Fred Wesley - A Blow For Me, A Toot To You - 180g LP

Product no.: SD18214

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Fred Wesley - A Blow For Me, A Toot To You - 180g LP
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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Speakers Corner / Atlantic SD 18214 - 180 Gram Virgin Vinyl 

AAA 100% Analogue  - Limited Edition -   Pressed  at Pallas 

 Speakers Corner 30 Years Pure Analogue  This LP is an Entirely Analogue Production

Speakers Corner Records releases a re-mastered vinyl of a classic early funk album.has done a superior job in re-mastering A Blow For Me, A Toot For You to 180-gram vinyl. The dense, layered mix is smooth and the stereo separation is top-notch. Funk pioneers like Wesley (and obviously Maceo Parker, George Clinton and Bootsy Collins) took music into a new, exciting direction. This album more than stands the test of tine!   Sound 4.5/5 Audiophile audition

The sound is stunning on this new vinyl release, while the music is of course of an incredible high level 8.6/10 Strutter

Thanks to their first-class training in funk and soul while playing in James Brown’s Band, Fred Wesley and Maceo Parker were the obvious choice when it came to participating in George Clinton’s P-Funk empire – the Godfather of Soul had had an enormous influence on Clinton anyway.

In 1977, Clinton and Bootsy Collins produced "A Blow For Me, A Toot For You", the début album by Fred Wesley & the Horny Horns – an ensemble with Wesley on the trombone, Parker on the tenor and alto saxophone, as well as Rick Gardner and Richard 'Kush' Griffith on the trumpet. The majority of the numbers are by Clinton and Collins, so it is not really surprising that much of the LP is pure P-Funk.

The album begins rather gloomily with a remake of Parliament’s "Up For The Down Stroke", and the influence of Parliament is also unmistakable in the other numbers. With regard to the instrumental numbers, "Four Play" fuses funk and jazz, while Wesley’s atmospheric "Peace Fugue" reflects the CTI sound of the 1970s. Actually "Peace Fugue" is the work which least sounds like Clinton on this LP. "A Blow For Me, A Toot For You" scarcely ranks behind Parliament’s "Mothership Connection" or Funkadelic’s "One Nation Under A Groove" and is certainly more than just a recommendable LP, which every funk lover should get to know.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. 

All royalties and mechanical rights have been paid.

Recording: 1977 at United Sound Systems, Detroit, by Jim Vitti and Hollywood Sound Recorders, Los Angeles, by Jim Callon

Production: George Clinton and Bootsy Collins

Fred Wesley trombone, vocals
Maceo Parker saxophone
Michael Brecker saxophone
Randy Brecker trumpet, flugelhorn
Bootsy Collins guitar, bass, drums
Catfish Collins guitar
Garry Shider guitar
Glen Goins guitar
Michael Hampton guitar
Rick Gardner trumpet
Richard "Kush" Griffith trumpet
Bernie Worrell keyboards
Frank "Kash" Waddy drums
Jerome Brailey drums
Side One:
Up For The Down Stroke
A Blow For Me, A Toot To You
When In Doubt: Vamp
Side Two:
Between Two Sheets
Four Play
Peace Fugue
AAA 100% Analogue   This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 30 Years pure Analogue
We use the Original Tapes and work with only the Best Mastering Studios Worldwide
Faithful Reproduction of the Original Artwork and Labels
LIMITED EDITION Released in Limited Quantities
All Licences and Mechanical Rights Paid
                    Image result for pallas group germany vinyl pressing                  
Are your records completely analogue?
Yes! This we guarantee!
As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time
Are your records cut from the original masters?
In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us.
Who cuts the records?
In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few.
At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes. 
Vinyl’s newfound popularity has led many other companies to jump 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 from which to master: CDs, LPs, digital files and even MP3s. 
Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive. 
So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source! 
Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers. 
In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers. 
In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers.
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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