JIMMY REED I'm Jimmy Reed LP VEE JAY 1958 US stereo repress (1965) EDDIE TAYLOR

	£		25
	$		33

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 There's simply no sound in the blues as easily digestible, accessible, instantly recognizable, 

and as easy to play and sing as the music of Jimmy Reed. His best-known songs

-- "Baby, What You Want Me to Do," "Bright Lights, Big City," "Honest I Do," 

"You Don't Have to Go," "Going to New York," "Ain't That Lovin' You Baby," 

and "Big Boss Man" -- have become such an integral part of the standard 

blues repertoire, it's almost as if they have existed forever. Because his style was 

simple and easily imitated, his songs were accessible to just about everyone 

from high-school garage bands having a go at it, to Elvis Presley, 

Charlie Rich, Lou Rawls, Hank Williams, Jr., and the Rolling Stones, making him 

-- in the long run -- perhaps the most influential bluesman of all. His bottom-string 

boogie rhythm guitar patterns (all furnished by boyhood friend and longtime 

musical partner Eddie Taylor), simple two-string turnarounds, country-ish 

harmonica solos (all played in a neck-rack attachment hung around his neck), 

and mush-mouthed vocals were probably the first exposure most white folks had to the blues

"I'M JIMMY REED"

<reissue, originally published on mono in 1958 on Vee Jay Records>

Produced by Winbush Associates

LP     VEE JAY RECORDS      LP-1004  STEREO

PRINTED IN USA    1965 REPRESSING

THICK CARDBOARD COVER (AMERICAN STYLE)

SINGLE SLEEVE

This version: Stereo clearly labeled on front cover top left.

[to my knowledge, this one was the first stereo pressing.]

Barcode and Other Identifiers

Barcode: none

LABEL: VEE JAY -  BLACK LABEL - SILVER TEXT

Catalog on cover: (front) Vee-Jay LP 1004

(spine) VEE-JAY LP 1004   V.J LP 1004       (rear) vee-jay LP-1004

Catalog on labels: VJLP 1004 (58-888) / VJLP 1004 (58-889)

Matrix / Runout (Side A, Etched): VJ-1004-A   58-888   2-15659   L-23200

Matrix / Runout (Side B, Etched): V-J-1004-B   58-889   L-23200-X   2-15660

Other / Runout (on both sides, Etched): LW

On labels: top rim text reads "All Rights...........Prohibited"

 bottom rim text reads "Marketed and Manufactured By The Suite Beat Music Group"

Long Playing

Right Society / Publishing: Conrad Pub.

On front cover: stereo

a true high-fidelity tonal range recording

On back cover: Notes by Sid McCoy, Radio Station WGES A&R Jazz Department

design and photography le roy winbush

produced by winbush associates

For Free catalog Write: VEE JAY RECORDS

P.O. Box 69216 Los Angeles, California 90069

from my records collection

tracklisting

Side A: HONEST I DO - GO ON TO SCHOOL - MY FIRST PLEA

BOOGIE IN THE DARK - YOU GOT ME CRYING

AIN'T THAT LOVIN' YOU BABY

Side B: YOU GOT ME DIZZY - LITTLE RAIN

CAN'T STAND TO SEE YOU GO - ROLL & RHUMBA

YOU'RE SOMETHING ELSE - YOU DON'T HAVE TO GO

  grading

RECORD EX but (please, read above description)

SLEEVE NEAR EX but (please, see pictures and read above description)

In deciding where to start listening to Jimmy Reed, the man and his record label made it easy -- at the beginning. His debut LP release, I'm Jimmy Reed, was about as strong a first album as was heard in Chicago blues, but also no stronger (relatively speaking) than the first long-players issued of Muddy Waters, Howlin' Wolf and co. As was the case with most bluesmen of his generation, Reed's debut LP was really a collection of single sides than an actual album of new material (though some of it did hail from its year of release), consisting of tracks he'd recorded from June 1953 ("Roll & Rhumba") through March 1958 ("You Got Me Crying" etc.). So it's no surprise that it rivals The Best of Muddy Waters or any of the other 12" platters that were showing up from Reed's rivals at the end of the 1950s -- most of the blues labels put together their LPs the same way at first. But that also turns I'm Jimmy Reed into a treasure-trove of prime material from his repertory, including the songs on which he'd built his reputation over the previous five years, key among them "Honest I Do," "Ain't That Lovin' You Baby," "You Got Me Dizzy," and "You Don't Have to Go," plus their highly relevant B-sides, which help give this album more depth and breadth than a formal hits collection would have had. And in addition to Reed's singing and harp work, the album is also a superb showcase for guitarists Eddie Taylor and John Brim (the latter on the earliest material here), and drummer Earl Palmer...(AllMusic)