VARIOUS. "THE STORY OF THE BLUES" CBS UK 1969 X2LP, G/F EX COND.
£
20
$
26
Favourite Auctions
To save auctions to your favourites, please login
If you don't have an account, please register
Description
Various ?– The Story Of The Blues
Label: CBS ?– 22135 Format: 2 × Vinyl, LP, Mono, CompilationCountry: UK Released: 1969 Genre: Blues Style: Country Blues, Texas Blues, Chicago Blues, Piedmont Blues, Delta Blues, Piano Blues
TracklistHide Credits
A1 –Fra-Fra Tribesmen Yarum Praise Songs Written-By – Traditional 2:56 A2 –Mississippi John Hurt Stack O' Lee Blues Written-By – Traditional 2:45 A3 –Blind Willie McTell Travelin' Blues Written-By – McTell* 3:18 A4 –Charley Patton Stone Pony Blues Written-By – Patton* 2:49 A5 –Blind Lemon Jefferson Black Snake Moan Written-By – B.L. Jefferson* 3:01 A6 –Leadbelly Pig Meat Papa Written-By – H. Ledbetter* 3:15 A7 –Texas Alexander Broken Yo-Yo Guitar – Lonnie Johnson (2) 3:02 A8 –Peg Leg Howell Broke And Hungry Blues Written-By – P.L. Howell* 3:19 B1 –Barbecue Bob And Laughing Charley It Won't Be Long Now 3:28 B2 –Henry Williams And Eddie Anthony Georgia Crawl 3:20 B3 –Mississippi Juke Band* Dangerous Woman Piano – Cooney VaughnWritten-By – Graves* 2:43 B4 –Memphis Jug Band Gator Wobble Harmonica – Will ShadeWritten-By – Burse*, Shade* 2:39 B5 –Bessie Smith In The House Blues Written-By – B. Smith* 3:00 B6 –Lillian Glinn Shake It Down Written-By – S. Williams*, L. Urquhart* 3:12 B7 –Bertha "Chippie" Hill Pratt City Blues Trumpet – Louis ArmstrongWritten By – Hill-JonesWritten-By – Hill*, Jones* 2:53 B8 –Butterbeans And Susie* What It Takes To Bring You Back Written-By – S. Williams* 3:24 C1 –Leroy Carr / Scrapper Blackwell Midnight Hour Blues Written-By – Leroy Carr 3:04 C2 –Faber Smith / Jimmy Yancey East St. Louis Blues Written-By – J. Yancey* 2:48 C3 –Peetie Wheatstraw Good Whiskey Blues Written-By – Bunch* 3:08 C4 –Casey Bill* / Black Bob W.P.A. Blues Written-By – W. Weldon*, L. Melrose* 3:15 C5 –Bo Carter Sorry Feeling Blues 3:08 C6 –Robert Johnson Little Queen Of Spades Written-By – Johnson* 2:14 C7 –Bukka White Parchman Farm Blues Written-By – White* 2:37 C8 –Memphis Minnie Me And My Chauffeur Blues Guitar [2nd] – Little Son Joe Lawler*Written-By – M. Lawlar* 2:45 D1 –Blind Boy Fuller / Sonny Terry I Want Some Of Your Pie Written-By – F. Allan* 2:40 D2 –Brownie McGhee Million Lonesome Women Written-By – B. McGhee* 2:34 D3 –Joe Williams* / Sonny Boy Williamson Wild Cow Moan Written-By – Williams* 2:51 D4 –Big Bill Broonzy All By Myself Piano – Memphis SlimWritten-By – W. Broonzy* 2:26 D5 –Joe Turner* / Pete Johnson Roll 'Em Pete Written-By – J. Turner*, P. Johnson* 2:50 D6 –Otis Spann Bloody Murder Harmonica – Walter "Shaky" Horton*Written-By – O. Spann* 3:34 D7 –Elmore James Sunnyland Written-By – E. James* 2:20 D8 –Johnny Shines I Don't Know Written-By – J. Shines* 3:30Credits
- Compiled By – Paul Oliver
Notes
A documentary history of the blues on record.Review by Thom Jurek [-]
Legacy's Story of the Blues compilation is a noble project whose results are understandably flawed. It should have been titled "The Story of the Blues According to Columbia and Its Subsidiary Labels." As an LP set issued in 1970, the collection was designed as an aural illustration to Paul Oliver's fine book of the same title and was revised and republished in 1997. Oliver's liner notes accompany this package. The original LPs were sequenced and divided by four topics: "The Origin of the Blues," "Blues & Entertainment," "This Thirties, Urban & Rural Blues," and "World War II and After." The music here ranges from Blind Lemon Jefferson's "Black Snake Moan," Texas Alexander's "Broken Yo-Yo," and Charley Patton's "Stone Pony Blues," through Bessie Smith's "In the House Blues," Lillian Glinn's "Shake It Down," and Leadbelly's "Pigmeat." Along the way you are treated to both great blues standards such as John Hurt's "Stagger Lee" and Robert Johnson's "Little Queen of Spades" and tracks by Bo Carter, Memphis Minnie, the Memphis Jug Band, Faber Smith & Jimmy Yancery, Bukka White, Leroy Carr & Scrapper Blackwell, Peetie Wheatstraw, and other less-known luminaries who contributed significantly to the development of the blues canon -- Butterbeans & Susie and of courseCasey Bill & Black Bob. There are stunning tracks here such as the Mississippi Jook Band's "Dangerous Woman," Bertha Hill's "Pratt City Blues," and Peg Leg Howell's "Broke and Hungry Blues." There is plenty of quiet and raucous revelation here. But the real jarring experience comes on disc two. Here, the final topic selection, "World War II and After," yields a huge jump not only in style as the blues became more urban, but in perception and elocution. From Blind Boy Fuller, Sonny Terry, Lightnin' Hopkins, Sonny Terry & Brownie McGhee, Sonny Boy Williamson, Big Bill Broonzy, Willie Dixon, andMuddy Waters come explosions of pure blues fire -- music made quickly, cheaply, and full of outrageous sass, spit, and courage. And in the latter half of the disc the so-called relatives or inheritors of the blues legacy have their say, rounding out the picture: Santana's "Black Magic Woman,"Janis Joplin's "One Good Man," Bob Dylan's "Cry a While," Stevie Ray Vaughan's "Texas Flood," Taj Mahal's folk-blues, Keb' Mo''s Vegas version of Delta blues, the Electric Flag's Johnny Wintercovering Dylan's "Highway 61 Revisted," Jeff Beck's "Superstitious," and even Little Axe's "Ride On." So there's plenty of history here, but not a story. The record, given that it only serves up tracks from the Columbia vaults, doesn't begin to tell the same story as Oliver's book. It rambles and represents performers, but it doesn't give any kind of linear narrative regarding the story of the music. It feels like a disjointed if pleasurable collection that will ask more questions than it answers.
Strictly Graded - RECORD COLLECTOR Grading System.
Grading System: In order to assist everyone who buys and sells rare discs, Record Collector magazine has originated a set of standards for the condition of second-hand records, I have added a (+) or (-) to my gradings where applicable.
MINT: The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition. Records advertised as Sealed or Unplayed should be Mint.
EXCELLENT: The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and/or creasing.
VERY GOOD: The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any major defects, is acceptable.
GOOD: The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discoloration, etc.
FAIR: The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump.
The cover and contents will be torn, stained and/or defaced.
POOR: The record will not play properly due to scratches, bad surface noise, etc. The cover and contents will be badly damaged or partly missing.
BAD: The record is unplayable or might even be broken, and is only of use as a collection-filler.
price rating
