Charles Brown LP Drifting Blues Original Never Opened

$

103

·       CHARLES BROWN – DRIFTING BLUES – ULTRA RARE ORIGINAL 1958 SCORE RECORDS MONO LP SLP-4011

STILL SEALED / MINT! Cover is solid but shows some light yellowing along the edges, apparently from aging.

This is the real deal. The original 1958 Score record album. It is sealed, mint and has never been opened. It does not have it's original cover.

This is the way I found the record. I was told by a collector friend that the record plant may have made too many discs and not enough covers. I wish I knew the whole story but this is how I found it. You may already have a nice cover but the vinyl is scratchy. This would be a perfect marriage.

 Charles Brown [1957] Label is maroon with silver printing. This is the planned but unreleased Aladdin LP- 809. Aladdin number "LP-809" is not in the trailoff wax area, indicating that Aladdin LP-809 was not released.

12 GREAT TRACKS!

Titles: Drifting Blues / Seven Kisses Mambo / Fools Paradise / Please Don't Drive Me Away / By the Bend of the River / I'm Saving My Love For You / /Nite After Nite / Rising Sun / My Heart is Mended / Rolling Like a Pebble in the Sand / Evening Shadows / Honeysipper 

 ORIGINAL U.S. PRESSING  Stereo copies of this album are NOT known to exist.

 INSANELY RARE ORIGINAL SCORE PRESSING – ONE OF THE RAREST BLUES ALBUMS IN EXISTENCE.

 ORIGINAL MAROON (DARK RED), NON-GLOSSY, SCORE MONO LABEL WITH SILVER PRINT, LATE 50’s STYLE.

DEEP GROOVE PRESSING

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

 ORIGINAL, THICK CARDBOARD DIE CUT COVER (AMERICAN STYLE)

THICK, HEAVY VINYL PRESSING 

CLEAN, WEAR-FREE LABELS

You are looking at one of the finest (we would say: the finest) West Coast blues in existence, by the guy who practically invented the genre. So influential were these sides (originally recorded in the early 1950’s for Aladdin label and then released as a 12” album for it’s successor, Score in 1958), that none other than Sam Cooke covered a quarter of the album – three tracks – on his various albums, most notably on his classic “Nightbeat” album (Cooke covered ANOTHER four Charles Brown tunes, not on this album).

***

 How many blues artists remained at the absolute top of their game after more than a half-century of performing? One immediately leaps to mind: Charles Brown. His incredible piano skills and laid-back vocal delivery remained every bit as mesmerizing at the end of his life as they were way back in 1945, when his groundbreaking waxing of "Drifting Blues" with guitarist Johnny Moore's Three Blazers invented an entirely new blues genre for sophisticated postwar revelers: an ultra-mellow, jazz-inflected sound perfect for sipping a late-night libation in some hip after-hours joint. Brown's smooth trio format was tremendously influential to a host of high-profile disciples -- Ray Charles, Amos Milburn, and Floyd Dixon, for starters.

Classically trained on the ivories, Brown earned a degree in chemistry before moving to Los Angeles in 1943. He soon hooked up with the Blazers (Moore and bassist Eddie Williams), who modeled themselves after Nat "King" Cole's trio but retained a bluesier tone within their ballad-heavy repertoire. With Brown installed as their vocalist and pianist, the Blazers' "Drifting Blues" for Philo Records remained on Billboard's R&B charts for 23 weeks, peaking at number two. Follow-ups for Exclusive and Modern (including "Sunny Road," "So Long," "New Orleans Blues," and their immortal 1947 Yuletide classic "Merry Christmas Baby") kept the Blazers around the top of the R&B listings from 1946 through 1948, until Brown opted to go solo.

If anything, Brown was even more successful on his own. Signing with Eddie Mesner's Aladdin logo, he visited the R&B Top Ten no less than ten times from 1949 to 1952, retaining his mournful, sparsely arranged sound for the smashes "Get Yourself Another Fool," the chart-topping "Trouble Blues" and "Black Night," and "Hard Times." Despite a 1956 jaunt to New Orleans to record with the Cosimo's studio band, Brown's mellow approach failed to make the transition to rock's brasher rhythms, and he soon faded from national prominence (other than when his second holiday perennial, "Please Come Home for Christmas," hit in 1960 on the King label) (…)

(EXCERPT FROM AN ONLINE BIO BY BILL DAHL, /ALLMUSIC.COM/)

FINE PRINT

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