MUDDY WATERS Complete Plantation Recordings limited 200 gram vinyl SEALED 2 LP
$
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Description
MUDDY WATERS
The Complete Plantation Recordings
SEALED limited numbered edition 200 gram Vinyl 2 LP linen bound set. Analogue Productions Blues APB 121. Mono, limited edition. COVER & VINYL: MINT still sealed, never played, linen covered heavy gatefold sleeve.
*** The sets are numbered by a sticker on the back of the perforated plastic sleeve. ***
*** This numbered edition is 0239. ***
The Complete Plantation Recordings — Muddy Waters
The historic 1941-42 Library of Congress Field Recordings produced by Alan Lomax and John Work III
Some tracks originally released in 1942 as Folk Music of the United States Album IV — Afro American Blues and Game Songs
Mastered by Ryan K. Smith at Sterling Sound from a 192kHz file created from the original metal direct-to-disc recording
33 1/3 200-gram double LP pressed at Quality Record Pressings
Stoughton Printing gatefold jacket wrapped in a linen cover
"Limited to 1,000 numbered copies, Analogue Productions' deluxe release of these seminal Muddy Waters recordings is one of the coolest and most significant projects I've seen — not only in terms of the recorded content, but in conception and packaging, too. For the first time these LPs include all the songs captured by Alan Lomax's 'portable' field equipment — 350 lbs. worth custom rigged into a Ford sedan-during two sessions in 1941 and 1942, plus interviews with the 26-year-old Muddy that were considered an essential part of the Library of Congress's attempt to document the widest possible range of American folk music. The linen-bound gatefold jacket meticulously recreates the original Library of Congress releases, with historic photos of Waters, Lomax, his recording set-up, etc. The Library of Congress transferred the original metal disc recordings to a high-res 192kHz digital file used by Sterling Sound's Ryan K. Smith to master this edition, and the results are a revelation. While the sound is relatively primitive, it is also remarkably natural, pure, and immediate. By comparison the incomplete 1966 Testament release sounds like it was made under a blanket. This is a remarkable achievement. Get it while you can." — Music = 5 Stars; Sonics = 3 Stars - Wayne Garcia, The Absolute Sound, Aug. 19, 2020
"It's back to vinyl now on this latest incarnation of Waters' debut recordings. Analogue Productions has produced a handsome gatefold double LP set that acccurately replicates the look of those '40s LOC 78 RPM albums, complete with 'The Library of Congress Divison of Music Recording Laboratory" appearing on the cover's upper left-hand corner. .. There's also an 'About the Conversion Process' sidebar on the sleeve insert that offers everything an audiophile might want to know, from the type of tonearm and preamplifier used to the fact that it's a flat transfer (no disc EQ). ... the audience targeted by Universal Music Special Markets, the project's corporate parent, appears to be audiophiles, not blues historians. However, we view that these recordings are a key part of Waters' legacy and having them "reborn" in this handsome package hopefully brings them new ears, as well as renewed attention by many of us who haven't listened for a while." — Mark Humphrey, Living Blues Magazine, February 2020
"In 1941 and 1942, as part of the United States Library of Congress sponsored program to document and record America's 'folk' music, Alan Lomax travelled to Mississippi during 1941 and 1942 and made the earliest recordings of Muddy Waters on the Stovall Plantation near Clarksdale. The recording trip was the brainchild of Fisk University musicologist John Wesley Work III, who contacted folklorist Alan Lomax at the Library of Congress for funding. The two traveled to the Clarksville area in 1941 and recorded Waters, Son House, Honeyboy Edwards, and others. They loaded several hundred pounds of recording equipment, including a new Presto Model 'T' Recorder, that company's most portable disc-cutting lathe. The recordings were made on fragile aluminum and glass-based lacquers during two summer trips to Clarksdale.
"One of the 1941 lacquers broke during the road trip, but three of the four sides of this release are from the 1942 sessions. Other than a few short interview cuts, and two vocals from guest singers, the four sides are composed of Muddy's singing and playing a Martin guitar supplied by Lomax, and with sidemen on some cuts. Two of the 1941 performances, 'Country Blues,' and 'I Be's Troubled' were included in a 1942 five-disc 78 RPM Library of Congress album titled Folk Music of The United States, Album IV: Afro-American Blues and Games Songs, and this was Muddy's introduction to the world outside the Delta. The blues explosion had begun — soon after the first Lomax visit, Sonny Boy Williamson, and Robert Lockwood Jr. had talked radio station KFFA in Helena, Arkansas into hosting a regular blues slot, named the King Biscuit Time after its sponsor. Muddy's appearance on the radio had folks talking and he knew he was going places. In 1943 Muddy boarded a train for Chicago and in 1947 got a call to record for the Chess brothers.
"If Muddy Waters wasn't fully formed in 1941 and 1942 when he recorded his first songs, he was awfully close. He'd already established his unique blend of country blues and popular music. Just listen to "I Be's Troubled" and recognize that it's one of Muddy Water's evergreen hits, like 'I Can't Be Satisfied.'
"But how good can a field recording made in the early 1940s sound? While it doesn't have the dynamic slam and quite the richness of his Chess recordings from a half-decade later, it sounds really, really good. Early blues recordings from this period are obviously limited in frequency range, but unlike most recordings of classical music from the period they need not be demeaned with the disparaging term 'historic.' Yazoo Records sold a boatload of records of one man/one guitar LPs of Blind Blake, Blind Boy Fuller, and Blind Willie McTell (as well as sighted blues singers) that still sound pretty decent. And those were from the 1920s and 1930's! By 1941, Presto Recordings equipment and especially its recording disc (an aluminum plate coated with a cellulose nitrate based lacquer) technology was the radio industry standard.
"Until now, the complete plantation recordings were never available on LP. In 1966 Testament Records issued a one disc LP Down On Stovall's Plantation with 13 of the 19 songs from the session and none of the interviews. Chess released the complete sessions on CD in 1993. This new mastering by Analogue Productions make the earlier versions sound "historic" by comparison. Ryan K. Smith at Sterling Sound, working from the original Library of Congress 16-inch acetate disc masters, cut a 24/192 source tape from which the LP was cut. Everything about the new transfer is simply stunning. Detail and rich texture replace the much thinner sound of the 1966 LP, and leave the sound of the CD versions in the dust.
"This gem is truly a limited edition pressing — only 1,000 copies will be pressed, 999 if you eliminate my copy. the fold-out cover is linen coated and the print and layout mimics the 1942 release. The inside cover includes outstanding notes; photos and the three inserts complete the handsome package. An essential blues library addition!" — Recording = 7/10; Music = 10/10 - Dennis D. Davis, Hi-Fi +, Issue 177
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Analogue Productions is honored to present The Complete Plantation Recordings — Muddy Waters as a newly mastered 33 1/3 200-gram LP reissue. The songs presented represent everything listed by the Library of Congress as recorded by Muddy Waters during these historic sessions.What sets this reissue apart is its authenticity, says Acoustic Sounds/Analogue Productions CEO Chad Kassem. For this reissue the original metal disc recordings created by Lomax were the source for a high-res 192kHz digital file used by Sterling Sound's Ryan K. Smith to master this edition.
"The file was made from the original parts; it's the highest quality of these recordings that's ever been released," Kassem says.
In addition to the flat and impeccably silent 200-gram 2LPs pressed at QRP in this limited edition set, we've seen to it that the packaging is exemplary. The highest-quality Stoughton Printing gatefold jacket is wrapped in a linen cover, evoking the linen cover of the five-album set released by the Library of Congress initially in 1942 as Folk Music of the United States Album IV — Afro American Blues and Game Songs, where some of these tracks by Muddy first appeared.
Both Lomax and Work's voices can be heard on the recordings conducting portions of interviews with Muddy.Side A recorded August 24-31, 1941
Side B recorded July 24, 1942
Side C recorded July 24, 1942
Side D recorded July 24, 1942
***FACTORY SEALED***NEVER PLAYED***
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GRADING. Grading is visual only unless otherwise stated. I go by Goldmine standards and try to be conservative. I will play grade on certain items only - it is just impossible for me to play grade everything I put on EBAY.
RECORD GRADING:MINT (M) ---- It should be SEALED and appear to be brand new. Mint means STILL SEALED, NEVER PLAYED. NEAR MINT (NM or NM-) ---- OPENED or UNSEALED. Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident.
VERY GOOD PLUS (VG++ or strong VG++ or VG+++) The record or cover that all but the most particular collector would say looks outstanding. Cover may have insignificant manufacturers defect such as notch hole or cut corner.
VERY GOOD PLUS (VG+ or strong VG+) The record has been handled and played infrequently or very carefully. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptable for most collectors. Cover has most of its original gloss and has been well taken care of. Minor seam splits may be acceptable.
VERY GOOD (VG or strong VG) ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, non-feelable marks that might or will affect the sound as mild occasional surface noise or periodic pops/clicks. Usually a cover is VG when one or more of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.
VERY GOOD- (VG- or G+) Record will show signs same as VG with heavier wear including noticeable groove wear and feelable marks that will likely pop or click. Popping or clicking will be most evident through quieter passages. Record should play all the way through, but may skip.
GOOD (G) ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping, but may skip. Several cover flaws will be apparent, but should not obliterate the artwork. Filler copy until a better one can be found.
POOR (P) ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Only the rarest of records should ever be graded as Poor while the others should go to the trash heap.
DISCLAIMER. Due to the number of frivolous returns which were unwarranted, and due to the nature of sound recorded products that can be easily copied, there will no longer be a free return policy. I will charge a $10.00 return fee for all returns - this amount will be deducted from the Paypal refund of the returned item. If item is truly defective the entire purchase amount will be refunded as long as the item is in the same condition as it was sent.
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ATTENTION!!
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INTERNATIONAL SHIPPING ONLY...........................................
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WE ACCEPT PAYPAL ONLY!
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