HOWLIN WOLF The London Howlin Wolf Sessions EX+ Chess Ringo Clapton STERLING

$

40

Vinyl:  EX+ Play Graded. Sounds Great!  Chess Labels are Clean. This is the Original 1971 Chess 1st Pressing! CH 1 60008.  The definitive version, Mastered at Sterling Sound and Pressed at Presswell Records!     One of the first super sessions, this one a sincere karmic debt repaid by 2nd generation Rock superstars laying down some of Howlin' Wolf's signature songs.  Ringo Starr, Steve Winwood, Eric Clapton, Phil Upchurch, Klaus Voorman, Charlie Watts and Bill Wyman are a few of luminaries on board this killer session.   See Biography Below!
In the Dead Wax:  Side 1:  CH 60008 - A2  -1-111   STERLING (stamper)  D  PR, for Presswell Records Mfg. Co, of Ancora, New Jersey.  Side 2:  CH 60008 - B1 -1-11    STERLING (stamper)  D  PR

Cover: VG+ (see photos; top of rear cover seam has been nicely taped using quality tape; some spots on inside of gatefold )  Gatefold.
Goldmine Standards.    I play test every album that I sell on eBay as I have found you can't rate an LP accurately by just visually inspecting an album.  I wipe the dust off of every cover with clean, unscented baby wipes.  I professionally clean the vinyl.
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Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album? 
First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl.  Why  experience the worse elements of both formats?  These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared.  They are nearly always compressed with murky transients and a general lifelessness in the overall sound.  There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm. 

First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider.  Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive.  Inner details are  clearer.  

 On first and early pressings, the music tends to sound more ‘alive’ and vibrant.  The physics of sound energy is hard to clarify and write about from a listening perspective, but the best we can describe it is to say that you can 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.

BIOGRAPHY

The London Howlin' Wolf Sessions is an album by blues musician Howlin' Wolf released in 1971 on Chess Records, and on Rolling Stones Records in Britain.[3] It was one of the first super session blues albums, setting a blues master among famous musicians from the second generation of rock and roll, in this case Eric Clapton, Steve Winwood, Charlie Watts, and Bill Wyman. It peaked at #79 on the Billboard 200.

Backstage at the Fillmore Auditorium, after a concert by the Paul Butterfield Blues Band, Electric Flag, and Cream, Chess Records staff producer Norman Dayron spotted the guitar players of the latter two bands, Mike Bloomfield and Eric Clapton, talking and joking around. Dayron approached Clapton and, on impulse, asked "how would you like to do an album with Howlin' Wolf?"[4] After confirming that the offer was legitimate, Clapton agreed, and Dayron set up sessions in London through the Chess organization to coordinate with Clapton's schedule.

Clapton secured the participation of the Rolling Stones rhythm section (pianist Ian Stewart, bassist Bill Wyman and drummer Charlie Watts), while Dayron assembled further musicians, including 19-year-old harmonica prodigy Jeffrey Carp, who died shortly after these recordings.[5] Initially, Marshall Chess did not want to pay the expense for flights and accommodations to send Wolf's long-serving guitarist Hubert Sumlin to England, but an ultimatum by Clapton mandated his presence. Sessions took place between May 2 and May 7, 1970, at Olympic Studios.[6]

On the first day, May 2, Watts and Wyman were unavailable, and a call went out for immediate replacements. Many showed up, but only recordings featuring Klaus Voormann and Ringo Starr were released from that day.[7] In the initial album credits, Starr is listed as "Richie,"[8] as Dayron was under the impression that, being a Beatle, his name could not be used directly.[9]

Further overdubbing took place at the Chess studios in Chicago with Chess regulars Lafayette Leake on piano and Phil Upchurch on bass, and horn players Jordan Sandke, Dennis Lansing, and Joe Miller of the 43rd Street Snipers, Carp's band.[10] Ex-Blind Faith keyboardist Steve Winwood, on tour in the United States, contributed to the overdubbing sessions as well. Although he actually plays on only five tracks for the original album, his name is featured on the cover below the Wolf's, along with Clapton, Wyman, and Watts.