MUDDY WATERS AFTER THE RAIN RARE ORIG '69 CADET CONCEPT LP; IN SHRINK STUNNING

$

97

WE CURRENTLY HAVE  MORE THAN 300  LISTED ITEMS

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·       MUDDY WATERS - AFTER THE RAIN – ORIGINAL 1969 CADET CONCEPT (CHESS  BLUES AND PSYCH SUBSIDIARY) STEREO LP LPS-320

·       ORIGINAL US PRESSING

·       ORIGINAL GRAY AND RED CADET LABEL WITH A ‘AZTEC RELIEF’ MOTIF, , SUCH AS THE ONE SHOWN BELOW, FROM OUR PREVIOUS AUCTION  (NO OTHER LABELS EXIST)

·       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)

·       COVER IS STILL IN ITS ORIGINAL SHRINK (CELLOPHANE) WRAP

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1/-1'.  ON SOME LABELS,  SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL PRESSING)

(►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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After the Rain dates from the most controversial period in Muddy Waters' history -- along with its predecessors, Electric Mud (probably the most critically despised album in Muddy's catalog) and Brass and the Blues (an effort to turn him into B.B. King), it came out of an era in which Chess Records was desperately thrashing around trying any musical gambit to boost the sales of its top blues stars. But unlike Electric Mud, in which the repertoire selected by producer Marshall Chess was mostly unsuited, and the musical settings provided by Phil Upchurch, Pete Cosey et al. were too loud and too frenetic for Muddy's style of singing, After the Rain simply let him be Muddy Waters. The album mostly featured higher-wattage remakes of a lot of familiar repertoire, including "Honey Bee" and "Rollin' and Tumblin'," and also reintroduced Muddy's own electric guitar, which had mostly been unheard on his recordings of the 1960s (and completely missing from Electric Mud). And on the tracks where he does play lead, they're first-rate representations of his talent as it stood at the tail end of the 1960s, powerful and bold, like a king (or maybe even a god) surveying a blues landscape he had shaped, and ranging across it freely. Even the tracks on which the heavily modernistic touches appear (such as Cosey's bowed guitar on "Bottom of the Sea") don't harm the flow or tone of the overall album. The latter is as close to an experimental track as After the Rain gets, and Muddy gets into the spirit of the piece as a singer far better here than he did on most of the preceding album. But mostly he is just himself here, not overly bold -- which may be the record's major flaw, but an understandable one after the reception accorded Electric Mud -- and not too much different from the previous decade. And it's immensely pleasing on that basis alone, even if the sales figures didn't reflect this -- it would take time for Muddy to rebuild his old audience, and he and Chess Records would go on to try other settings, working with young white blues enthusiasts (Fathers and Sons) and U.K. rock admirers (The London Muddy Waters Sessions) with varying results, some of them (The Woodstock Album) award-winning. But After the Rain, though ignored at the time, was a worthy and thoroughly worthwhile addition to his discography, and not just as a curio -- moments like "Honey Bee," "Blues and Trouble," "Screamin' and Cryin'," and "Hurtin' Soul" show what he could do with these younger players in tow (as opposed to the other way around on Electric Mud), and all of it will bring a smile to any real fan.

(REVIEW REPRINTED COURTESY OF BRUCE EDER, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

In 1968 Muddy Waters was forced - pretty much at gunpoint, it seems - to record a heavy, electric, psychedelic album, titled - appropriately - Electric Mud. (looks like Marshall Chess is the main culprit for this sacrilege). On that album, Muddy sings like he is about to be crucified at any moment, his voice timid and shaky and his emotions clearly feigned. A year later, Chess label pulled off a similar attempt, but this time, Muddy was ready. On this, second, electric session, his vocal delivery and his electric blues mesh wonderfully and much more naturally than on this album's predecessor and the super-competent backing band rocks behind Muddy with an intensity heretofore unseen on any blues album, electric or otherwise. This great LP matured, in our view, much, much better than his predecessor, and it is a shame that it was never reissued on a compact disc. Track listing: I am the blues - Ramblin' man - Rollin' and tumblin' - Bottom of the sea - Honey bee - Blues and trouble - Hurtin' soul - Screamin' and cryin' ; Personnel: Muddy Waters - Lead Guitar ; Phil Upchurch - Guitar - Morris Jennings - Drums ; Otis Spann - piano ; Louis Satterfield - Bass ; Pete Cosey - Guitar ; Charles Stepney - Organ ; Peter Oscher - Harmonica.

For additional historical information on this album, including track listing ►CLICK HERE

TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS GROUP OR ARTIST ►  CLICK HERE

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·       CONDITION:

·       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  (WEAK) NEAR MINT. Some VERY LIGHT AND SUPERFICIAL abrasions – mostly sleeve scuffs -  are (barely) visible, but are probably inaudible,  and do not affect visual integrity or beauty of the vinyl. The original luster is very much intact, and the vinyl shines and sparkles almost like new.

(b)          The record is STILL in its original inner, perforated plastic baggy, which has - apparently with success - shielded the record from the harmful impact of elements over many years!

(c)             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!

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

·       THE COVER

COVER IS STRONG NEAR MINT,  STILL IN ITS ORIGINAL ►SHRINK WRAP   (A SMALL PIECE OF SHRINK WRAP IS MISSING) 

The following flaws or imperfections are noted on the cover:

-        Cover has a tiny, barely visible cutout hole in one of the corners

-         Cover shows JUST A HINT of yellowing on both sides, apparently from aging.

-         Cover has a few tiny wrinkles along the spine  (VISIBLE ON BACK SIDE ONLY)

-         Cover has JUST A HINT of ring wear (nothing significant); 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 1   (VISIBLE ON BACK SIDE ONLY) . 

-         Cover has one corner slightly dinged (nothing significant)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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POSTAGE & SHIPPING:

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