John Lee Hooker IT SERVE YOU RIGHT TO SUFFER Speakers Corner 180 gram Audiophile
$
27
$ 27
Sold For
Mar 30, 2014
Sold Date
Mar 20, 2014
Start Date
$ 20
Start price
4
Number Of Bids
USA
Country Of Seller
eBay
Auctioned at
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Description
John Lee Hooker It Serve You Right To Suffer Speakers Corner (Impulse! AS-9103) 180g vinyl deluxe gatefold cover
A1 Shake It Baby 4:18 A2 Country Boy 5:32 A3 Bottle Up And Go 2:24 A4 You're Wrong 4:16 B1 Sugar Mama 3:10 B2 Decoration Day 5:07 B3 Money Written-By – Berry Gordy Jr.* 2:15 B4 It Serve You Right To Suffer 5:01
*(all photos are of the actual item)
- Artwork [Cover Design] – Robert Flynn (2)
- Artwork [Liner Design] – Joe Lebow
- Bass [Uncredited] – Milt Hinton
- Composed By – John Lee Hooker (tracks: A1 to B2, B4)
- Drums [Uncredited] – David 'Panama' Francis*
- Engineer – Bob Arnold
- Guitar [Uncredited] – Barry Galbraith
- Liner Notes – Stanley Dance
- Photography By – Ray Ross*
- Producer – Bob Thiele
- Trombone [Uncredited] – William Wells*
- Vocals, Guitar [Uncredited] – John Lee Hooker
Notes
Recorded in 1965.Re-release with original cover artwork.
Speakers Corner Records as the release label of this record, is mentioned only at the sticker on the shrink wrap.
John Lee Hooker himself did not know his exact date of birth. If he hadn't died at around the age of 80, this ageless musician would still be easily pulling the next generation to his gigs. Hooker remains a phenomenon, a mysterious figure of black rhythm and blues, a charismatic king who reigns supreme in rock 'n' roll's Hall of Fame. John W. Peters described his music as a synthesis of scorching emotional ardour, unrelenting rhythmic intensity, and original poetry of a highly personal character. Anyone hearing him for the first time may well be startled at the unfiltered passion and power of his music.
And another surprise is in store for those who compare Hooker's late recordings with those made in the Sixties. His unmistakable, raw voice has fully matured, but his incantory style of singing appears markedly finer and more flexible. And then there is the perfect gem of a rhythm group whose sinewy sounds fill the grooves with merciless gravitational force. It's enough to make your spine tingle!
No suffering when listening to Mr. Hooker
2010Just the usual fantastic stuff.Music and fidelity top shelf.
bit by the blues
2006Never really listened to John Lee Hooker before and this LP truly opened my eyes and ears.
Shockingly clean and vibrant (almost too clean for a blues album) there is a power here that startles
and each time I find myself listening the whole way through. Amazing. 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 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 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 Parson / 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 king of digital effects - excluding the exception above - and that the lacquer discs are newly cut." (Speakers Corner)
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