BUKKA WHITE MISSISSIPPI BLUES RARE ORIG'68 MONO LP ON JOHN FAHEY'S TAKOMA LBL NM

$

158

WE CURRENTLY HAVE  NEARLY 300  LISTED ITEMS

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·       BUKKA WHITE – MISSISSIPPI BLUES - ULTRA-RARE ORIGINAL 1968 MONO PRESSING ON JOHN FAHEY'S LEGENDARY 'TAKOMA' LABEL - ORIGINAL TAKOMA MONO LP B-1001

·       ORIGINAL U.S. PRESSING

·       ORIGINAL ORANGE AND  PURPLE TAKOMA LABEL

·       DEEP GROOVE PRESSING

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get.  GUARANTEED!)

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In the true Takoma style of obscurity, there is not much information on this recording. Most of the back cover is taken up with a catalog listing, while the front cover photo is of a dried-up muddy riverbed, which actually looks like a blow-up of a small section of this artist's face. Bukka White is a name known to blues lovers since he was one of the group of early Delta blues recording artists that were rediscovered in the '60s. This album is one of the new recordings he made during this latter period. It is appropriate that White recorded a monologue at one point entitled "Mixed Water" for another label, because blues listeners tend to be mixed about this artist's output. The final analysis is usually in his favor, as he has a tremendously appealing voice, and while not a guitar virtuoso, he certainly creates an authentic Delta blues sound and keeps three or four rhythms that blues bar bands would die for. Sometimes listeners just expect too much from the man, such as a more extensive repertoire of styles or a more forceful guitar attack. Slide guitar and dobro playing have gone so far to the front and center in various types of music that some listeners are just used to hearing it that way, and won't comprehend why White's licks are sometimes simply chiming way in the background, like angels heard from a distance. Despite a lack of intensity -- he just sounds tired some of the time -- there are several classic performances on this recording. What is identified as "Parchman Farm" was actually recorded under the title of "Where Can I Change My Clothes" in the '40s for Vocalion. While he also recorded another song entitled "Parchman Farm" as well, neither is the blues song of this name that has become a standard. The incorrectly titled performance of "Where Can I Change My Clothes" here is brilliant, as is his intense "Army Blues." His "Baby Please Don't Go" and "Shake 'Em On Down" both display his unforced, calm method of delivery, the main point of focus being the twists and turns taken by his magnificently rich vocal as the guitar plays a very straightforward accompaniment. The distinctive plunk of the steel guitar or dobro is present here throughout; listeners that find this sound appealing will be in heaven, daydreaming of guitars with pictures of palm trees on their backs. The track consisting of stories about blues legend Charley Patton spoon-feeding him small amounts of whisky is amusing, but brings the side to a dead halt.

 (EXCERPT FROM AN ONLINE REVIEW BY EUGENE CHADBOURNE, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

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·       CONDITION:

·       THE RECORD

(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL AS STRONG VG++, JUST A NOTCH BELOW NEAR MINT. A few light abrasions (probably just sleeve scuffs inflicted in storage over the years) ARE VISIBLE, but they appear fairly  insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For most part, the vinyl looks impeccable, without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)            The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(c)             The record has a "deep groove" (an indent in the label about 1/2-inch from the edge of the label, which on SOME labels is associated with very early or first pressings).

(d)            Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·                               THE COVER

THE COVER IS NICE --- ABOUT VERY GOOD++ (VG++).

The following flaws or imperfections are noted on the cover:

-         Cover has some ring wear; On the scale from 1 to 10 (1 being the least, and  10 being the most severe), we assess the severity of ring wear as 3  (front side) and 5 (back side)

-         Back cover has circular tarnish (grayish, dust-covered sections, which closely follow the contour of the record),  probably caused by friction or by rubbing against other covers during the storage. The tarnish is similar in appearance to a common ring wear, but, UNLIKE ring wear, these grayish areas may be possible to clean up with a minor effort and with a right cleansing solution.

-         Back cover has some light yellowish stains, probably from exposure to humidity.

-         Cover shows some light yellowing on both sides, apparently from aging   (nothing significant).

-         Cover has a partially split bottom seam (less than 1 inch / 2.5 centimeters)

-         Visible shelf wear noted on the seams

-         Cover has two corners slightly worn / dinged (nothing significant)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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