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The Original King Bee (The Best Of Slim Harpo)The Original King Bee (The Best Of Slim Harpo) - On 200-Gram LP From Analogue Productions
Mastered By Kevin Gray At Cohearent Audio From The Original Analog Tapes
Plated And Pressed At Quality Record Pressings
Old-Style Tip-On Jacket By Stoughton Printing
What's the point in listening to us doing 'I'm A King Bee when you can hear Slim Harpo do it? - Mick Jagger, 1968
Slim Harpo died in 1970. Better known by his stage name than his given, James Isaac Moore, he epitomized the swamp blues style, and at the time of his passing he was at the brink of enjoying the kind of fame he'd deserved since the release of his first single, the infectious King Bee 13 years earlier.
Harpo was just beginning to play for urban, white audiences when he succumbed to an unexpected heart attack. There were plenty of people who were aware of Slim and not all of them were young British musicians who knew a good tune when they heard it. Pete Welding, writing in Rolling Stone, described Harpo as a stylist who's carved out his own niche, and within the relatively narrow confines of that approach he's unbeatable - and of course, immediately recognizable ... the emphasis is on forceful, direct rhythm, tight and simple arrangements (even when horns are used) that work beautifully with Slim's sly, laconic singing and harmonica playing and, above else, feeling.
What an iconic performer - perfect for the full Analogue Productions reissue treatment. The Best of Slim Harpo (The Original King Bee) has his iconic hits from a formidable career: I'm A King Bee, Got Love If You Want It, Baby Scratch My Back, Shake Your Hips, Te Ni Nee Ni Nu, Mohair Sam and more. They're included on an incredibly silent and rich-sounding 200-gram LP pressed by Quality Record Pressings. Mastering from the original analog tapes was by Kevin Gray at Cohearent Audio. Finally, it's all contained in a old-style tip-on heavyweight cardboard jacket from Stoughton Printing. Spectacular sound and an eye-catching package. That's the Analogue Productions difference.
Just up the Mississippi from Baton Rouge, on February 11, 1924, James Isaac Moore was born. He would live in the area for practically all of his life. As a child he took up harmonica, and later, in adulthood, supported himself and his family as a laborer, as a gas station attendant, he hauled sugar cane, and did other odd jobs. He didn't become a professional musician until he began to record in the mid-'50s. In 1955, Moore began recording with Lightnin' Slim at J.D. Miller's studio in Crowley, Louisiana.
Two years later Moore first recorded as a featured artist. The initial session at Miller's studio resulted in three completed masters, all originals: I'm A King Bee, Got Love If You Want It and This Ain't No Place For Me. Still, Slim, through his career, didn't tour much, and his record label - Excello - was a small independent with promotion and distribution problems typical for its size. Most of Slim's fame and fortune came second-hand.
We're betting you'll enjoy this Slim Harpo compilation as much as we've enjoyed putting it together and bringing it to you. As Mick pointed out, there's nothing like the original. And Slim Harpo was original to the hilt. We're excited to honor his memory with this exceptional release.
This title is not eligible for discount.1. Baby Scratch My Back
2. I Got Love If You Want It
3. I'm A King Bee
4. Shake Your Hips
5. Te Ni Nee Ni Nu
6. I've Been A Good Thing (For You)
7. Raining In My Heart
8. The Music's Hot
9. Mohair Sam
10. Tip On In
11. Moody Blues
12. The Hippy Song
13. Don't Start Crying Now
14. Rock Me, Baby$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
American Folk Blues Festival 1964 (Pure Pleasure)
German jazz publicist Joachim-Ernst Berendt first had the idea of bringing original African-American blues performers to Europe. Jazz had become very popular, and rock and roll was just gaining a foothold, and both genres drew influences directly back to the blues. Berendt thought that European audiences would flock to concert halls to see them in person.
Promoters Horst Lippmann and Fritz Rau brought this idea to reality. By contacting Willie Dixon, an influential blues composer and bassist from Chicago, they were given access to the blues culture of the southern United States. The first festival was held in 1962, and they continued almost annually until 1972, after an eight-year hiatus reviving the festival in 1980 until its final performance in 1985.
The concerts featured some of the leading blues artists of the 1960s, such as Muddy Waters, Howlin' Wolf, Willie Dixon, John Lee Hooker and Sonny Boy Williamson along with blues legends from an earlier period such as Sleepy John Estes, John Henry Barbee & Lightnin' Hopkins.
Attendees at Manchester in 1962, the first ever venue for the festival in Britain, included Mick Jagger, Keith Richards, Brian Jones and Jimmy Page. Subsequent attendees at the first London festivals are believed to have also included such influential musicians as Eric Burdon, Eric Clapton, and Steve Winwood. Collectively these were the primary movers in the blues explosion that would lead to the British Invasion.
- Sonny Boy Williamson (vocal, harpsichord)
- Hubert Sumlin (guitar)
- Willie Dixon (bass)
- Clifton James (drums)
- Sunnyland Slim (vocal, piano)
- Sam Lightnin' Hopkins, Howlin' Wolf (guitar, vocal)
- Hammie Nixon (harpsichord, jug)
Recording: October 1964 live at Musikhalle Hamburg, Germany, by Peter Kramper
Production: Siegfried E. Loch
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.1. I'm Trying To Make London My Home
3. Everytime I Get To Drinkin'
4. Ain't It A Pity
5. Baby Please Don't Go
6. I'm A Tearing Little Daddy
7. Cotton Pickin' Blues
8. No Title Boogie
9. Slip In Mules
10. Dust My Broom$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now