Odd/Rare SAVOY 78 RPM Record 1122 Baby Face “Moonshine Baby” / “Red Headed Woman

$

52

Odd/Rare SAVOY 78 RPM Record 1122 Baby Face “Moonshine Baby” / “Red Headed Woman” E+ to E Visible Condition, a few scuffs else a mirror finish, beauty. Play is definitely “Little Walter-ish” Chicago blues from the late 40s-1950s and is excellent.

"Baby Face" Leroy Foster (February 1, 1923 – May 26, 1958) was an American blues singer, drummer and guitarist, active in Chicago from the mid-1940s until the late 1950s. He was a significant figure in the development of the postwar electric Chicago blues sound, notably as a member of the Muddy Waters band during its formative years. Foster was born in Algoma, Mississippi. He moved to Chicago in the mid-1940s and by 1946 was working with the pianist Sunnyland Slim and the harmonica player John Lee "Sonny Boy" Williamson. He was introduced to the singer and guitarist Muddy Waters by an acquaintance Waters met at a recording session in 1946. Foster was soon playing guitar and drums in Waters’s band, along with the guitar and harmonica player Jimmy Rogers. The band was later joined by Little Walter on harmonica. Calling themselves the Headhunters, the trio was known for going from club to club and “cutting” (i.e., engaging in musical duels with) other bands.

Foster’s first recordings were made with the pianist Lee Brown in 1945 for J. Mayo Williams's Chicago label. In 1946, he took part in on another session with Brown and recorded with James "Beale Street" Clark for Columbia. He accompanied Sunnyland Slim on a 1947 or 1948 session for the Opera label. Further recordings followed, under his own name for Aristocrat Records and J.O.B. Records and also backing Sunnyland Slim, Muddy Waters, Little Walter and the pianist Johnny Jones, before his most notable session, for the Parkway label in 1950.

The Parkway session featured the personnel of Waters's band at that time: Foster, Waters, Little Walter and (on two tracks only, since he was late for the session) Rogers. Four singles were released from the session, two by Foster and two by Little Walter. One of the singles, the two-part "Rollin' and Tumblin'", was notable enough to be reviewed (unusual for a down-home blues release) in the Chicago Defender by Edward Myers, who described it as having "the sound and beat of African chant". The track featured only Foster’s drumming and singing, Walter’s harmonica and Waters’s slide guitar, with hummed ensemble vocals on one side. Unfortunately, Waters’s guitar playing and backup singing were distinctive enough for the record to come to the attention of Leonard Chess of Chess Records, who had Waters under an exclusive recording contract. As a result, Waters was made to record his own version of the song for the larger Chess label in order to "kill" the Parkway recording. Foster died of a heart attack in 1958, at the age of 35; alcoholism may have been a factor leading to his early death. He was buried at Fern Oak Cemetery in Griffith, Indiana. In 2012 the Killer Blues Headstone Project, a nonprofit organization, placed a headstone on Foster's unmarked grave.

If possible we gladly combine shipping items to lessen postage. PLEASE don?t use eBay auto pay. I will invoice you for general shipping costs which will be easier and cheaper for you: insurance added for all items $10+ or at your request. We will pack securely ? but are not responsible for shipping company damage if uninsured.

1 record - $4.70 ? Add $1 for each additional record (+ insurance if required). (USA ONLY) (Int?l use eBay calculator and I will adjust to get cheapest rate)

E++, Visibly nearly new with no visible signs of wear or damage.

E+, Looks and plays like new with only few signs of handling and play.

E Still very shiny, near new looking, with slight visible signs of wear and a few nearly inaudible scuffs and scratches

E- Still shiny but without the luster of a new record, few scuffs that have little or no effect on play, some light scratches.

E- - Mostly shiny but with even less of the luster of an E- record, more scuffs than E-that have little or no effect on play, light scratches with some light noise.

VG+, Slightly above average condition 78 in which scuffs and general use has dulled the finish somewhat. Wear is moderate but playing is generally free from distortion. Surface noise not overly pronounced.

VG, An average condition 78 - moderate wear throughout, but still very playable and enjoyable. Surface somewhat dull with noise and scratches audible but not intrusive.

VG-, Quite playable still, but with some distortion and may have some graying in loud passages. Music remains loud in most passages. Surface noise and scratches well below music level.

VG- - Quite playable still, but with distortion and most have some graying in loud passages. Music remains loud in most passages. Surface noise and scratches noticeable and may be loud at times.

G+ Quite worn and scratched, but music level is still higher than surface noise. Grey may be throughout but still serviceable. Music begins to sound muffled.

G Not so good. Wear and scratch damage extensive. Listening can become uncomfortable as music and surface noise probably blending. Lowest level music can be understood.

G-, Music barely audible over surface noise & listening is uncomfortable. Record is borderline unplayable.

P Used only for high dollar space fillers like Black Patti, Okeh blues, etc. Music covered by surface noise, scratches, and needle digs, label may be trashed, & listening is almost if not definitely impossible. Record is basically unplayable. What you keep because you can?t bear to toss ? while you look for that E+ copy of Robert Johnson on Vocalion at the local flea markets for $1 (Good Luck!)

See Description, A wildcard grade that can be used when standard grading does not apply or when a record (or item) has special attributes (or defects) that can affect how the item is assigned a grade.