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Stevie Ray Vaughan & Double Trouble - Soul to Soul [Sundazed 180g LP] 24-bit/96kHz & CD-format

Posted By : aksman | Date : 26 Aug 2011 08:23:47 | Comments : 14 |
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Stevie Ray Vaughan & Double Trouble - Soul to Soul
Vinyl rip in 24-bit/192kHz (presented in 24/96 & 16/44.1) | FLAC | m3u, cue & Tech Log
Artwork | DR Analysis | 840 / 255 mb incl. recovery | FSonic, FF & WU | Blues | 1985
Mastered from the original Epic Records analog masters by Bob Irwin
Sundazed 180g LP / Cat.#: Sundazed LP 5305

Still, he has good taste in covers, his originals are sturdy, and there's not a bad performance here, so Soul to Soul winds up enjoyable in spite of its flaws, and it clearly points the way to his 1989 masterpiece, In Step.
- Stephen Thomas Erlewine/AMG


On his third album Soul to Soul, Stevie Ray Vaughan expanded the Double Trouble lineup with the additions of keyboardist Reese Wynans and saxophonist Joe Sublett. He also extended his electric blues style, seamlessly incorporating elements of soul, R&B and jazz into his approach. The result is one of the legendary guitarist’s most highly prized releases that includes such fan favorites as “Look at Little Sister,” “Change It” and “Say What!”

Review by Stephen Thomas Erlewine

By adding two members to Double Trouble -- keyboardist Reese Wynans and saxophonist Joe Sublett -- Stevie Ray Vaughan indicated he wanted to add soul and R&B inflections to his basic blues sound, and Soul to Soul does exactly that. It's still a modern blues album, yet it has a wider sonic palette, finding Vaughan fusing a variety of blues, rock, and R&B styles. Most of this is done through covers -- notably Hank Ballard's "Look at Little Sister," the exquisitely jazzy "Gone Home," and Doyle Bramhall's impassioned soul-blues "Change It" -- but Vaughan's songwriting occasionally follows suit, as well. Even if only the tortured blues wailer "Ain't Gone 'n' Give Up on Love" entered his acknowledged canon, he throws in some delightful soul-funk touches on "Say What!," the instrumental wah-wah workout that kicks off the album, and the Curtis Mayfield-inspired closer, "Life Without You," captures Vaughan at his best as a composer and performer. It's such a seductive number -- such a full realization of his soul-blues ambitions -- that the rest of the album pales in comparison. In fact, for all of its positive attributes, Soul to Soul winds up being less than the sum of its parts, and it's hard to pinpoint an exact reason why. Perhaps it was because Vaughan was on the verge of a horrible battle with substance abuse at the time of recording or perhaps it just has that unevenness inherent in transitional albums. Still, he has good taste in covers, his originals are sturdy, and there's not a bad performance here, so Soul to Soul winds up enjoyable in spite of its flaws, and it clearly points the way to his 1989 masterpiece, In Step.




Track listing

All songs were written by Stevie Ray Vaughan, except where noted.
    Side A

    "Say What!" – 5:23
    "Lookin' Out the Window" (Doyle Bramhall) – 2:48
    "Look at Little Sister" (Hank Ballard) – 3:08
    "Ain't Gone 'n' Give Up on Love" – 6:07
    "Gone Home" (Eddie Harris) – 3:07

    Side B

    "Change It" (Bramhall) – 3:57
    "You'll Be Mine" (Willie Dixon) – 3:46
    "Empty Arms" – 3:03
    "Come On (Part III)" (Earl King) – 4:31
    "Life Without You" – 4:18

Personnel
    Musicians

    Stevie Ray Vaughan – guitar, vocals, drums on "Empty Arms"
    Tommy Shannon – bass, vocals on "Say What!"
    Chris Layton – drums, vocals on "Say What!"
    Reese Wynans – keyboards, vocals on "Say What!"
    Joe Sublett – saxophone on "Lookin' Out the Window" and "Look at Little Sister"

    Production

    Producers – Stevie Ray Vaughan and Double Trouble, Richard Mullen
    Executive producer – John H. Hammond
    Engineer – Richard Mullen
    Assistant engineer – Ron Cote
    Cover art – Holland MacDonald

Dynamic Range Analysis

--------------------------------------------------------------------------------
Analyzed: Stevie Ray Vaughan & Double Trouble / Soul to Soul [Sundazed 180g LP]
--------------------------------------------------------------------------------

DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -2.12 dB -16.45 dB 5:22 01-Say What!
DR13 -2.24 dB -16.87 dB 2:48 02-Lookin' Out the Window
DR12 -1.41 dB -16.21 dB 3:07 03-Look at Little Sister
DR13 -4.46 dB -21.49 dB 6:06 04-Ain't Gone 'n' Give Up on Love
DR15 -1.92 dB -20.84 dB 3:05 05-Gone Home
DR12 -1.63 dB -15.38 dB 3:56 06-Change It
DR13 -0.82 dB -15.79 dB 3:44 07-You'll Be Mine
DR12 -3.28 dB -18.26 dB 3:02 08-Empty Arms
DR13 -2.63 dB -17.35 dB 4:30 09-Come On (Part III)
DR14 -3.07 dB -21.31 dB 4:17 10-Life Without You
--------------------------------------------------------------------------------

Number of tracks: 10
Maximum peak difference (-0.82 dB - -4.46 dB): 3.64 dB

Official DR value (Song Mode): DR13
================================================================================


Technical Log

RCM Hannl 'limited' with "Rotating Brush"
Music Hall MMF 9.1 Turntable
Tonearm: Pro-Ject 9cc evo with Pure Silver Wires
Cartridge: Nagaoka MP-500
Brocksieper Phonomax (Tube Phono PreAmp)
E-MU 0404 external USB 2.0 Audiointerface
Interconnections : Silent Wire NF5
WaveLab 6 recording software
iZotope RX Advanced 2.00 for resampling and dithering

Vacuum cleaning > TT > Brocksieper Phonomax > E-MU 0404 > WaveLab 6 (24/192) > manual click removal >
analyze (no clipping, no DC Bias offset) > converted to 24/96 (16/44.1) with iZotope RX Advanced 2.00
> split into individual Tracks > FLAC encoded (Vers. 1.21)

No silence been removed, please burn gapless to match original tracklayout.


Personal Note

With my vinyl transfers, I try to catch the whole beauty of vinyl records; therefore I don't use any post-processing or any sound improvement. What you get is a clear and flat transfer. For getting a clear sound, I'll do an extended washing of each record with my RCM, which can take up to 30 minutes brushing on each side. Resistant ticks and clicks I try to remove as good as possible, but the priority is not to lose any musical information in the process. Surface noises, as long they are not too high, are left in place. Only on bad pressings or on records recorded at extremely low levels do I use a fade in-/-out. As John Peel said, "Life is full of surface noises." In some cases this means that I have to make a compromise.... The result has to pass my personal quality criteria, which is IMO quite high.





All files are inside the folders.
High resoulution files are marked as "hr", CD-compatible files as "rb".


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Posted By: crewuzba Date: 26 Aug 2011 09:03:16
Thanks for another Stevie Ray Vaughan.
Will you rerip the Texas Flood you posted three years ago,aksman?
Posted By: jorgeluiz Date: 26 Aug 2011 12:14:34
Excellent...very very cool.
thank you so much one more time, aksman :-)
Posted By: FruitPoodle Date: 26 Aug 2011 12:35:46
Many thanks for the SRV, always welcome. Cheers
Posted By: pymander Date: 26 Aug 2011 14:11:30
Thanks aksman, that was quick!
Posted By: Planxty Date: 26 Aug 2011 17:20:44
Thanks a million.
Posted By: LivinLarge Date: 26 Aug 2011 18:42:47
Thanks for the great SRV post Mr.Aksman!
Posted By: ManWhoCan Date: 26 Aug 2011 18:45:18
@ Askman
Thank you very much for this one.
I really rate SRV as a great guitar player.
Posted By: Laserman59 Date: 26 Aug 2011 23:40:44
Thank you Aksman for this great share. :-)
Posted By: Lizard_King Date: 27 Aug 2011 04:09:05
Thanks Aksman, You Rock Dude !
Posted By: aksman Date: 27 Aug 2011 11:59:04
@ crewuzba

"Texas Flood" was one of my first rips... Done with Audacity and therefore no real 24/96 recording.
This definetly needs a re-rip
Posted By: jazzever Date: 27 Aug 2011 13:05:04
Wonderful post aksman,many thx::))
Posted By: nedjo Date: 29 Sep 2011 13:07:26
Thanks Aksman,
Posted By: loomer Date: 30 Dec 2011 12:48:53
Many thanks for sharing this rip!
Posted By: javier sosa Date: 09 Apr 2012 06:02:07
thankyou very much man & f-f good blues
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