Speakers Corner /Chess LP-1444 - 180 Gram Virgin Vinyl - AAA 100% Analogue
Pure Analogue Audiophile Remaster - Pressed at Pallas Germany - Limited Edition
Just got this album its the Speakers corner version and boy it sure does sound good, won't be coming of my turntable for a good while. LP Review
AAA 100% Analogue This Speakers Corner LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head 20 Years pure Analogue
In 1960, when Muddy Waters recorded this album as a tribute to Big Bill Broonzy two years after Broonzy's death, he could be sure of Broonzy's approval. "Oh yeah, Muddy is a real singer for the Blues," Big Bill, the Mississippi foundation stone, was heard to say early on in Muddy Waters' career.
Full of confidence after a Best Of compilation released on the Chess label in 1959 and his legendary appearance at the Newport Folk Festival, Muddy set down his own Broonzy songs. It goes almost without saying that such successful numbers as "I Feel So Good" and "Tell Me Baby" are overflowing with a Chicago feeling that gets right under your skin.
Muddy's backing band includes Otis Spann, James Cotton and Willie "Big Eyes" Smith.
Waters's tribute album to the man who gave him his start on the Chicago circuit, this stuff doesn't sound much like Broonzy so much as a virtual recasting of his songs into Muddy's electric Chicago style. Evidently the first time Waters and his band were recorded in stereo, the highlights include high voltage takes on "When I Get to Drinkin'" and "The Mopper's Blues," with some really great harp from James Cotton as an added bonus.
One of the leading figures in the post war Chicago Blues scene is Muddy Waters. Alongside Howlin’ Wolf and Little Walter, Muddy was a big man of the Blues. His music needs no introduction and his influence is still visible today. But this master once showed his respect to another Chicago Bluesman. It was in In 1960, when Muddy Waters recorded an album as a tribute to Big Bill Broonzy ‘Muddy Waters sings Big Bill’.
Big Bill Broonzy died two years earlier, but Muddy could be sure of Broonzy’s approval All Music writes: “Oh yeah, Muddy is a real singer for the Blues,” Big Bill, the Mississippi foundation stone, was heard to say early on in Muddy Waters’ career. The confident Muddy – who was already one of the kings of the blues – changed Big Bill’s repertoire into a Muddy Waters cocktail.
The unique style Muddy Waters
Muddy Waters sings Big Bill is what we miss in today’s music, the tight and grooving band music. With all the instrumentalist in Muddy’s band you hear a blend of honky tonk piano, howlin’ harmonica sounds and funking bass and drum beats. His preachin’ voice has no trouble reaching over the instrumental violence.
Songs on Muddy sings Big Bill Broonzy
‘Double Trouble’ shows how a piano player and a harpist can show how blues can groove a man away , Just a Dream and Southbound Train’ will be perfect to listen to on a walk through town. the relax vibe you get out of this songs is special.
I wonder why that southbound train don’t run,
Lord, you don’t need no tellin’, little girl, you know what you’ve done.
You made me love you, now, your man done come,
Waters's tribute album to the man who gave him his start on the Chicago circuit, this stuff doesn't sound much like Broonzy so much as a virtual recasting of his songs into Muddy's electric Chicago style. Evidently the first time Waters and his band were recorded in stereo, the highlights include high voltage takes on "When I Get to Drinkin'" and "The Mopper's Blues," with some really great harp from James Cotton as an added bonus. Almmusic 4.5/5
Muddy Waters Sings Big Bill Broonzy:
Muddy Waters (voc);
James Cotton (har);
Pat Hare (g);
Otis Spann (p);
(b); Francey Clay,
Willie Smith (dr)
1. Tell Me Baby
2. Southbound Train
3. When I Get to Thinking
4. Just a Dream (On My Mind)
5. Double Trouble
6. I Feel So Good
7. I Done Got Wise
8. Mopper's Blues
9. Lonesome Road Blues
10. Hey, Hey
20 Years pure Analogue
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 20 Years pure Analogue
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.