Since taking the responsibility of leading BAAS into its future – a mere 24 hours ago
– I think I’ve pulled out most of my hair and, I believe, if you look carefully, you can still see some smoke emanating from my ears. Ah, the joys of a crash course in support and communications systems for an online community… and I thought the presidency was going to be all “cush” with limos to trade shows, free drinks and such… Guess not. However, I think I’ve got my arms wrapped around this three-headed technology beast and I’m moving forward. Welcome to my first blog post.
The idea for One Track Mind came to me late last night. I imagine this would be an enjoyable exercise and could have some very rewarding results if enough people participate. I realize that it may be more suited for the forum rather than the blog, but I’m still working on streamlining that little bit of modern wonder, so we’re going to try it out here first.
If you absolutely had to choose only one track, in any format or style, to demonstrate what your audio rig can do, what would it be? And why? Post your answer by leaving a comment to this post.
Over the years, I’ve seen posts listing someone’s top 10 best recorded albums or something like that – which is fine – but here we’re looking for the very best single tune in your collection, on your system. Give this some thought, post your choice, and soon we could have a killer thread with all kinds of new ultra-reference tracks to try on our own systems. By now, most of us are a wee bit tired of Diana, and Holly, and pretty soon, Shelby too.
I’ll start: Since we’re talking only one track, mine would be Good Morning School Girl on the 1987 MCA vinyl re-issue of Folk Singer by Muddy Waters (I’ve yet to find the original Chess Records LP). I bought this regular weight, non-audiophile, not kissed-by-virgin-cherubs album when it was re-released 27 years ago and still I believe it to be the best recording I’ve heard of a single voice and acoustic guitar. When I play this track with lights off (no dimmers allowed in the man-cave), Muddy doesn’t come into my room… it is I who sneaks into his 1963 Chicago recording session unnoticed, and plunk myself down on the floor about 10 feet in front of him. With eyes closed, I can see him shifting his weight in his seat, I can see the movement of his guitar and I actually feel the changes in the room’s air pressure as he slaps its wooden body, creating his own percussion section in between strums. The performance is stellar… even if I didn’t love the blues, I’d still be very impressed.