Taj Mahal
Giant Step / De Ole Folks at Home

*NOTE: There is a group of marks that play 20 times as a crackle (10 light, 10 moderate) at the end of track 3 on side 4, "Stagger Lee." The crackle continues 7 times lightly into the start of track 4, "Cajun Tune."

These vintage Columbia pressings have 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, these are the records 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 Sides Of Giant Step / De Ole Folks at Home 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 1969
• 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 these records 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 these two do.

Shootout Criteria

What are sonic qualities by which a record -- any record -- should be judged? Pretty much the ones we discuss in most of our Hot Stamper listings: energy, vocal presence, frequency extension (on both ends), transparency, spaciousness, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, three-dimensionality, and on and on down the list.

When we can get a number of these qualities to come together on the side we’re playing, we provisionally give it a ballpark Hot Stamper grade, a grade that is often revised during the shootout as we hear what the other copies are doing, both good and bad.

Once we’ve been through all the side ones, we play the best of the best against each other and arrive at a winner for that side. Other copies from earlier in the shootout will frequently have their grades raised or lowered based on how they sounded compared to the eventual shootout winner. If we’re not sure about any pressing, perhaps because we played it early on in the shootout before we had learned what to listen for, we take the time to play it again.

Repeat the process for side two and the shootout is officially over. All that’s left is to see how the sides of each pressing match up.

It may not be rocket science, but it’s a science of a kind, one with strict protocols that we’ve developed over the course of many years to insure that the results we arrive at are as accurate as we can make them.

The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on our Hot Stamper pressing -- or your money back.

What We're Listening For On Giant Step / De Ole Folks at Home

• 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 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

• Taj Mahal - vocals, harmonica, banjo, Mississippi national steel-bodied guitar
• Jesse Ed Davis - electric guitar, acoustic guitar, piano, organ
• Gary Gilmore - electric bass
• Chuck "Brother" Blackwell - drums

Vinyl Condition

Mint Minus Minus 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 recordings.

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

• Ain't Gwine Whistle Dixie Anymo'
• Take A Giant Step
• Give Your Woman What She Wants
• Good Morning Little School Girl
• You're Gonna Need Somebody On Your Bond

Side Two

• Six Days On The Road
• Farther On Down The Road (You Will Accompany Me)
• Keep Your Hands Off Her
• Bacon Fat

Side Three

• Linin' Track
• Country Blues #1
• Wild Ox Moan
• Light Rain Blues
• A Little Soulful Tune
• Candy Man
• Cluck Old Hen

Side Four

• Colored Aristocracy
• Blind Boy Rag
• Stagger Lee
• Cajun Tune
• Fishin' Blues
• Annie's Lover

AMG 4 Star Review

In less than 24 months, Taj Mahal (guitars/vocals/banjo/harmonica) had issued the equivalent of four respective long players. The electric Giant Step (1968) was released alongside the acoustic and decidedly rural De Ole Folks at Home (1968). The nine cuts on Giant Step feature support from the instrumental trio of Jessie Ed Davis (guitar/keyboards), Gary Gilmore (bass) and Chuck Blackwell (drums). They back Taj Mahal on a wide selection of covers ranging from Carole King and Gerry Goffin's "Take a Giant Step" to the upbeat and soulful reading of the Huddie Ledbetter blues staple "Keep Your Hands off Her."

The arrangements are unique and offer the artist's distinctive approach. Nowhere is this more evident than the practically jovial mid-tempo "Good Morning Little Schoolgirl" or the freewheeling abandon that is brought to the 18-wheeler anthem "Six Days on the Road," recalling the version of "Ain't That a Lot of Love" from Taj Mahal's preceding effort Natch'l Blues (1968). Additionally, Blind Willie Johnson's "You're Gonna Need Somebody on Your Bond" stands out with a strong and soaring gospel-flavoured score. Giant Step concludes with "Bacon Fat," a number attributed here via Garth Hudson and Robbie Robertson of the Band.

That said, it may be better-known from the man they called Mr. Rhythm, Andre Williams, whose scattered down-home spoken interludes punctuate his February 1957 Top 10 R&B hit -- which incidentally was created under the working title "Diddle, Diddle Womp, Womp." Parties searching for an apt introduction when discovering Taj Mahal's voluminous catalogue are encouraged to consider Giant Step as a highly recommended reference point.