ULTRASONIC CLEAN - Otis Blackwell - Singin' The Blues Vinyl NM rare jazz lp
$
115
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Description
VINYL is NEAR MINT and APPEARS UNPLAYED! I just took this lp in from a large Detroit collection, and when I pulled the vinyl a couple of hours ago, I am quite certain I was the first one to see it! I took a shot of it as it appeared emerging from the cover after almost 60 years (this original is from 1957). It was still neatly tucked inside in the original wax inner sleeve, which is included. There are absolutely no marks, no spindle wear, no spindle trail offs on the label and after cleaning this deep groove beauty I put it up on my Denon dp75 and it is clean and clear. Most likely the best example of this rare vinyl in existence!
ULTRASONIC CLEANED -- I just cleaned it on my new Ultrasonic Record cleaner, and put it in a fresh sleeve. It really does make a difference in the sound quality....it gets rid of stuff other methods just can't tackle....I am hooked! Ready to enjoy for years to come.
COVER is VG+...the front presents well, but the owner used the old wooden crates to store his vinyl upright, and it has a bit of "crate rash" along the spine and top seam. I went ahead and touched up some of these, and applied a very small amount of glue stick to the inside of the paper that was hanging, just to preserve it...and it seems to have helped. The back has some minor staining. See photos.
Few 1950s rock & roll tunesmiths were as prolifically talented as Otis Blackwell. His immortal compositions include Little Willie John's "Fever," Elvis Presley's "Don't Be Cruel" and "All Shook Up," Jerry Lee Lewis' "Great Balls of Fire" and "Breathless," and Jimmy Jones' "Handy Man" (just for starters).
Though he often collaborated with various partners on the thriving '50s New York R&B scene (Winfield Scott, Eddie Cooley, and Jack Hammer, to name three), Blackwell's songwriting style is as identifiable as that of Willie Dixon or Jerry Leiber & Mike Stoller. He helped formulate the musical vocabulary of rock & roll when the genre was barely breathing on its own.
Befitting a true innovator, Blackwell's early influences were a tad out of the ordinary. As a lad growing up in Brooklyn, he dug the Westerns that his favorite nearby cinema screened. At that point, Tex Ritter was Otis Blackwell's main man. Smooth blues singers Chuck Willis and Larry Darnell also made an impression. By 1952, Blackwell parlayed a victory at an Apollo Theater talent show into a recording deal with veteran producer Joe Davis for RCA, switching to Davis' own Jay-Dee logo the next year. He was fairly prolific at Jay-Dee, enjoying success with the throbbing "Daddy Rollin' Stone" (later covered by the Who). From 1955 on, though, Blackwell concentrated primarily on songwriting (Atlantic, Date, Cub, and MGM later issued scattered Blackwell singles).
"Fever," co-written by Cooley, was Blackwell's first winner (he used the pen name of John Davenport, since he was still contractually obligated to Jay-Dee). Blackwell never met Elvis in person, but his material traveled a direct pipeline to the rock icon; "Return to Sender," "One Broken Heart for Sale," and "Easy Question" also came from his pen. Dee Clark ("Just Keep It Up" and "Hey Little Girl"), Thurston Harris, Wade Flemons, Clyde McPhatter, Brook Benton, Ben E. King, the Drifters, Bobby Darin, Ral Donner, Gene Vincent, and plenty more of rock's primordial royalty benefited from Blackwell's compositional largesse before the British Invasion forever altered the Brill Building scene.
(EXCERPT FROM AN ONLINE ARTIST BIO BY BILL DAHL, ALL MUSIC GUIDE /ALLMUSIC.COM/)
WILL BE DECLARED AT A LOW VALUE INTERNATIONALLY
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