Author: Claus Müller

Are you looking for excellent entertainment with brilliant sound? Welcome to The Blues Company! I really appreciate it when blues or blues rock consists of more than just drums, bass, guitar, and lead vocals, but is enriched by keyboards, groovy brass sections, and charming background vocals.

The group was founded in 1976 by Todor “Tosho” Todorovic and Christian Rannenberg in Osnabrück (Germany). Tosho is still the singer and guitarist and the central figure of the band. The Blues Company plays its own songs as well as cover versions. High musicality and sound quality are the cornerstones of their audiophile productions. Over the years, they have released more than 20 studio and live albums, compilations, DVDs, and videos. They have played more than 3,000 concerts, mainly in Germany, Eastern Europe, the Balkans, Israel, and Russia. The band has received numerous awards, such as the German Record Critics' Award.

When it comes to sound quality, the company in-akustik comes into play. Bernhard Rössle, head of the Artist & Repertoire department, stands for these values and has been closely associated with The Blues Company for many years. I was able to ask him some questions about the production:

Claus Müller: How did the collaboration with The Blues Company come about?

Bernhard Rössle: It's a funny story. Tosho and I communicated in 1986 (!) about a possible collaboration. Coincidentally, the band was touring at Mövenpick at the motorway rest stops in Switzerland (that existed). I went there, listened to them... and everything took its course from that moment on. Now it's been almost 40 years of our friendship and collaboration.

Claus Müller: Congratulations on the “Studio Silent Concert” entitled Ain't Nothin But... What special features of the studio do you remember?

Bernhard Rössle: The organizers had managed to create a living room atmosphere in a warehouse. The hall was furnished with sofas, armchairs, beanbags, and floor lamps. The band didn't play on stage. The musicians were scattered among the audience. The audience listened to the concert through headphones, spread out across the room.

Claus Müller: In 2014, there were eight musicians in Osnabrück: two guitars, lead vocals, bass, drums, trumpet, saxophone, and backing vocals. That's quite a large band. What challenges did the band, the recording crew, and you as the producer face?

Bernhard Rössle: One of the biggest challenges was organizing 100 headphones and adjusting the sound so that listeners throughout the room could receive perfect stereo sound and even adjust the volume themselves. The sound engineer managed to create a separate in-ear monitor mix for each of the eight musicians involved and, at the same time, a stereo mix for the audience. 

Claus Müller: What criteria were used to select the songs for this album?

Bernhard Rössle: They were songs that went down best with the audience live at the time.

Claus Müller: Eleven years have passed between the recording and the current release. How did it come about that this album was released as a master tape copy in 2025?

Bernhard Rössle: There are several reasons for this. The Blues Company has had an excellent reputation in the audiophile scene for decades. The band and in-akustik have enjoyed a close and friendly working relationship for decades. The recording sounds excellent and was therefore predestined for a tape release.

Claus Müller: How do you see the future of tape and analog media?

Bernhard Rössle: Tape will continue to be limited to a very small niche market, while analog vinyl recordings will continue to have a significant share of the physical recording market.

Claus Müller: Thank you very much for the interview.

The track selection is very well done. More contemplative pieces alternate with more powerful songs. The guitars are played fluidly, with solos incorporated in just the right measure. The brass sections are well placed, as are the interludes by the two background singers. As the first tape progresses, the musical action intensifies, and the atmosphere becomes more intimate. For me, the first highlight is the hit If I Only Could. Fans of guitar solos will get their money's worth with You Drive Me Crazy. The sound engineer has done an impeccable job of positioning the musicians on the stereo stage. The sound is balanced, the bass is tough, and the drums are crisp. Compared to other master tape copies, it doesn't quite achieve the same level of sonic brilliance. Taken on its own, however, this copy deserves top marks, with only slight reservations. This album is a wonderful journey through the realms of blues. All in all, I can report that this is an all-round successful tape release that deserves a place in any good collection.

Translated from German with DeepL.com (free version)