180g 200g 45rpm Box Sets.

T-Bone Walker - Sings The Blues - 180g LP

Product no.: LP9098

In stock

T-Bone Walker - Sings The Blues - 180g LP

£34.99

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Available delivery methods: UK Tracked with Signature, UK Express, Airmail Tracked with Signature, UK Standard, Heavy Item

Description

AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Pure Pleasure - PPAN LP 9098 - 180 Gram Virgin Vinyl - AAA 100% Analogue

Audiophile Mastering by Steve Hoffman & Kevin Gray at Acoustech

Imperial LP 9098 - Limited Edition - Pressed at Pallas Germany - Mono

None of that matter though, this stuff speaks for itself and for the post-WWII American emotional re-awakening as well as showing the way for the harder-edged music known as rock’n’roll that would soon emerge. The sound may be lower high fidelity in terms of frequency response, but its transparency is not to be denied and the way the recording gets the finger-touch on the guitar strings can’t be beat. It’s like looking from the outside, through a door into a smoky joint where the band can be seen rocking out on a somewhat distant stage. It’s a sound that’s somehow most appropriate for the music. Michael Fremmer AnaloguePlanet

T-Bone Walker is the best! for my money, the greatest of the electric guitar pioneers. He also took recording quality seriously, as can be seen by the proud reporting in the liner notes of the equipment used. The music is done with humor and great style, and this issue gives you what digital can't. Or maybe digital can, but just doesn't.5/5 LPreview

T-Bone Walker is one of the all time greats, an innovator and significant influence on just about every blues guitarist who followed. But his musical legacy is also incredibly enjoyable, full of humour as well as invention.

A man who played the blues with flair, sophistication, technical brilliance and a sense of humour, Aaron Thibeaux Walker was born in Linden, Cass County, of Cherokee Indian descent. His trademark was the cool, telling West Coast licks which emanated from his guitar - there have been few who have done the job better. Throughout his career, he was backed by bands of excellent quality, bands which included players of the stature of tenor players 'Bumps' Meyers and Jack McVea and the bassist Billy Hadnott, who was good enough to tutor Mingus. Aaron Walker pioneered the electric guitar sound that helped create the blues and thus influenced all popular music that followed.

He played one of the first electric guitars in the mid-‘30s, recording with it in 1939. His “T-Bone Blues,” recorded as a member of Les Hite’s Cotton Club Orchestra, and “Stormy Monday” both became blues classics, demonstrating his jazz-based blues style. His single-string solos influenced blues players like B.B. King and such rockers as Eric Clapton and Stevie Ray Vaughan. Walker continued to perform through the ‘70s, dying of a stroke in 1975 after suffering ulcer and alcoholism problems most of his life.

His legacy lives in just about every time a guitartist take a solo

Another Pure Pleasure mono reissue more important for the music than for “audiophile sound,” which these 1950 and 1951 mono sessions surely are not.

Never mind because the tracks do sound fine for the vintage and for some reason recordings of this era sound even harder and more glazed over converted to CD than do more modern ones.

Walker was an electric guitar originator who began playing during the 1930’s. His solos influenced all the big names from both sides of the ocean who came later and of course his tune “Stormy Monday” (not on this set) became a blues classic.

This is an album of west coast big band, hard charging, urban blues fronted by Walker’s guitar and cool, suave singing. Cottin’ pickin’ rural it ain’t! Walker’s slinky single note runs speak as clearly as his vocals.

The white girl on the cover was pretty much mandatory back then in order for the record to appeal beyond the “race music” bins and the liner notes, which complain about the complexities of modern jazz compared to Walker’s bluesy jazz, are devoid of information as to who’s playing in the band, who did the recording and producing, and where it was done.

Selections:

1. Strollin' With Bones

2. You Don't Love Me

3. You Don't Understand

4. Say! Pretty Baby

5. Tell Me What's the Reason

6. Blue Mood

7. The Sun Went Down

8. Travelin' Blues

9. Evil Hearted Woman

10. Cold Cold Feeling

11. I Got the Blues Again

12. Blues Is a Woman

Pure Pleasure Records
The Restoration of the Art of Sound
180g Vinyl Mastered From The Best Available Sources

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records. During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production. To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

There really is nothing quite like it. It’s the touch, the feel, you have to stop and stare, the cover, the real thing, even the smell.

Its tangible, you can feel it, see it, study it, muse/dream over it, it’s real, someone has spent hours and hours over its construction and presentation. Pure Pleasure Records is just that, Pure Pleasure and that is what it has set out to be.

The music and the physical record. Something to keep, treasure, admire and above all enjoy.Of course with vinyl it’s not just a record, it’s the cover, the sleeve notes, you are holding a unique package, produced by craftsmen.

Pure Pleasure Records bring you vinyl albums of quality Jazz - Blues - R+B - Soul - Funk, remastered by some of the best engineers in the world and pressed on 180 gram audiophile vinyl at what is probably the best pressing plant in Europe

Pure Analogue Audiophile Mastering - Plated and Pressed at Pallas in Germany on 180 Gram Virgin Vnyl - Released in Limited Quantities

60 Years Pallas

Audiophile Vinyl - Made in Germany For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade!

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