Condition: 

The Rural Blues: A Study Of The Vocal And Instrumental Resources

Label: RBF Records ?– RF 202, RBF Records ?– 202X, RBF Records ?– RF 202(x) Format: 2 × Vinyl, LP, Compilation 
Box Set 
Country: US Released: 1964 Genre: Blues Style: Country Blues

Tracklist

  Volume One, Side One: Vocal Styles   Coarse Vocal Tone A1 Will Shade – I Can't Stand It   Deeper Chest Tones A2 Hambone Willie Newburn* – Shelby County Work House Blues   Clearer Head Tones A3 Robert Johnson – From Four Until Late   Simple Rhythm A4 Furry Lewis – You Can Leave, Baby   Complex Regular Rhythms A5 Sleepy John Estes – Milk Cow Blues   Irregular Phrase Length, Regular Rhythm A6 L'il Son Jackson* – Roberta Blues A7 Blind Boy Fuller – Thousand Woman Blues   Extended Vocal Chant A8 Arthur Crudup* – If I Get Lucky   Freely Rhythmic Chant A9 Charlie Pickett – Down The Highway   Volume One, Side Two: Vocal Ornamentation   Falsetto B1 Kokomo Arnold – Milk Cow Blues   False Bass B2 Blind Willie Johnson – Take Your Burden To The Lord   Growl B3 Tommy McClennan – New Highway 51   Hum B4 Blind Willie McTell – Mama T'aint Long Fo' Day   Laugh B5 Charlie Burse – Take Your Fingers Off It   Spoken Interjection B6 Charlie Lincoln* – My Wife Drove Me From My Door B7 Peg Leg Howell – Skin Game Blues   Recitative Verses B8 Lightnin' Hopkins – Goin Back To Florida   Mixed Style B9 Robert Johnson – Standing At The Crossroads   Volume Two: Instrumental   Side Three: Guitar As Melodic Voice   Picked C1 Lightnin' Hopkins – One Kind Favor C2 Blind Willie Johnson – Nobody's Fault But Mine   Bottle Neck C3 Furry Lewis – Warm Up   Guitar As Complex Rhythmic Accompaniment C4 Bukka White – Bukka's Jitterbug Swing C5 Peg Leg Howell – Coal Man Blues   Other Instruments   12 String Guitar C6 Blind Willie McTell – Southern Can Mama   Banjo C7 Papa Charlie Jackson – Airy Man Blues   Piano C8 Skip James – Little Cow And Calf Is Gonna Die Blues   Piano And Guitar C9 Leroy Carr And Scrapper Blackwell – New How Long How Long Blues   Side Four: Added Melodic Instruments   Harmonica D1 Sonny Terry & Oh Red With Blind Boy Fuller – Harmonica Stomp   Violin D2 Frank Stokes – Shiney Town Blues   Kazoo D3 Virgil Perkins – Trouble In Mind   Added Rhythm Instruments   Bass- Plucked D4 Arthur Crudup* – Mean Old Frisco   Bass- Bowed D5 Brownie McGhee – Sportin' Life Blues   Washboard D6 Virgil Perkins – Solo   Larger Accompaniment Groups D7 Charlie Burse – Tippin' Round D8 Ham Gravy – Mama Don't 'Low It D9 Moochie Reeves – Key To The Highway

Companies etc

• Copyright (c) – Record, Book, And Film Sales, Inc.

Credits

• Compiled By, Liner Notes, Photography By – Samuel B. Charters
• Design [Cover] – Ronald Clyne
• Photography By – Ann Charters
• Recorded By – Samuel B. Charters (tracks: A1, A4, B5, B8, C1, C3, D3, D6, D9)

Notes

"This material is intended as a study of the musical resources of the rural blues. It is not often recognised that Afro-American music is marked by considerable variation within its various styles and that a style like the blues is a unique musical idiom. It is hoped that this study will clarify these idiomatic characteristics."

Includes a large, 8-page booklet with a scholarly essay.

The examples by Will Shade and Charlie Burse were recorded in Memphis, Tennessee, in December, 1956. Track A1 is from unissued material in Samuel B. Charters' collection. Other material from this session was issued on Folkways Record FA2610, "American Skiffle Bands."

The examples by Furry Lewis were recorded in Memphis, Tennessee, on February 24, 1959 and October 3, 1959. Tracks A4 and C3 are from the second session, showing the use of a bottle neck. All these examples are from unissued material in Samuel B. Charters' collection.

Lightnin' Hopkins was recorded in Houston, Texas, on February 4, 1959. Track C1 is from unissued material in Samuel B. Charters' collection. The other examples are issued on Folkways Record 3469, "Lightnin' Hopkins."

The examples by Virgil Perkins were recorded in Houston, Texas, in November, 1955. This material, and the example by Moochie Reeves, recorded in Mobile, Alabama, in July, 1954, is previously unissued and from Samuel B. Charters' collection.

There are several editions of this box set, each with its own variations in tracklisting, artwork, and liner notes. This version has orange lettering and catalog number RF 202 on the front of the box, catalog number 202X on the booklet, and catalog number RF 202(x) on the disc labels. In addition, this version of the set includes the phrase "All original recordings are included in their entirety" on the rear box label.

A number of misprints appear on this version of the release: the title of track D1 is incorrectly given as "Harmonic Stomp" in the booklet; the title of track B6 is incorrectly given as "My Wife Drive Me From My Door" on the box label; track A5 is incorrectly listed as "Sloppy Drunk Blues" on the box label.

© 1964 by Record, Book, and Film Sales, Inc.

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GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.