from Entertainment Weekly, Q, Down Beat and many others. There's not a link in this production chain that wasn't absolute first-rate. The absolute best that money can buy. But beyond that we've poured our passion into this project. Acoustic Sounds is a big fan of the blues and Stevie Ray Vaughan. It's a big dream come true to work on this project and to make these records sound and look the best they ever have.
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Taj Mahal – Labor of Love (33 RPM)
78,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart"In the late 1990s, Taj Mahal went on a 42-city tour with a gang of old, pure blues musicians. The producer, Tim Duffy, recorded several sessions on audiophile gear, but the tapes were stashed away, until a couple years ago, when the two took a listen, popped their eyes, and arranged with Chad Kassem, proprietor of Analogue Productions and owner of some of the world's best vinyl pressing plants, to put it out on LP. The music is a thorough delight; the sound quality is you-are-there vivid." — Fred Kaplan, Slate.com, December 2017 "Labor of Love began to become an audiophile reality when the founder and CEO of Analogue Productions, Chad Kassem, visiting his father in Raleigh, North Carolina, met (Tim) Duffy (of the Music Maker Relief Foundation) and heard the tapes. Nearly 20 years later, a deal was struck, a DAT arrived at Kassem's home base of Salina, Kansas, and Labor of Love, pressed on two 180-gram LPs, was born. 'The great thing is that we got to do it with Chad Kassem, Acoustic Sounds, and he did a wonderful job," Mahal says. "The record itself — the packaging, the 180-gram vinyl, and the sound — is just immaculate." — Robert Baird, Stereophile magazine, May 2017 "It's delicious stuff. Mahal was miked up close, allowing every crisp nuance of his voice and guitar to be recorded cleanly and clearly; that guitar work, especially, is so in-your-face that you'll feel like you're sitting at the artist's feet. Some of the material will be familiar to anyone who's followed Taj Mahal, or at least his brand of acoustic blues, for any length of time. The opening number, 'Stagger Lee,' is given a reverential traditional treatment, and 'Fishin' Blues,' regardless of how many times he's cut it, still delights. Mahal takes lyrical and rhythmic liberties with 'Walkin' Blues,' presented here in a bare-bones rendition even starker than the familiar Robert Johnson version; and Mississippi John Hurt's' 'My Creole Belle' is sweet and tasty. The duets, for the most part, are enjoyable as well-the slide guitar on 'John Henry,' with Etta Baker, is sharp and sleek-but in the end, you may end up wishing that the entire set could've been just pure Taj and nothing but Taj." — Jeff Tamarkin, Relix, April 11, 2017. Read it all here. "What we have here is magic: classic blues tunes — 'Stagger Lee,' 'My Creole Bell,' 'Mistreated Blues,' 'Zanzibar,' 'John Henry' and more — treated with such love and wit and heartache and (to use a tired term that's appropriate here) authenticity. Few field-hand recordings are drenched with this much sweat. And none of those field-hand recordings (few live or studio recordings, period) sound so vivid." — Fred Kaplan, Stereophile.com, March 6, 2017 Read the whole review here. "Of course this music and this project is at the core of what Analogue Productions' Chad Kassem has been about since he began producing vinyl reissues so it was only natural and fitting that these two LPs have been released on the Analogue Productions label, lacquers cut by Kevin Gray, pressed at QRP and housed in gatefold 'Tip-on' Stoughton Press jackets festooned with evocative black and white session photos. Even if you know these chestnuts like 'Creole Bell,' 'John Henry' and 'Hambone' by heart, you'll experience them here with fresh life breathed into their musical arteries. ... Among my favorites is Taj's instrumental 'Zanzibar,' but really, every track is a treasure. ... Don't be a fool and let the resolution stop you. These are probably the best sounding damn "field recordings" you're likely ever to hear and the stripped-down music is transportive and magical." — Music = 9/11; Sound = 9/11 — Michael Fremer, AnalogPlanet.com. To read Fremer's full review, click here. "The solo acoustic tunes rank among some of the most relaxed and intimate that he has recorded in the latter part of his career. Even on 'Fishin' Blues' — familiar territory that he has traversed countless times in a career — Taj sounds spontaneous and genuine, often improvising quick guitar fills that substitute for words in some of the verses. ... A noteworthy album by any measure, the stripped-down vibe of these recordings also makes Labor Of Love a nice counterpoint to Taj's last (and more stylistically diverse) full-length studio release, 2008's Maestro." — Roger Gatchet, Living Blues Magazine, February 2017 "Taj Mahal has been tapping into his traditional blues roots since the '60s, but these intimate acoustic sessions from the mid '90s, released here for the first time (and on 180-gram vinyl-only format to boot) are something special. ... The audiophile presssing makes a big difference too: if you've ever longed to have Taj Mahal in your living room this is as close as you're likely to come." — Jim Allen, CultureSonar.com, December 2016 "Labor of Love is a time capsule. Even if 1998 doesn't seem that long ago, it was. Stripping down a record to voices and acoustic instruments will cause anyone to think throwback, yet few can pull it off as genuine and procure it quite like Taj Mahal and friends. Proof positive that all it takes is a soul with something to say and a way to catch it on tape to light that fire in the listener. If you're akin to the blues, God bless you. If you're not, let this be your easing in, you'll find that at the heart of any Labor Of Love there's a definitive true blues." Read the whole review here. — Glide Magazine, January 2017 "Music Maker Foundation founder Tim Duffy has managed to capture Mahal at his most skeletal on this vinyl-only release, culled mostly from Duffy's archives of off-the-cuff performances recorded in 1998 on a 42-city Music Makers tour with Mahal headlining. Some of the cuts were recorded after the shows, late at night in hotel room jams, and some were taped at Duffy's Pinnacle, North Carolina, Music Makers studio/residence. ... Music Maker Foundation releases are always special, but this one should be on your Christmas list and receive your attention all year long. It's a gift that keeps on giving." — Grant Britt, nodepression.com. Read the entire review here. "Mahal's 47th (no, not a typo) album, Labor of Love, features some of the blues musician's greatest tunes. It consists of solo favorites from almost twenty years ago, and collaborations with the Music Maker Relief Foundation artists. ... He's a storyteller who incorporates his deep musical history in every note that's played. "Stack-O-Lee" is timeless, really... talking about that "bad man." Collaborations on Labor of Love include "John Henry" with the late Etta Baker. Baker's Piedmont blues experiences flood the listeners with a chilling journey into the Mississippi Delta. This stripped down release matches that photo of Taj Mahal on his website — laid back, at ease, welcoming listeners to pull up a chair and leave their cares at the door." — Brenda Hillegas, Elmore Magazine, January 2017 "The album is Taj Mahal's 47th. On it are six solo performances by Taj and seven more duets recorded with Music Maker Relief Foundation artists. All of the songs are previously unreleased performances recorded in 1998. ... Taj states that he enjoyed getting to know the musicians lives and "how they made things work" while getting "closer to the source." — Richard Ludmerer, makingascene.org The blues live on because the blues give people life, not the other way around. Talk about the blues with Grammy winning singer-songwriter and composer Taj Mahal, or Tim Duffy, founder of the Music Maker Relief Foundation, and you'll quickly understand how deeply they grasp this. So it's no surprise that their shared love of blues has created a special vinyl-only album release that's got the loose, easy feel of a porch-sitting guitar strum, sipping sweet tea on a warm summer day. It is, as Taj himself exclaimed upon receiving his copy of this exquisite album — a "great package, mind-blowing sound!!" Labor of Love comprises recordings made by Duffy, hanging out with Taj and other artists in a Houston hotel room and during visits to the Music Maker Relief Foundation headquarters in Hillsborough, North Carolina. Taj and Tim first connected in the mid-1990s as Tim was establishing the foundation. The foundation is dedicated to preserving Southern roots music by directly supporting senior artists in need, while documenting their music and sharing their stage and recording talents with the world. A CD collection released by the foundation featuring Music Maker artists caught Taj's attention. Tim invited Taj to his place in rural Pinnacle, N.C., where he hung out with several of the artists. Taj loved how they played and sang, but he especially loved "getting to know their lives and how they made things work." Not much time passed before a performing tour was launched, with Taj as the headliner. Meanwhile, Tim, sensing an incredibly rich opportunity, was hauling along with the tour, high-end recording gear. He set it up in hotel rooms hoping to capture an impromptu session. One night in Houston, magic happened. A few senior bluesmen, Tim, Taj and the daughter of Katie Mae, immortalized in the Lightin' Hopkins classic "Katie Mae Blues" hung out together in a hotel room in Houston. Taj picked up an acoustic guitar and started in on classic tunes — "Stack-O-Lee," "Walking Blues," and more. The tape was rolling. During the time of the tour, Taj was also visiting during hang-out, barbecue and recording sessions at Music Maker's new North Carolina headquarters in Hillsborough. When the music got going, Taj would play some piano, bass, harp, banjo, mandolin and whatever else was needed. Now is the time for these immortalized sessions to be heard. So here they are on a solid piece of wax. And what wax it is — a full-on 180-gram vinyl Analogue Productions masterpiece plated and pressed at Quality Record Pressings, maker of the world's best-sounding LPs. Packaged in a Stoughton Printing tip-on gatefold jacket. You won't find a more intimate portrayal of Taj as a freewheeling, fun-loving, always-in-the-pocket sideman. •••••• "Once again, the legendary Taj Mahal dives in knee-deep in the folk blues waters, and rises to the surface with a musical document that chronicles and ties the past to the present. And what a present this is-to each and every true folk blues fan. This double disc rarity finds Taj Mahal spreading his wings and sharing the wealth of his talents with unsung musical heroes of North Carolina-his multi-talented gifts on vocals, banjo, 6-string acoustic, 12-string guitar, piano, and upright bass are all on display here, and the results are breath-taking. "For starters, Taj treats us to a rare and refreshing take on the classic "Stagger Lee," weaving his rich voice with his "Ting-a-Ling" guitar picking like only the Maestro can. Mahal then casually switches it up and frails on the banjo while veteran Neal Pattman wails on vocals and harmonica for "Shortening Bread." "Taj uses his gorgeous tenor vocals to great effect on "My Creole Belle," along with what I naturally assumed was his mastery of the delicate Piedmont guitar fingerpicking style. "Not exactly!" says Maestro, correcting me, his pupil. "It combines Mississippi John Hurt's fingerpicking style with that of Elizabeth Cotton and Mrs. Etta Baker, both from North Carolina, but all are influenced by the West African pickin' of the Mandinka!" "Algia Mae Hinton's regional Carolina-inflected voice permeates the arrangement of "I Ain't The One You Love," with Hinton playing 12-string acoustic and Taj strolling with the leisurely two-step acoustic bass line underneath. "Of course, this collection would not be complete without a fresh version of "Fishin' Blues." Its probably his most well-known and often-performed piece, and it never gets old-mainly because Taj finds a new way to deliver the lyrics, injecting real feeling, passion, and humor into each rendition. "Taj continues to display his virtuosity by switching to feverish honky-tonk piano as he accompanies John Dee Holeman's wicked vocal delivery of "Mistreated Blues." "A special treat for followers of Mahal's career comes in wonderful sparse arrangement of "Zanzibar," an original tune that has appeared on a few previous recordings in ensemble setting but has never been heard as a solo guitar feature until now. "Taj's whining harmonica solo "So Sweet" With Cootie Stark who sings in a vocal style that can only be ripened with age, experience, and wisdom. "The opening of Maestro's "Spike Drivers Blues" is delivered in an intense-yet-sultry "talkin' blues" style quite different from Leadbelly's standard version, which is better known as "Take This Hammer." And it is here that Taj gives me yet another mini-history lesson. "I along with Alhaj Bai Konte (kora master of the Gambia) toured and played separately and together over a period of weeks back in the mid-70's, and there is a recording on Flying Fish label of Bai Konte and his son Dembe and I playing ‘Take This Hammer.'" "Listeners get transported to "a cabin in the pines" with the tune "Hambone," featuring Dee Holeman's smooth delivery on vocals, and Taj providing complimentary body percussion-the two of them both slappin' and clappin' their hands, chests and thighs, perfectly synchronized against the rhythms and rhymes of the lyrics. "Mahal then offers "Walkin' Blues," best known by the "crossroads" legend Robert Johnson-but this time it's done in the inimitable Taj Mahal manner, with his words tumblin' out like he's kickin' a rolling rock down a Mississippi dirt road. The Maestro does more than just conjure Robert's spirit; he transforms it, transcends it even. "The sole offering with Mrs. Etta Baker on this double disc set is "John Henry" which finds Baker playing her classic guitar slide style, with Taj playing accompanying guitar. "The final bonus, "Song For Brenda," is an amazing performance that the listener is simply not ready for! Cool John Ferguson has George Benson-like chops that are breathtaking-not to mention the double stops and rhythmic riffs that remind you of the legendary Phil Upchurch! It's a bit alarming when one realizes that Ferguson plays single-note runs on his National steel string with greater ease than most guitarists can handle on their electric Fender or Gibson-it's an impressive change of pace in the song cycle and a great way to close the album. "These thirteen tracks compiled here are a stunning achievement-not only for the excellent artists and performances gathered throughout, but also for the determined and indefatigable founder of the Music Make Relief Foundation, Tim Duffy, whose unwavering efforts cannot be overestimated or ignored. The notion that these gems have sat on the shelf unreleased is almost unbelievable-it's such a great treasure trove for us listeners to discover, and we have Tim to thank for that. "Duffy has-in one fell swoop-turned back the hands of time, and, like magic, simultaneously reset the clock twenty years forward and backwards, chronicling a series of most auspicious occasions that stretched from Houston to Hillsborough. Indeed, these wonderful musicians-led by griot Taj Mahal-came together to remind us that the very best music in the world is, in a word, timeless." — Dr. Wayne Everett Goins, University Distinguished Professor and Director of Jazz Studies, Kansas State University. Dr. Goins is the author of the forthcoming book "Maestro: The Life and Music of Taj Mahal," published by University of Illinois press.
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Lightnin’ Hopkins – Lightnin’ (Stereo)
58,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Add to cart“For music once treated so cavalierly by the major labels, the blues yielded numerous magnificent recordings, light years away from the primitive sonic quality of, say, Robert Johnson’s pre-WWII sessions. In a similar vein to Muddy Waters’ oft-reissued Folk Singer is this superlative acoustic session from rural blues legend Lightnin’ Hopkins, from late 1960. Playing guitar and backed by just bass and drums, he delivered ten tracks of which at least half are staples of the genre, timed just as the folk revival was giving the blues a much-needed boost. ‘Automobile Blues,’ ‘Mean Old Frisco,’ ‘The Walkin’ Blues,’ — for those who crave unvarnished authenticity, but with in-the-room presence, this is a tonic.” — Sound Quality: 90% – Ken Kessler, Album Choice Hi Fi News, July 2018 “Recorded for Prestige’s Bluesville subsidiary in 1960, Lightnin’ is among the rewarding acoustic dates Lightnin’ Hopkins delivered in the early ’60s. The session has an informal, relaxed quality, and this approach serves a 48-year-old Hopkins impressively well on both originals like ‘Thinkin’ ‘Bout an Old Friend’ and the familiar ‘Katie Mae’ and enjoyable interpretations of Sonny Terry & Brownie McGhee’s ‘Back to New Orleans’ and Arthur ‘Big Boy’ Crudup’s ‘Mean Old Frisco.’ Hopkins’ only accompaniment consists of bassist Leonard Gaskin and drummer Belton Evans, both of whom play in an understated fashion and do their part to make this intimate setting successful. From the remorseful ‘Come Back Baby’ to more lighthearted, fun numbers like ‘You Better Watch Yourself’ and ‘Automobile Blues,’ Lightnin’ is a lot like being in a small club with Hopkins as he shares his experiences, insights and humor with you.” — All Music Guide
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Son House – Father of Folk Blues
88,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show item“Just had to get in touch to let you know that my copy of Son House’s Father Of The Blues — on QRP 45 RPM is totally amazing. I’ve been collecting records for 40 years and have a modest collection of 900 LPs — most first pressings from the late ’60’s on — but nothing compares to this pressing from your company! Wow! Quiet pressing, amazing sound, fabulous packaging — just fantastic. At 54 I’ve just bought the best quality album ever. I’ve bought originals, classic records, modify, Japanese etc. but this is the best in every detail. Well done to you all to produce an LP this classy! Thanks.” — Kevin O’Connor, Waterford Ireland “AP’s reissue of this recording is extremely transparent, naturally balanced, and fulfills the ‘it’s like he’s playing in my room!’ audiophile cliché. The record sounds mono at times, but that is how the album was originally mixed. … Ryan K. Smith used the original two-track stereo tape from the Sony archives and referenced an original Columbia ‘360 Sound’ pressing to master this correctly and it shows. Never have I heard a blues recording that is so musically raw yet so sonically exceptional. Further, the QRP-pressed platters are silent and flat as pancakes.” Music = 10/11; Sound = 11/11 – Malachi Lui, AnalogPlanet.com. Read the entire review here. Mississippi’s Son House was already legendary for a small collection of live field recordings made by folklorist Alan Lomax in 1941 and 1942, and for having taught some important licks to both Robert Johnson and Muddy Waters before he was rediscovered by a new generation of college-age fans in 1964. The “Father of the Delta Blues” recorded this namesake LP for Columbia Records a year later in 1965. It’s become, in the words of Living Blues magazine — “Essential recordings by one of the greatest bluesmen ever.” And now, Analogue Productions presents a reissue unmatched in sonic quality and luxury presentation. For our version we turned to Ryan Smith at Sterling Sound to remaster the recording from the original master tapes. The freshly cut lacquers — for this version we’ve cut the album at 45 RPM for truer cartridge tracking and decreased distortion on the inner groove — were then plated and pressed on 180-gram vinyl by our own Quality Record Pressings. The Hybrid Stereo SACD version was authored for SACD by Gus Skinas at the Super Audio Center in Boulder, Colo. Son was born Eddie James House, Jr., on March 21, 1902, in Riverton, Miss. By the age of 15, he was preaching the gospel in various Baptist churches as the family seemingly wandered from one plantation to the next. He didn’t even bother picking up a guitar until he turned 25; to quote House, “I didn’t like no guitar when I first heard it; oh gee, I couldn’t stand a guy playin’ a guitar. I didn’t like none of it.” But if his ambivalence to the instrument was obvious, even more obvious was the simple fact that Son hated plantation labor even more and had developed a taste for corn whiskey. After drunkenly launching into a blues at a house frolic in Lyon, Miss., one night and picking up some coin for doing it, the die seemed to be cast; Son House may have been a preacher, but he was part of the blues world now. Now, sit back and enjoy one of the genere’s greatest, on a reissue that’s the best that’s been made to date. So authentic, so real – that’s the Analogue Productions difference. Praise for our 33 1/3 version! “Muddy Waters’ Folk Singer wasn’t the only blues LP recorded with the due care rarely shown to albums in the genre, prior to the revival. Son House’s rediscovery in the early 1960s reads like a Hollywood script, but all of the elements are there to make you realize that this John Hammond-produced LP, 50 years on, was one of the most important. Just House and his bottleneck acoustic guitar: his sheer presence must has been terrifying to those unfamiliar with the intensity of rural, unamplified blues. Every track is astounding, but skip straight to the voice-only ‘John The Revelator’ for an instant taste of House’s abilities to captivate. And he lived long enough, too, to savor his renaissance.” — Sound Quality = 92% — Ken Kessler, HiFi News, November 2016
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Doug MacLeod – Come To Find
88,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemSpend any time around Doug MacLeod and the stories from his years of road time with the likes of Big Joe Turner and Pee Wee Crayton start to flow as easily as a brook tickled by a breeze. And you know you're getting to the good part, the climax if you will, when Doug's eyes start to twinkle, his grin grows broader and out of his mouth pop the words "Come to find ..." MacLeod was a widely acknowledged electric blues guitarist for many years, and the leader of his own band, yielding a number of U.S. and European tours and several albums to his credit. Doug disbanded the group to focus all his energies on his first love, acoustic blues. Come To Find is the debut fruit of that effort. And now it's made even more remarkable, with this 45 RPM 180-gram reissue by Analogue Productions. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. The pressing sounds spectacular. You're holding a 180-gram masterpiece from our own Quality Record Pressings, our state-of-the-art LP pressing plant. And the gatefold jacket from Stoughton Printing is hard-core, old-school style — thick cardboard, tip-on, with additional photos and liner notes inside. Sweet. Come To Find is the sound of a consummate bluesman touching the core of his art in a program featuring ten originals by Doug. He is beautifully supported in this intimate setting by harmonica ace Charlie Musselwhite and the Mighty Flyer rhythm section, Jimi Bott and Bill Stuve. This is the album that deserves a place of honor in the music collections of even casual blues fans. And for those who love blues already, this is one of the best-sounding, most original works you'll ever hear.
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Mighty Sam McClain – Give It Up To Love
88,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show item“Give It Up to Love has been one of my all-time faves since its release in 1993. Producer Joe Harley correctly identified red-clay R&B vocalist Sam McClain as someone whose musical career was due for a new act. The album continues to be an audiophile go-to; this latest issue by Analogue Productions generously spaces out 11 tracks over two 45 RPM LPs. The sound was already standard-setting, whatever the format, thanks to engineer Michael C. Ross’s superb ‘get.’ I can pretty much tell within moments how my system is sounding by hearing a few beats of Mighty Sam’s vocals and listening to guitarist Kevin Barry sliding down over the frets at the top of ‘What You Want Me to Do.'” — Sasha Matson, for Stereophile — “Records To Die For” — February 2021.
“Give It Up To Love is the R&B comeback of the year.” — Rolling Stone
“Mighty Sam McClain’s Give It Up To Love is one of the great soul records.” — Stereophile
Mighty Sam is a rhythm and blues legend who shook up the blues world with this 1993 release. The great torch bearer of deep soul is caught in top form on this classic album. And now, this gatefold 2LP 45 RPM edition presented by Analogue Productions makes the album even greater!
The four sides of wider-spaced grooves make for reduced distortion and better high frequency reproduction. It’s a 180-gram masterpiece from our own Quality Record Pressings, our state-of-the-art LP pressing plant. And the gatefold jacket is hard-core, old-school style — thick cardboard, tip-on, with additional photos and liner notes inside. Sweet.
“McClain sings soul with incredible power — he knows when to pull the punches and when to cool it down. ‘Give It Up to Love,’ the title track, acknowledges his gospel roots; he performs it as a vocal prayer to God asking for wisdom, love, and strength. Bruce Katz’s contributions on B-3 Hammond organ expands McClain’s sound, particularly on the ‘Green Onions’-influenced ‘What You Want Me to Do.’ The sparsely effective arrangement on ‘Here I Go Falling in Love Again’ brings McClain up front as he cries of being a soul stripped to the bare bones. Kevin Barry’s funky bass blows while McClain declares himself as a child of God in ‘Child of the Mighty Mighty.'” — AllMusic
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Peter, Paul & Mary – Album 1700
88,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemNow a 45 RPM 180-gram 2LP release! Wider grooves for better tracking, more detail, more breath and sparkle! Transport your ears completely back to the studio! This is a phenomenal reissue of a significant album for the famed folk rock trio. Album 1700, released in 1967, yielded the group's final hit single (and only No. 1), "Leaving on a Jet Plane." It also yielded graceful folk-rock trappings for their repertoire of originals and covers by, among others, Bob Dylan and Eric Anderson, writes David Wolf for Amazon.com. This is the deluxe Analogue Productions treatment. An expert remastering by Kevin Gray of Cohearent Audio. A 180-gram pressing with lacquer plating by Gary Salstrom at Quality Record Pressings. Expertly recreated jacket artwork. A masterpiece. -
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Stevie Ray Vaughan – Soul To Soul
88,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemThe 45 RPM Analogue Productions reissue of Stevie Ray Vaughan's Soul To Soul is so good, as are its 45 RPM companions — Texas Flood and Couldn't Stand The Weather — that they truly represent what Gregg Geller, producer and A&R representative described as "the best replication of the master tapes to date." We've already brought you the 33 1/3 RPM box set Texas Hurricane featuring the greatest Stevie Ray Vaughan tribute ever reissued — six of Vaughan's most classic album titles remastered for ultimate blues and guitar fanatics. We've now taken the extra step and done 45 RPM versions of these three standout LPs. We've used the original 30 inches-per-second, half-inch analog master tapes for all of these albums. Ryan K. Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at our Quality Record Pressings, maker of the world's finest-sounding LPs. Stevie Ray Vaughan's myth making was already complete by the time that his third record in as many years was released in October 1985. But no one could have expected the artistic leaps and additional prowess the guitarist displays on Soul To Soul, a record on which Vaughan added a full-time keyboardist and saxophonist, and dug deep into his native state's musical well for soul, R&B and surf motifs. Vaughan wrote four of Soul to Soul's 10 tracks; two songs were released as singles. The album went to No. 34 on the Billboard 200 chart and the music video for "Change It" received regular rotation on MTV. There's not a link in this production chain that wasn't absolute first-rate. The absolute best that money can buy. But beyond that we've poured our passion into this project. Acoustic Sounds is a big fan of the blues and Stevie Ray Vaughan. It's a big dream come true to work on this project and to make these records sound and look the best they ever have. -
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Muddy Waters – Folk Singer
88,00 €
Includes 19% MwSt DEplus shippingAdditional costs (e.g. for customs or taxes) may occur when shipping to non-EU countries.Show itemFollow along as writer/professor Wayne Goins explores the creation of Folk Singer, and leads a visual tour of the former Chess Records studios, here. "The Quality Record Pressing is drop-dead quiet-as silent as the best Japanese pressings from the late 1970s-and the amount of inner detail released is simply astonishing...the sound is sweet, liquid and free of harshness and edge. The dynamics are mind-boggling. When Muddy takes it up ten notches to emphasize a point it's positively explosive in a way the 33 1/3 version only suggests." Music = 9/10, Sound = 10/10! — Michael Fremer, musicangle.com. "How about a 45 RPM set from Analogue Productions' recently launched Quality Record Pressings Facility, mastered by Bernie Grundman, in a beautiful gatefold jacket with extra sessions shots? It's been ages since I've heard LP surfaces this quiet — as in dead quiet. The expense and effort that Chad Kassem and company put into this venture are immediately obvious. ... Making music together bring this recording to life as never before. It's by far the best sounding and most engaging version yet... analog lovers will be in hog heaven." — Wayne Garcia, The Absolute Sound, May/June, Issue 223 "Worried that the folk-music fad was luring listeners away from the blues, Chess Records directed Waters to record with acoustic instruments. These sessions — by Waters, Willie Dixon and a young Buddy Guy — went astonishingly well, and this pioneering "unplugged" set is beloved by blues and folk fans alike." — rollingstone.com "...This time, though, it's been given the royal treatment, and not just heavy vinyl. It has been remastered from the original tapes, pressed on Chad Kassem's new hardware and it plays at 45rpm. It is a revelation...It's always been a chillingly 'real' experience. Now, it's overwhelming. Buy it!" Sound Quality: 90% - Ken Kessler, Hi-Fi News, January 2012 Folk Singer has been an audiophile staple for years. It always gets a bunch of play at hi-fi shows. It's a no-doubter demonstration disc. But never before has it sounded like this! Never has it been cut at 45 RPM! There are a handful of landmark albums in any genre. In the blues, one of them is Muddy Waters' Folk Singer. Originally released in 1964, Folk Singer was the only acoustic album Waters ever recorded, thus becoming the first and perhaps best blues concept album ever. Muddy of course started out playing acoustic blues in the Delta, and he's clearly very comfortable in this return to his roots, which was designed to appeal to the mid-1960s surge of interest in folk music. Muddy's supporting cast includes a very young Buddy Guy on guitar, Willie Dixon at the upright bass and Clifton James on drums. This recording has enormous presence with ample room for Muddy's booming voice to resonate.