THANK YOU FOR VIEWING MY LISTING FOR AN ALBUM FROM ONE OF THE MOST INFLUENTIAL BLUESMEN MUDDY WATERS - "THE BEST OF MUDDY WATERS" 1ST UK PRESS ON THE PYE INTERNATIONAL LABEL NPL 28040 IN THE ORIGINAL 1ST ISSUE LAMINATED FRONT FLIPBACK GARROD & LOFTHOUSE COVER. I TEST PLAYED THE ALBUM TWICE BEFORE LISTING WITH A DEDICATED MONO CARTRIDGE AND THE MONO AUDIO IS SUPERB ABSOLUTELY CRYSTAL CLEAR, THERE ARE NO LOUD CLICKS OR POPS WHICH INTERFERE WITH THE ENJOYMENT OF THIS CLASSIC ALBUM, REMEMBERING THESE TRACKS WERE TAKEN FROM EARLY WATERS RECORDINGS, MOST IF NOT ALL ORIGINALLY RELEASED AS 78'S. THE COVER IS IN GREAT CONDITION WITH MINIMAL CREASING TO THE LAMINATE,THIS COVER RARELY STANDS THE TEST OF TIME, REMARKABLE FOR A 46 YEAR OLD RECORD!
Matrix Side1 - 1 LP 12040 A-1M Side2 - 1 LP 12040 A-1M
The KT Tax Code is Stamped on Run Off Grooves Both Sides
I have been a collector of vinyl for more than 30 years, with a collection of over 2,000 albums, the time has come to part with some of the collection. Over the coming months I will be listing some of the albums I have decided to part with here on ebay as well as on my bluesvinyl4u website, while the majority of my albums are blues related from all eras, there will be a mixed bag to chose from.
ARTIST DESCRIPTION (Scroll Down For Supersize Pictures)
Born McKinley Morganfield, in Rolling Fork, Mississippi into the family of a Delta sharecropper, at the age of three when his mother died he was raised by his maternal grandmother on Stovall’s Plantation near Clarksdale, Mississippi. While a child his love playing in ditches earned him the nickname that was to remain with him for the rest of his life ‘Muddy Waters’. Waters was singing and playing the harmonica by the age of thirteen, at the age of seventeen he made the switch to guitar, by this stage he had heard Son House and Robert Johnson and was hugely impressed by them. Within a year he had mastered the instrument favouring the bottleneck style used by many of the Delta bluesmen. He was playing at every opportunity at dances, house parties and juke joints, he had also set up his own juke joint and was profiting from the gambling sidelines, he felt his life was settled. That was all to change when Alan Lomax and his team, who were traveling the country archiving blues and folk material for the Library of Congress, visited the area in 1941. They had originally come to record Robert Johnson unaware that he had died three years earlier, they recorded Muddy returning the following year to record him further, such was the impression he had made. These recordings demonstrate the power of Waters voice and mastery of the bottleneck Delta blues at tis early stage of his career.
Muddy realised how good these recordings were and decided to make the move to Chicago in 1943, however life was not as easy there as he had imagined, it was the middle of the Second World War and there was much uncertainty in the music world. He was starting from scratch, playing house parties and small taverns to slowly increasing audiences. He had also befriended Big Bill Broonzy whose influence and help proved vital to the young newcomer. Realising that acoustic playing was unfashionable and the new trend was for amplified music he managed to get hold of an electric guitar and was soon playing with artists such as Sunnyland Slim and Jimmy Rogers. His first recording were some sessions for Columbia Records but they were not released at the time. In 1948 the Chess brothers heard Muddy warming up with some electric bottleneck and asked him to record. After several test recordings in the company of Sunnyland Slim and Ernest ‘Big’ Crawford, which didn’t make an impression on the buying public he recorded the single ‘I Can’t Be Satisified’ / ‘I Feel Like Going Home’, it was an immediate hit in Chicago.
Several successful recordings followed, like ‘Rollin And Tumblin’, ‘Rollin Stone’ and ‘Walking Blues’. Over the next few years Muddy began to gather around him a group of like minded musicians with whom he was to transform the blues. Some of the artists he worked and recorded with reads like a who’s who of the blues of the era including Little Walter, Otis Spann, Jimmy Rogers, ‘Shakey’ Horton, James Cotton, Junior Wells, Luther ‘Georgia Snake Boy’ Johnson and Willie Dixon. This pool of talent ensured that The Muddy Waters Band was the most influential group of players in Chicago and the list of recordings is impressive including ‘Hoochie Coochie Man’, ‘I’ve Got My Mojo Working’, ‘Mannish Boy’, ‘You Need Love’ and ‘I’m Ready’. International recognition was guaranteed when in 1958 at the request of Chris Barber Waters toured Britain.
The sixties saw a hit and miss period for Waters the music scene had changed as soul music and it’s off shoots became the popular music of the black community, however the boom in the British blues revival provided a niche. One of the more successful projects undertaken was ‘Fathers And Sons’ double album on which he was joined by Paul Butterfield and Mike Bloomfield released in 1969.
In 1977 Water’s relationship with Chess ended and he signed up with Johnny Winter’s Blue Sky Records, here the pupil produced four albums which captured all the qualities of Muddy Waters, especially in ‘Hard Again’ released in 1977. Muddy died 30th April 1983 at his home in Westmont, Illinois. He will be remembered as one of the world’s most influential bluesmen.
ALBUM DESCRIPTION (Scroll Down For Supersize Pictures)
The Best of Muddy Waters collects twelve tracks that the legendary bluesman recorded and released as 78s between 1948 and 1954, when one has heard Muddy Waters from this period, one has simply heard the best blues has to offer. These songs, one masterpiece after another, not only made his reputation on the burgeoning Chicago blues scene but charted the music's development to this day. Most specifically, this album - Waters' first, and the first issued by the seminal Chess label - exerted an overwhelming influence on the likes of John Mayall, Eric Clapton, the Yardbirds and the Rolling Stones. Those artists, in turn, exposed Waters - and the blues, in general - to generations of British and American fans. The earliest pieces, such as "Louisiana Blues," are just marvelous, the country blues slide guitar augmented just so slightly by string bass, the harmonica of Little Walter and the barest trace of percussion. Rhythmically, these performances are flawless. From there, one hears the classic Chicago blues combo sound emerging, which it does with great glory on tracks such as "Standing Around Crying."
1. "I'm Your Hoochie Coochie Man" - Willie Dixon
2. "I'm Ready" - Willie Dixon, Muddy Waters
3. "Rollin' Stone" - Muddy Waters
4. "I Just Want to Make Love to You" - Willie Dixon
5. "Honey Bee" - Muddy Waters
6. "She Moves Me" - Muddy Waters
7. "I Can't be Satisfied" - Muddy Waters
8. "I Want You to Love Me" - Muddy Waters
9. "Long Distance Call" - Muddy Waters
10. "Standing Around Crying" - Muddy Waters
11. "Still a Fool" - Muddy Waters
12. "Louisina Blues" - Muddy Waters
The audio on my mono system set up is superb, vibrant with no distortion at all, it plays through with no skips, jumps, or loud pops or clicks, apart from the odd bit of static/quiet ticks, during quiet passages, track one side one does have about 4 what I would call scuff ticks, but overall I didn't hear anything to spoil my enjoyment of the album. (Obviously with an album of this age an odd bit of static has to be allowed for.) I would rate the audio on my test playing as at least excellent.
On initial visual inspection the original heavy vinyl is very clean and glossy and lays perfectly flat on the turntable. Only under an angled strong light can any light scuffs or very light needle marks be seen, fortunately these do not have a major impact on the playing quality.
The original laminated front flipback Garrod & Lofthouse, cover is super clean with no writing or marks and shows only a very minimal amount of wear, no splits or tears, the front, which normally looks trashed is in great condition with minor laminate creases and storage wear. The corners and edges are also great with a hardly any storage wear, the spine is square and straight with all the writing perfectly clear and legible barely a`trace of rubbing or wear. The rear is free of any marks or writing and shows only minor amount of ageing.
The Pye International labels look superb there are no marks or writing, only under angled strong light can a minimal amount of spidering be seen. The spindle holes are perfectly round with little or no signs of wear.
THIS ALBUM WILL BE SENT IN A LARGE BOX WITH CARDBOARD STIFFENERS THE VINYL AND COVER WILL BE INSERTED SEPARATELY IN POLY SLEEVES AND WRAPPED WITH PLENTY OF BUBBLEWRAP FOR ADDED PROTECTION.
I have tried to give an honest assessment of the item listed. I have played the item track by track and again given my honest view on the audio quality. The photos I have taken are intended to give you the clearest impression of the visual quality. Please note, photos are the actual item for sale.
Please do not hesitate to email me with any questions regarding the album or details regarding the listing.
USA \ Canada \ Japan \ Australia - 11.76 GBP Including International Signed For Delivery With Insurance & Tracking
EUROPE - 8.76 GBP Including International Signed For Delivery With Insurance & Tracking
UK FREE - Sent by Recorded Delivery
All items are covered by insurance up to a value of £36.00 for loss or damage in transit. Higher value insurance can be arranged for an additional charge.Some countries however have a maximum value for insurance purposes. Items will be dispatched by Royal Mail signed for 1st class delivery. normally the next working day on receipt of cleared funds. Tracking details are will be e-mailed to the winning bidder after dispatch.
I offer a postage discount for multiple purchases, but buyers must pay for the items as they are won.
New ebayers with low, poor or no real history, please contact me before bidding otherwise bids will be cancelled
I WILL BE LISTING MORE BLUES RELATED ALBUMS ON THIS SITE OVER THE COMING WEEKS PLEASE BOOKMARK ME
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