The Okeh Sessions (Pure Pleasure) (On Sale) by Big Maybelle
Her mountainous stature matching the sheer soulful power of her massive vocal talent, Big Maybelle was one of the premier R&B chanteuses of the ‘50s. Her deep, gravelly voice was as singular as her recorded output for Okeh and Savoy, which ranged from down-in-the-alley blues to pop-slanted ballads. She appeared at the Newport Jazz Festival in 1958, and acquired a large following among lovers of the blues, rhythm and blues, jazz and rock and roll. Near the end of her life she even covered hits by the Beatles and Donovan. Big Maybelle's career was hampered throughout and cut short by a severe drug addiction, but she packed a lot of living into her shortened lifespan. It's worth mentioning how, almost half a century later, the power in her Okeh sessions is still palpable. With her bold, gritty sound, she comes off like nothing so much as a female Howlin' Wolf, and one can't imagine her not being an influence on the full-throttle blues of Etta James, Aretha, Janis Joplin and countless others. "So Good to My Baby" features typically microphone-distorting belting from the singer, and an appropriately blazing horn section. "Gabbin' Blues", her 1952 Okeh debut smash, is a humorous dialogue between Maybelle and gossiping rival Rose Marie McCoy, the tune's co-writer. One of the most stirring cuts here is "Ocean Of Tears", a percolating, minor-key tune in which Maybelle bemoans her sorrowful state with an unforgettably cathartic angst. Also impressive, though, are ballads such as "You'll Never Know", "Ain't No Use", and "You'll Be Sorry", which show a pleasant, softer side to Maybelle's craft. "Whole Lotta Shakin' Goin' On" - a song that she took to the top of the R&B charts before Jerry Lee Lewis turned it into a rock & roll anthem -, her 1955 single "One Monkey Don't Stop No Show" and 1954's "I'm Getting 'Long Alright", are also standouts. New York session wizards such as tenor saxophonist Sam 'The Man' Taylor and guitarist Mickey Baker provide great support throughout. The tracks contained on this album showcase one of the greatest blues singers of all time, at her prime.
Recording: October 1952, June 1953, January and March 1954, March 1955
About Pure Pleasure
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.
This title is not eligible for further discount.
1. Just Want Your Love
2. So Good To My Baby
3. Gabbin' Blues
4. My Country Man
5. Rain Down Rain
6. Way Back Home
7. Stay Away From My Sam
8. Jinny Mule
9. Maybelle's Blues
10. I've Got A Feeling
11. You'll Never Know
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Vinyl records are able to capture the purest quality of recorded music in true form. This is possible because the initial recording is captured on an analog source (usually tape) for the ultimate in High Fidelity sound, it is then pressed onto virgin vinyl. Analog recordings capture the bottom end (or bass) while adding sweetness to the high end (or treble) better than any digital recording ever could. Analog systems are still commonly used before they are digitally transferred to CD. This means that the sound then is altered in the transfer process when CD's are produced. The word fidelity means accuracy and faithfulness. High Fidelity sound is faithful to the original sound made by the artist, capturing maximum accuracy of what was intended for the listener to hear. Vinyl records capture those sounds for the ultimate High Fidelity listening experience!
180/200 GRAM Vinyl LP
These vinyl records are produced with 180 or 200 grams of high definition premium grade virgin vinyl. This is a higher quality audiophile pressing than the typical vinyl record of 100-120 grams. These limited edition LP's are manufactured with the hi-fi enthusiast in mind. A 180 or 200 gram LP is sometimes also referred to as an audiophile pressing, there is a higher bass response and an even warmer High Fidelity sound. 180 or 200 grams LP's are typically manufactured in limited amounts and are considered collectables, commanding a higher price.
Typically, a vinyl reissue is a repressing of an original LP, usually extracted from the recording's master-tapes. In some cases, reissues are remastered to lower surface noise and improve overall sonics. Reissues help preserve the music of an original recording, especially when original LPs become unavailable or can no longer be found. Reissues can be pressed on a variety of thickness from 150 gram to 200 gram and offer a great opportunity for records collectors to own many classic recordings.