Jimmy Reed: Jimmy Reed At Carnegie Hall (Hybrid SACD) CD Track Listing

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Jimmy Reed Jimmy Reed At Carnegie Hall (Hybrid SACD) (1961)
Jimmy Reed At Carnegie Hall (Hybrid SACD)\n\nOriginally Released September 1, 1961 as a 2LP compilation\nMFSL Gold CD Edition Released August 25, 1992\nCollectables' CD Edition Released June 20, 2000\nAudio Fidelity Hybrid SACD Edition Released June 8, 2004\nJapanese Mini LP CD Edition Released February 13, 2006\n\nAMG EXPERT REVIEW: N/A\n\nHalf.com Details \nProducer: Calvin Carter \n\nAlbum Notes\nDespite the title, JIMMY REED AT CARNEGIE HALL is not a live album, but a recreation of a Jimmy Reed Carnegie Hall performance. The songs are not the original recordings, but new versions recorded in 1961.\n\nThis is a hybrid Super Audio CD playable on both regular and Super Audio CD players.\n\nPersonnel include: Jimmy Reed (vocals, guitar, harmonica); Eddie Taylor, Lonnie Brooks, Phil Upchurch, Lefty Bates (guitar); Willie Dixon (double bass); Earl Phillips (drums); Mary Reed (background vocals).\n\nLiner Note Author: Pete Welding.\n\nRecording information: Bell Sound Studios, New York, New York; Universal Studios, Chicago.\n\nInterestingly, JIMMY REED AT CARNEGIE HALL is not a concert album (technical and contractual difficulties prevented taping the actual event), but a studio recreation of the Carnegie Hall set Reed and his band played several days before the recording. Still, the album has the loose, spontaneous feel of a live session, with Reed's simple, propulsive guitar playing, keening harmonica, and behind-the-beat singing in exceptional working order. Abetted by guitarist "Lefty" Bates, drummer Earl Phillips, and Reed's wife, "Mama" (whose sweet backing vocals are an integral thread in the fabric of the music), Reed turns in a wonderful performance.\n\nThe generous 23-song set list, nearly all Reed originals, includes some of the performer's best tunes, including the chugging "Bright Lights, Big City," the insistent "Ain't That Lovin' You Baby," and the slow-burning "You Don't Have to Go." The music is steeped in the primal, hypnotic rhythms of the Delta tradition, with a dash of savvy electric Chicago blues for balance, but the overall vibe is warm and mellow. The set is characterized by Reed's trademark muted, swampy sound, which would go on to influence a generation of young bluesmen and rockers.\n\nAMAZON.COM CUSTOMER REVIEW\nJimmy Reed's hits from the original master tapes, July 26, 2004\nReviewer: Bradley Olson (Bemidji, MN United States) \nThis was Jimmy's best selling album ever but the title is very misleading in that these are all studio recordings, not live recordings, which means they weren't recorded at Carnegie Hall, but the tracks are in the order he performed them at a Carnegie Hall concert one week prior to recording the first dozen in the studio of this double album. This is actually the first time all of the original master tapes of this album were used as the songs recorded in mono were on all previous issues in rechanneled stereo while the true stereo tracks on this disc have always been in true stereo on every release. Steve Hoffman searched high and low for the first generation tapes of each song on the album in the Vee Jay vaults and as a result, Audio Fidelity has issued the definitive release of the album. Audiophiles and casual blues fans who like quality sound must pick up this issue of Jimmy Reed At Carnegie Hall as it contains most of his biggest hits in the best possible quality sound due to the work of Steve Hoffman.\n\nAMAZON.COM CUSTOMER REVIEW\nWeirdly titled; excellent music, January 10, 2004\nReviewer: Docendo Discimus (Vita scholae)\nThis CD was originally issued as a double LP by Vee-Jay in the early '60s, and the title is decidedly odd considering that none of these songs are recorded live, or at Carnegie Hall for that matter.\n\nThe first dozen tracks, which made up the first of the two original vinyl LPs, are some nice middle-period studio tracks, while the following dozen constitutes a "reissue" of sorts of the Vee-Jay label's "Best Of Jimmy Reed album. If you're looking for a live document of Jimmy Reed, this ain't it, but stereophiles will love this as the sound is Mobile Fidelity impeccable, even on the mono masters, while stereo masters of such classics as "Baby What You Want Me To Do" and "Big Boss Man" sound almost revelatory. \n\nThe various musicians include Reed's lead guitarist and childhood friend, the great Eddie Taylor, as well as Willie Dixon, Curtis Mayfield and Phil Upchurch on bass, pianist Henry Gray, and guitarists Lee Baker and William "Lefty" Bates (who was indeed lefthanded and played his instrument upside down).\n\nIn addition to the eleven "Carnegie Hall" tracks, which are supposed to recreate the track list from an actual concert at that venue, the second half of the album features most (but not quite all) of Reed's classic blues shuffles, including crisp renditions of "You Got Me Dizzy", "You Don't Have To Go", "Honest I Do", "Ain't That Lovin' You Baby", and the wrongly titled "Baby What You Want Me To Do" (Jimmy Reed sings, and always did sing, "baby why you wanna let go?").\n\nCritics hated Mathis James Reed's nasal, badly articulated vocal delivery, simple, two-string boogie patterns, and virtual inability on the harmonica, but the record buying public loved him, and he frequently crossed over to the pop charts, an amazing feat for a black blues singer in the 1950s. And Reed outsold everybody from Muddy Waters and Howlin' Wolf to Little Walter and Elmore James in the process.\n\nThe story of Jimmy Reed is a tragic one, really. Illiterate, alcoholic and stricken with undiagnosed epilepsy, Reed was ill equipped to handle fame and fortune, and even though his faithful wife Mary (known to fans as "Mama" Reed) did everything she could to keep him functioning, he ended up slowly falling apart, finally dying at age 50 in 1976. His epilepsy had been diagnosed by then, and he had managed to quit the bottle and was receiving medical treatment, but too late, and he died while trying to make a comeback to the blues circuit.\n\nRhino's "Blues Masters: The Very Best Of Jimmy Reed" remains the best introduction to Reed's music, and this is not an ideal starting point for newcomers (even with most of the hits aboard), but if you have to have some classic Jimmy Reed in clean stereo, this is the place to go.\n\nAMAZON.COM CUSTOMER REVIEW\nT'ain't live but it sure is classic Jimmy Reed!, July 15, 2000\nReviewer: J. Mark Sappenfield (Overland Park, KS USA)\nCollectable Records recently reissued JIMMMY REED AT CARNEGIE HALL a Vee-Jay album(VJLP 1035) originally released in 1961. The first eleven songs are a recreation of performance Jimmy Reed gave at the "Blues at Carnegie" series(per the liner notes). The liner notes state that the reason the recording could not be done at Carnegie Hall was due to "technical and contractural problems" so the album ended up being recorded at New York City's Bell Sound Studios. Some new tunes, at the time, were written for the Carnegie performance such as "Blue Carnegie"(instrumental) and "Blue, blue, blue." It also includes such Reed classics such as "Ah Shucks,Hush Your Mouth" and "Bright Lights Big City", the first song on the album. The twelve remaining cuts is a best of Jimmy Reed songsfest which are faithful rerecordings of his best known songs. "Take Out Some Insurance" is the only song not written by Jimmy Reed. Although it has the same feel as a Jimmy Reed song the liner notes state that he hated it. Though his singing is sometimes slurred and out of tune, the sound of the blows on his harmonica and his guitar, sometimes accompanied by Eddie Taylor on bass guitar, make his blues songs shine. This cd is a faithul reproduction of the lp including the ever present oval Vee-Jay oval on the front cover along with the original liner notes.
This blues cd contains 23 tracks and runs 63min 14sec.
Freedb: 700ed017

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