ROBERT JOHNSON Vinyl 3 LP SET Delta Blues BOX Record

$

109

e © AP6.0
ROBERT JOHNSON THE COMPLETE RECORDINGS IN ORIGINAL MONO 3 VINYL LPS WITH ORIGINAL INSERTS: 47 PAGE BOOKLET AND ROOTS 'N BLUES AD SHEET VERY RARE! Details:

• All lp's come with a money back guarantee.
• Photos on this page are of the actual lp that is available.
• I have estimated the condition of the record, but I am not an expert on vintage lps. As a guideline, I used the standards of the Record Collectors Guild. http://www.recordcollectorsguild.org/index.php
• My abbreviated version of the Record Collectors Guild Grading Standards is below the Record Details And Condition Section of the listing.
• Hopefully, there are enough pictures for you to make your own grading determination. (All of the photos below will enlarge when you click on them.)
• Your valuable record will be packaged to survive anything short of a nuclear explosion...
• For your convenience, a review of ROBERT JOHNSON'S THE COMPLETE RECORDINGS is posted below.
• If you have any questions about these ROBERT JOHNSON LPS, or need additional pictures of the records to help make your decision, please contact me through eBay. I will be very glad to answer your questions and send you additional photos of the album.

RECORD DETAILS AND CONDITION:
• Used
• Label- ROOTS N' BLUES/CBS
• Catalog Number- 46759
• Grading Estimate Cover- VG TO VG+
• Grading Estimate Records- NM-
• Grading Estimate Sleeves- VG+
• Grading Estimate Inserts- VG+ TO NM-
• PLEASE SEE THE PHOTOS BELOW THE REVIEW

ROCK, READ, AND ROAM! ABBREVIATED VERSION OF THE RECORD COLLECTORS GUILD STANDARDS Mint(M)- The record has never been played, and may be still sealed. Near Mint(NM)- The record is nearly perfect. The lp cover and any inserts should have no obvious signs of wear. Very Good Plus(VG+)- The record will show some signs that it was played and otherwise handled by a previous owner who took good care of it. Any scuffs or scratches on the record do not affect one's listening experience. Cover, inner sleeves, and inserts may show some slight wear. Very Good(VG)- The record may have some surface noise when played, especially during intros and quiet passages. Groove wear may be noticeable. Covers, sleeves, and inserts, may have, some writing, tape, tears, or stickers. (A record may only have 2-3 or three of these problems to remain in the VG category.) Good (G) Good Plus(G+)- A record in this condition will play without skipping, but will have noticeable surface noise, and visible groove wear. Covers, sleeves, and inserts will have split seams, writing, etc.. Fair(F), Poor(P)- A record in one of these conditions will not play through without skipping. Picture sleeves and inserts, may be water damaged and heavily marred by writing, and wear. The lp cover may barely keep the record in.
Album Tracks: A1 Kindhearted Woman Blues A2 Kindhearted Woman Blues A3 I Believe I'll Dust My Broom A4 Sweet Home Chicago A5 Rambling On My Mind A6 Rambling On My Mind B1 When You Got A Good Friend B2 When You Got A Good Friend B3 Come On In My Kitchen B4 Come On In My Kitchen B5 Terraplane Blues B6 Phonograph Blues B7 Phonograph Blues C1 32-20 Blues C2 They're Red Hot C3 Dead Shrimp Blues C4 Cross Road Blues C5 Cross Road Blues C6 Walking Blues C7 Last Fair Deal Gone Now D1 Preaching Blues (Up Jumped The Devil) D2 If I Had Possession Over Judgement Day D3 Stones In My Passway D5 I'm A Steady Rollin' Man D5 From Four Till Late D6 Hellhound On My Trail E1 Little Queen Of Spades E2 Little Queen Of Spades E3 Malted Milk E4 Drunken Hearted Man E5 Drunken Hearted Man E6 Me And The Devil Blues E7 Me And The Devil Blues F1 Stop Breakin' Down Blues F2 Stop Breakin' Down Blues F3 Traveling Riverside Blues F4 Honeymoon Blues F5 Love In Vain F6 Love In Vain F7 Milkcow's Calf Blues F8 Milkcow's Calf Blues
THANKS FOR STOPPING BY!
Review by Robert Palmer It seems odd, but probably wise, that nowhere in this definitive collection of Robert Johnson's forty-one surviving blues recordings is there a single mention of the Robert Johnson Myth. We all know it by now: the young amateur who made a deal with the devil at a dark Mississippi Delta crossroads, disappeared for a year and then returned home to astound all the more seasoned performers who had laughed at him with music of almost supernatural power and presence and an undercurrent of impending doom. What we have in Robert Johnson: The Complete Recordings are solid facts in Stephen C. LaVere's meticulously researched liner notes, brief appreciations of Johnson by Keith Richards ("He was like a comet or a meteor that came along and, BOOM, suddenly he raised the ante, suddenly you just had to aim that much higher") and Eric Clapton ("I have never found anything more deeply soulful than Robert Johnson. His music remains the most powerful cry that I think you can find in the human voice, really"), lyrics and photos. And, of course, we have the songs – digitally clarified and, as expected, at least as powerful and affecting as ever. Robert Johnson recorded twenty-nine songs in 1936 and 1937 – alternate takes, previously bootlegged and only rarely revelatory, bring the total here to forty-one – and then vanished into the murky Mississippi Delta world of juke joints, voodoo lore, violence, grand plantation houses for whites and perpetually indentured black sharecroppers who worked in the cotton fields all week and were serious about their Saturday nights. Johnson was fatally poisoned by a jealous husband or boyfriend shortly before fame caught up with him in the person of Columbia's John Hammond, who wanted him for the historic 1938 Spirituals to Swing concert, at Carnegie Hall, in New York, Fame, finding nothing left but a legend, passed him by, but only for a while. Even in these last prosaic facts, the Myth lurks. In "Sweet Home Chicago," Johnson played and sang as if anticipating the effect his music would have on the electric-blues scene in Chicago ten years later, and the last line he sang at his last session posed a question to which he would soon find the terminal answer: "Well, now, can you suck on some other man's bull cow ... in this strange man's town?" The Robert Johnson recordings are musical art of the highest order, as rich and transcendent as anything produced by an American musician in this century – surely only a racist or classist would argue otherwise. Was he really the greatest blues singer-guitarist-songwriter of all? Listening to Johnson in Frank Abbey's lovingly restored and remastered new versions, the question seems almost irrelevant. Johnson was a great one, all right, and a bluesman to the bottom of his soul. But at his most original, when he is also most chilling, Johnson blows genre considerations and invidious comparisons right out the window. "Hellhound on My Trail" and "Love in Vain," both from his last session, are idiosyncratic constructions that defy time in their musical daring and emotional immediacy. "Hellhound," with its moving inner voices and dissonant, nontempered chords in the guitar accompaniment, is so vivid it's as much life as art. So are "Cross Road Blues" and "Me and the Devil Blues," but unlike the formally singular "Hellhound," these are blues to the marrow. "You want to know how good the blues can get?" asks Keith Richards. "Well, this is it." Technically, Johnson the guitarist was an anomaly. He could sing and play cross-rhythms on the guitar, relating the parts in such complex syncopations that, as Richards notes, "You think, 'This guy must have three brains!'" Johnson also occasionally "breaks time," dropping a half beat or a half bar, apparently without realizing it ("Traveling Riverside Blues," "Honeymoon Blues"), which caused more technically conventional bluesmen to snicker. Yet could any of them have brought off the hesitations, sprung the offbeat accents and other polyrhythmic byplay – mercurial figures derived from sources as diverse as Son House, the recordings of Kokomo Arnold and Johnson's own teeming imagination – that Johnson had mastered? More important, could any of his contemporaries have come close to equaling the sheer force and the haunted immediacy Johnson communicated? This, finally, is his bid for status as "the greatest": No other bluesman left a studio portrait that seems to come moaning and howling from the darkest recesses of his soul. The music has a power that age cannot dim. Familiarity with his work, even over many years, breeds only a finer appreciation and a more acute sense of awe. Johnson left his mark on popular music primarily during two eras. On steady-rocking dance tunes like "Sweet Home Chicago," "I Believe I'll Dust My Broom" and "I'm a Steady Rollin' Man," he crafted complete orchestral guitar accompaniments that set a driving shuffle rhythm, accented with stinging treble-string bottleneck leads, sketched in a bass line and even suggested figures suitable for piano chording. In Chicago in the Forties and early Fifties, Muddy Waters and Elmore James, among others, realized these arrangements-in-embryo as full band numbers and made "Sweet Home Chicago" and "Dust My Broom" postwar standards. These songs had their effect on rock & roll, but they did not equal the impact of the first Johnson LP reissue, King of the Delta Blues Singers, on the first generation of Sixties blues-based white rockers. Whether you're talking about the Stones, the Yardbirds or Led Zeppelin, Johnson gave them all a fright, encouraged them, pushed them to play more than they knew and perhaps to find out things they did not need to know. But the last bit is part of the Myth, and every listener will finally have to come to terms with that myth in an individual, intuitively personal way. The Myth cannot be ignored; the music can't be beat. Except for one or two questionable transcriptions that are of no great import, this singularly important reissue can't be beat, either. As Johnson sings on "Stop Breakin' Down Blues," "The stuff I got'll bust your brains out, baby, hoo hoo, it'll make you lose your mind."


Click to Enlarge


Click to Enlarge


Click to Enlarge


Click to Enlarge


Click to Enlarge


Click to Enlarge


Click to Enlarge


Click to Enlarge


Click to Enlarge