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Genre > Rock > Classic Rock
The Pious Bird of Good Omen (Speakers Corner)
After the break-up of John Mayall’s Bluesbreakers in the summer of 1967, the time seemed ripe for Peter Green, John McVie and Mick Fleetwood to take their leave from raw British rock ’n’ roll. The newly established band Fleetwood Mac first turned to black blues, and their art of playing was so similar to that of other groups that the magazine Eye criticised them for their »almost ridiculous mimicry«. However, their choice of performance style took them in the right direction and in 1969, the year in which "The Pious Bird Of Good Omen" appeared, they landed at the top end of the pop charts, even ahead of The Beatles and Stevie Wonder.
Of course, in the cover version of Little Willie John’s "Need Your Love So Bad", which is treated with a velvety string sound, and other bluesy songs, the American influence still makes itself heard, but not without success! The highly individual sound of the group comes best through in the now legendary numbers such as the weightless, gliding "Albatross" and "Black Magic Woman" with its Latin and blues elements. Judged the best British blues ever to be played (allmusic.com), one can now sit back and enjoy this great album.
- Peter Green (guitar, vocal)
- Jeremy Spencer (guitar, piano, vocal)
- Danny Kirwan (guitar)
- Eddie Boyd (piano, vocal)
- Big Walter Horton (harmonica)
- John McVie (bass)
- Mick Fleetwood (drums)
Recorded between September 1967 and October 1968 by Mike Ross
Production: Mike Vernon
About Speakers Corner
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, Speakers Corner 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 existant 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 emphasise that Speakers Corner 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 have one digital recording in our catalogue (Alan Parsons / Eye In The Sky“), but even in this particular case we used the analogue tapes for cutting.
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 – excluding the exception above – and that the lacquer discs are newly cut.1. Need Your Love So Bad
2. Comin' Home
3. Rambling Pony
4. The Big Boat
5. I Believe My Time Ain't Long
6. The Sun Is Shining
8. Black Magic Woman
9. Just The Blues
10. Jigsaw Puzzle Blues
11. Looking For Somebody
12. Stop Messin' Round$34.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now