ALEC SEWARD CREEPIN' BLUES ULTRA-RARE SEALED ORIG '63 BLUESVILLE DELTA MONO LP

$

876

WE CURRENTLY HAVE   MORE THAN 300  LISTED ITEMS

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·       ALEC SEWARD – CREEPIN' BLUES: THE BLUES OF ALEC SEWARD -  ORIGINAL (?)1963 BLUESVILLE RECORDS MONO LP BV-1076

·       PLEASE NOTE: VARIOUS DISCOGRAPHIES TYPICALLY GIVE THE RELEASE YEAR OF THIS ALBUM AS 1965, WHICH WOULD HAVE BEEN TECHNICALLY IMPOSSIBLE, BEING THAT BLUESVILLE WAS ABSORBED INTO PARENT COMPANY (PRESTIGE) AND DISAPPEARED AS A SEPARATE LABEL AS MANY AS  TWO YEARS PRIOR; WE SUSPECT THAT THE ALBUM WAS RELEASED CIRCA LATE 1963)

·       ORIGINAL (?) U.S. PRESSING

*** STILL SEALED LP BELIEVED TO BE THE ORIGINAL FIRST PRESSING ***

·       BELIEVED TO BE PRESSED ON BLUE PRESTIGE BLUESVILLE LABEL WITH SILVER PRINT AND TWO SILVER LINES ACROSS THE LABEL

·       THE THICKNESS OF THE VINYL, THE APPEARANCE AND THE CONSTRUCTION OF THE COVER, LABEL’S LOGO AND OTHER PERIPHERAL ELEMENTS OF THE COVER, ARE ALL PERFECTLY CONSISTENT WITH THE ORIGINAL, FIRST PRESSING OF THIS TITLE.

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       AS WITH MOST ORIGINAL PRESTIGE / NEW JAZZ / BLUESVILLE PRESSINGS, THIS ALBUM, TOO, HAS PRINT ON THE SPINE SLIGHTLY ASYMETRICAL (OFF-CENTER)

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       VERY THICK, HEAVY VINYL PRESSING

·       As far as we know, this album has NEVER been available on legitimate Compact Disc or in any other way, manner or format.

 (►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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This Prestige session dates from 1963, and was produced by Pete Welding.  It is one of the earlier appearances of Larry Johnson on record, and at that stage of his career, Larry was known mostly as a harmonica player, not as a guitar virtuoso.  Larry plays harp on all but two of the tracks ("Goin Down Slow" and "Piney Woods") and his playing is notable for his intense listening and responding in the instant to Alec Seward's way of phrasing his vocals.  The session is also exciting because Alec Seward is relatively under-represented as a solo guitarist in his discography.

The record is worth seeking out, first of all, for Alec Seward's singing, which was always top notch, with a wonderful world-weary quality, and a beautiful vocal tone with just enough stuff rattling around in his throat.  His lyrics are fine, and often original without being especially innovative; they speak in the language of the idiom, comfortably.

Instrumentally, the program divides evenly between songs in which Alec Seward accompanied himself out of E position in standard tuning ("Big Hip Mama", "Goin' Down Slow", "Sweet Woman", "Late One Saturday Evening" and "Let a Good Thing Do") and songs for which he employed his personalized tuning for playing in C position: EADGCE.  It's a treat, especially, to get such a heavy dose of his playing in the C tuning, for in the duos with Louis Hayes on which he used the tuning, there is always Hayes' guitar part to contend with and try to separate out from the sound of what Alec Seward was doing.  Here the listener has the luxury of hearing Alec Seward play in the tuning by himself.  It's a unique sound that he achieved in that tuning, and I would love to know how he arrived at the tuning, for it doesn't sound like anything else I've heard anyone else in the style play.  He gets a rich, open sound with it, and has a variety of moves and licks that he employs; he's by no means a one-trick pony there, and has a lot of ideas up his sleeve.  Like Robert Pete Williams, he sometimes acknowledges the IV and V chords simply by striking a low root of those chords.  He never plays a V chord in particular, and the closest he gets to it is a I chord with the V note in the bass.  Lest the focus on this aspect of Seward's music seem disproportionate, I'd just say that apart from his singing, his sound in this C tuning was the most personal and distinctive aspect of his sound, and thus well worth noting.

In the last few years it was in business, Fantasy Records, which owned the Prestige Bluesville catalog at that time, re-issued a good portion of the Bluesville catalog on CD, including all of Rev. Davis's recordings on that label, all of Pink Anderson's three albums, Smoky Babe's album, Pete Franklin's, as well as a host of releases by Lightnin' Hopkins and Brownie McGhee and Sonny Terry.  Alec Seward's recording has the misfortune of being in the orphaned portion of the Bluesville catalog that never made it onto CD, along with LPs by Robert Curtis Smith, Wade Walton, and the two Shirley Griffith albums (one in duo with J. T. Adams).  Under the ownership of Concord Jazz, I'd say it's a relative certainty that these albums will never be issued on CD.  More's the pity--all of these musicians never received the acclaim they deserved outside of their immediate neighborhoods, and their music is well worth preserving.

 (EXCERPT FROM AN ANONYMOUS ONLINE REVIEW)

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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)          THE ALBUM IS STILL FACTORY SEALED AND IS BELIEVED TO BE PERFECTLY MINT. Please note: sealed items are assumed to be mint and are sold as-is, as we have no way of inspecting them. For our policy on still sealed records ►click here (PLEASE READ BEFORE PLACING A BID).

(b)          The record is  apparently 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!

(c)           Stereo copies of this album are NOT known to exist

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

·       COVER

COVER IS STRONG NEAR MINT, STILL SEALED AND COVERED 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 some tiny, faint writing on its back side (a price code written in one corner)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        No ring wear

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)

-        No wrinkles or creases

-        No yellowing from aging

-        No stamps

-        No tearing: no chips, dents or nicks on the seams

-        No peel-off marks

-        No stains

-        No mold or mildew spots

-        No stickers or labels

-        No water damage

-        No razor marks, scratches, pressure marks, lines, streaks, or  cuts.

-        No warping

-        No wax, glue, paint or liquid drops on the cover

-        No glue traces or wax residue.

-        No bar codes

-        No RIAA stamps or stickers. 

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POSTAGE & SHIPPING:

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