Jimmy Witherspoon
Handbags and Gladrags

*NOTE: This record was not noisy enough to rate our M-- to EX++ grade, but it's not quite up to our standards for Mint Minus Minus either. If you're looking for quiet vinyl, this is probably not the best copy for you.

This vintage ABC pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.

What The Best Of Sides Of Handbags and Gladrags Have To Offer Is Not Hard To Hear

• The biggest, most immediate staging in the largest acoustic space
• The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1971
• Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
• Natural tonality in the midrange -- with all the instruments having the correct timbre
• Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

What We're Listening For On Handbags and Gladrags

• Energy for starters. What could be more important than the life of the music?
• Then: presence and immediacy. The vocals aren't "back there" somewhere, lost in the mix. They're front and center where any recording engineer worth his salt -- Bill Szymczyk (along with Ed Michel and Gary Stauffer) in this case -- would put them.
• The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
• Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
• Tight, punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
• Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
• Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.

The Players

• Bass – Byron Garafolo
• Bass, Electric Bass – Ray Brown
• Drums – Earl Palmer, Larry Bunker, Paul Humphrey, Russ Kunkel
• Electric Piano – Gildo Mahones
• Guitar – Arthur Adams, Joe Walsh, Mel Brown
• Organ – Art Hillery, Stu Gardner
• Tenor Saxophone – Pete Christlieb, Plas Johnson
• Trombone – George Bohanon
• Trumpet – Harry Edison
• Vocals – Clydie King, Jimmy Witherspoon, Merry Clayton, Venetta Fields

A Big Group of Musicians Needs This Kind of Space

One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small -- they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies -- my notes for these copies often read “BIG and BOLD” -- create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.

And most of the time those very special pressings are just plain more involving. When you hear a copy that does all that -- a copy like this one -- it’s an entirely different listening experience.

Vinyl Condition

Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful originals.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.

Side One

• Handbags And Gladrags
• Evil Man Blues
• Stay With Me Baby
• Testifying

Side Two

• Redneck
• Spoon's Beep Beep Blues
• It's Time To Live
• Elmira
• Don't Get Flakey With Me

Jimmy Witherspoon Bio

James Witherspoon (August 8, 1920 – September 18, 1997) was an American jump blues singer. He first attracted attention singing in Calcutta, India, with Teddy Weatherford's band, which made regular radio broadcasts over the US Armed Forces Radio Service during World War II. Witherspoon made his first records with Jay McShann's band in 1945.

He first recorded under his own name in 1947, and two years later with the McShann band, he had his first hit, "Ain't Nobody's Business", a song that came to be regarded as his signature tune. In 1950 he had hits with two more songs closely identified with him—"No Rollin' Blues" and "Big Fine Girl"—and also hit with "Failing by Degrees" and "New Orleans Woman", recorded with the Gene Gilbeaux Orchestra (which included Herman Washington and Don Hill) for Modern Records. They were recorded at a live performance on May 10, 1949, at a "Just Jazz" concert in Pasadena, California, sponsored by Gene Norman. Another classic Witherspoon composition is "Times Gettin' Tougher Than Tough."

Witherspoon's style of blues—as a "blues shouter"—became unfashionable in the mid-1950s, but he returned to popularity with his 1959 album Jimmy Witherspoon at the Monterey Jazz Festival, which featured Roy Eldridge, Woody Herman, Ben Webster, Coleman Hawkins, Earl Hines, and Mel Lewis. Witherspoon later recorded with Gerry Mulligan, Leroy Vinnegar, Richard "Groove" Holmes, and T-Bone Walker.

-Wikipedia