Sold Date: August 22, 2016
Start Date: April 7, 2016
Final Price: $36.00 (USD)
Seller Feedback: 4690
Buyer Feedback: 0

RTH 2006 - JIMI HENDRIX Blues 2LP - 200g Quiex SVP* Classic Records Reissue - Still Sealed with Sticker

As part of the numerous compilations issued in conjunction with the major television documentary series "The Blues", this is a collection of blues-oriented Hendrix recordings.  There is a previous compilation of Hendrix's blues-oriented work in 1994, simply titled Blues.   There is little repetition between Martin Scorsese Presents the Blues and Blues, though, and it works as a decent grouping of some of his bluesiest recordings for those listeners who want to plunge especially deeply into one facet of his repertoire. "Red House" and "Voodoo Chile" are by far the most celebrated tracks here. The other selections vary from inspired ("Hear My Train a Comin'," both acoustic and electric) to straight ahead jams, with Hendrix's imaginative virtuosity and affinity for the blues evident. While Hendrix remains most famous for his hard rock and psychedelic innovations, more than a third of his recordings were blues-oriented. This CD contains 11 blues originals and covers, eight of which were previously unreleased. Recorded between 1966 and 1970, they feature the master guitarist stretching the boundaries of electric blues in both live and studio settings. Besides several Hendrix blues-based originals, it includes covers of Albert King and Muddy Waters classics, as well as a 1967 acoustic version of his composition "Hear My Train A-Comin'." The Classic issue of this title will mark its first time on vinyl. Of course, the two LP set, cut by Bernie Grundman at Bernie Grundman Mastering in Hollywood on Classic's "ALL TUBE" analog cutting system and pressed on Classic's proprietary 200g Super Vinyl Profile* for maximum fidelity!  This package includes 2 LPs in white paper sleeves, wrapped with a 12" x 12" two-sided reproduction of the inner sleeve, packaged in a poly bag (See Pictures).  The original price was $50. making these remainders a steal and a must for Hendrix LP lovers.  At this price you should buy 2!

PLEASE NOTE: THIS LP SET DOES NOT COME WITH THE STANDARD COVER. IT WILL COME IN THE SLEEVES EXACTLY AS PICTURED.

Track List:

Side A:

1. Hear My Train A Comin' (acoustic)

2. Born Under A Bad Sign

3. Red House

Side B:

1. Catfish Blues

2. Voodoo Chile Blues

3. Mannish Boy

Side C:

1. Once I Had A Woman

2. Bleeding Heart

3. Jam 292

Side D:

1. Electric Church Red House 

2. Hear My Train A Comin' (electric)

*Background on Classic 200g Super Vinyl Profile 

In 2003, Classic Records launched its now famous Signature Blue Note Mono reissue series. As part of that series Classic developed an "authentic" 200 gram LP profile that replicated that of an original Blue Note record from the 1950's.  Comparing a test pressing on the new profile versus the same title on the normal 180 gram pressing it was discovered that the 200 gram version sounded significantly better.  The 200 gram pressing sounded louder, with more definition and solidity of notes across all frequencies and there was more detail - particularly low level detail like room or hall sounds, pages being turned, musicians whispering and automobile sounds outside the studio all became easier to identify.  At first it was speculated inside Classic Records that the extra weight resulted in the better performance as no one could come up with a better answer given that the stampers were the same as well as the vinyl pellets used on both 180g and 200g pressings.  One day, Michael Hobson, the founder of Classic Records was discussing this unexplainable sonic discovery with the Legendary Mastering Engineer and Sheffield Records founder, Doug Sax when Doug, without hesitation stated "Ah Michael you've discovered the difference in a flat versus conventional profile".  Puzzled, Hobson asked for an explanation which Sax described as going all the way back to 1950's mono pressings and what happened when stereo records came out in the early 1960's.  Sax explained that in the 1950's when mono records had no vertical modulation (only lateral), pressing PolyVinylChloride PVC (plastic) records were more easily pressed on "Flat Profile" dies fitted to the pressing machines since the grooves on the mono stampers were all the same height (no vertical modulation).  The molten vinyl was able to flow evenly across the stampers and fill properly during the molding (pressing) of the record.  The problems started when stereo record cutting came into vogue producing stampers that had variable height grooves sticking up across the diameter of each stamper.  Using the older mono pressing dies resulted in tremendous problems getting the areas between grooves of different heights to fill properly - a groove that is in front of another taller one often got passed over by the flowing molten vinyl resulting in "non-fill" which was audible and thus a "defective" record.  Pressing plants don't like to press defective records and are always looking for high pressing yields or a s few rejects as possible.

To solve the problem, the engineers developed a new pressing die profile which tapers from the center of the die, flattens in the middle of the diameter and then tapers again toward the outside of the die. The new profile was "concave" rather than flat.  When you put a flat stampers onto the concave dies the stampers distort and are no longer flat - the grooves are no longer perpendicular across the stamper and by association across a finished vinyl pressing.  This new die profile created "back pressure" on the flowing vinyl and solved the "non-fill" problem with stereo pressings and resulted in higher yields which was great for pressing plants and good for record companies who wanted good prices on pressings.  The problem was and still is that the new profile records don't sound as good as they could because they are not flat across their profile.  Using a micrometer across the diameter of a 1950's mono records reveals that the thickness is virtually the same across the record's diameter from center label to outer edge but not so for a newer stereo profile pressing which is convex across its diameter resulting from the concave profile dies / distorted stampers.  This is the dirty little secret that Classic had rediscovered was known to old school experts like Doug Sax who founded Sheffield Labs in the 1970's.  After the discovery, Classic Records never looked back and all of its releases and re-pressings after 2003 were on the new 200 gram Flat Profile dies that were specially made for Classic.  Some years later Classic discovered that the very same profile was used by JVC in Japan to produce the legendary UHQR pressings for Mobile Fidelity which are well known to sound better than the conventional Mobile Fidelity pressings of the same titles - it all makes sense now.  The long and the short of this is that Classic 200g Super Vinyl Profile (Flat Profile) pressings are as good as it gets for proper playback without groove distortion from non-flat pressings - Period.

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