Ta strona wykorzystuje mechanizm ciasteczek (cookies) do poprawnego działania. Więcej informacji na stronie Polityka Prywatności. Zamknij.


Lightnin' Hopkins

Goin' Away

Side A: 1. Wake Up Old Lady 2. Don't Embarrass Me, Baby 3. Stranger Here 4. Little Sister's Boogie Side B: 5. Goin' Away 6. You Better Stop Her 7. Business You'r Doin' 8. I'm Wit' It
  • Lightnin' Hopkins - vocals, guitar
Add to Basket

289.00 PLN

LP-180G 33rpm:

Nr kat.: ASAPRJ1073
Label  : Acoustic Sounds
Add to Basket

199.00 PLN

SACD Hybr:

Nr kat.: CPRJ1073SA
Label  : Acoustic Sounds


"The timing of Lightnin' Hopkins while fronting a group was so unpredictable, rhythm sections struggled to follow him. That may have influenced the Rudy Van Gelder-engineered Goin' Away, where the guitar (acoustic) and vocals were recorded first and the bass and drums added later. 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 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." - Jeff Wilson, The Absolute Sound, September 2016, Music 4.5/5, Sonics 4/5 Read The Full Review Here! Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions — 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at state-of -the-art plant Quality Record Pressings and plated by Gary Salstrom. Deep groove label pressings, tip-on jackets on thick cardboard stock. 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 , who did a remarkable job of following his irregular bar patterns and abrupt song endings.


Razem z tą płytą inni Melomani kupowali: