MUDDY WATERS Muddy, Brass & The Blues LP CHESS 1966 US 2nd press+stereo LPS-1507

	£		17
	$		23

U.K.  BUYERS PLEASE IGNORE THE SHIPPING COSTS MARKED ON EBAY BECAUSE WE ARE ITALIAN SELLERS

 SO PLEASE DO NOT PAY IMMEDIATELY AFTER WINNING

BEFORE I SEND CORRECT INVOICE!

  BEFORE BIDDING, PLEASE

CAREFULLY READ BELOW THE CORRECT SHIPPING COST!

 THESE RATES ARE FOR BOXES UP TO 3 KG (1 to 5 LPs).

The shipping cost from Italy to UK and Europe from 1 up to 5 albums

[it is a question of weight, we have to stay under 3kg] is £13 with DHL courier 

[NOT for Norway, Russia, Ukraine, Switzerland, please ask for prices with registered letter],

 with a sturdy and well conceived box.

The shipping cost  also depends by the exchange euro/pounds. 

Still, starting from the 1st of December the Italian Post increased 

the price for the international & domestic shipment. 

We have done our best to absorb any handling fees in order 

to keep all international shipping rates as low as we can

Muddy Waters was the single most important artist to emerge in post-war American blues. 

A peerless singer, a gifted songwriter, an able guitarist, and leader of one 

of the strongest bands in the genre (which became a proving ground for a number 

of musicians who would become legends in their own right), Waters absorbed 

the influences of rural blues from the Deep South and moved them uptown, 

injecting his music with a fierce, electric energy and helping pioneer the Chicago Blues 

style that would come to dominate the music through the 1950s, ‘60s, and '70s. 

The depth of Waters' influence on rock as well as blues is almost incalculable, 

and remarkably, he made some of his strongest 

and most vital recordings in the last five years of his life

1966     LP     CHESS RECORDS      LPS 1507   

PRINTED IN U.S.A.     ORIGINAL COPY  2ND PRESSING

[First pressing with black labes,

later pressings with orange/blue and deep blue labels ]

THICK CARDBOARD COVER (AMERICAN STYLE)

with company inner sleeve

This version: on front cover and spine "BRASS AND THE BLUES"

on back cover ans labels "MUDDY, BRASS & THE BLUES". 

Barcode and Other Identifiers

LABEL: CHESS -  FADING BLUE LABEL WITH RED/WHITE LOGO - BLACK TEXT

Catalog on cover: (front) LPS 1507    (spine) LP 1507

(rear) Mono LP-1507   Stereo LPS-1507   

Catalog on labels: [LPS-1507 (#14918) TR4S-8807] / [LPS-1507 (#14919) TR4S-8808]

Matrix / Runout (Side A, Etched): TR4S-8807-1   15090   LPS-1507   S-1

Matrix / Runout (Side B, Etched): TR4S-8808-1   LPS-1507   15091   S-2

Other / Runout (on both sides, Stamped & Etched): I V   X

On labels: rim text reads "Mfg. by Chess Producing Corp. Chicago, IL 60016"

STEREO

 On Inside Cover: Photos and Credits

On Back Cover: Recorded in June, 1966, at Ter Mar Recording Studios, Chicago

Produced by Gene Barge & Charles Stepney 

from my records collection

tracklisting

Side A) CORINE, CORINA - PINEY BROWN BLUES - BLACK NIGHT

TROUBLE IN MIND - GOING BACK TO MEMPHIS

Side B) BETTY AND DUPREE - SWEET LITTLE ANGEL

TAKE MY ADVICE - TROUBLE - HARD LOSER

   grading

RECORD NEAR EX but (please, read above description)

SLEEVE VG+ but (please, see pictures and read above description)

Appearing after the release of the singles compilation Real Folk Blues, 

Brass and the Blues (also sometimes known as Muddy, Brass, and the Blues) was 

Chess Records' effort to give some fresh momentum to Muddy Waters' current recordings. 

It was only his third original LP following his tribute album to Big Bill Broonzy and the 

Folk Singer album -- like them, it was a concept album, but with a difference. 

Those earlier albums had been built around Waters simply returning to sounds 

and influences out of his past, but for Brass and the Blues the label tried to give 

him a new sound, somewhere close to that of B.B. King (who was selling a lot 

of records at the time). The presence of the brass and the prominent organ 

on some songs was manageable. Stripped of his guitar once again (the cover 

photo notwithstanding), Waters proved what a great R&B singer he was -- there are 

moments on this album where he almost crosses over into Otis Redding territory. 

Sammy Lawhorn and Pee Wee Madison's guitars come through the dubbed-on brass 

reasonably well, and this is more of a real "band" sound than was achieved on, say, 

Electric Mud, an even more extreme attempt at reshaping Waters' sound...(AllMusic)