VARIOUS: OAKLAND BLUES NM- RARE 1970 Arhoolie 1ST PRESSING K.C. DOUGLAS FULLER

$

30

Vinyl:  NM- Play Graded.  Plays Like New!  Arhoolie Labels are Clean and Bright.  This is the 1970 Arhoolie R 2008 1ST PRESSING!!  This is a RARE collection of Blues performances from the 1950s and 1960s that are otherwise unavailable except on super rare 45s.  The compilation represents a very real subgenre of the Blues that originated in the San Francisco Bay Area since after World War II, particularly among Black musicians that came from particularly Texas and Louisiana to work in the wartime factories of Oakland and Richmond, CA which is a little north of Oakland.  Hot Blues licks and killer riffs, this is a one-of-a-kind document and a very satisfying listen.  Check out, if you can, K.C. Douglas' Mercury Boogie, Juke Boy bonner's Rock With Me Baby and Johnny Fuller's Train Train Blues, and you'll get an idea of what's in store for you.  Crucial.  allmusic gives it 4 1/2 stars!!

See Review Below!
In the Dead Wax:  Side 1:  ARHOOLIE 2008 A Side 2:  ARHOOLIE 2008 B
Cover: VG+ (see photos)   Front and back of cover artwork and text are rich, clear and bright, with some creasing at the top right corner.   Seams and spine are solid and clean, with some wear.  No splits.  No writing.  Spine print is mostly readable.
Goldmine Standards.   I play grade every album that I sell on eBay as I have found you can't rate an LP accurately by just visually inspecting an album.  I wipe the dust off of every cover with clean, unscented baby wipes.  I professionally clean the vinyl.

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Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album? 
First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl.  Why  experience the worse elements of both formats?  These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared.  They are nearly always compressed with murky transients and a general lifelessness in the overall sound.  There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm. 

First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider.  Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive.  Inner details are  clearer.  

 On first and early pressings, the music tends to sound more ‘alive’ and vibrant.  The physics of sound energy is hard to clarify and write about from a listening perspective, but the best we can describe it is to say that you can 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.   

Oakland Blues Review

by Stephen Cook

As Lee Hildebrand states in his liner notes, Oakland blues -- unlike the slicker L.A. blues -- was a sophisticated yet rootsy version of the Southern and Chicago styles. Most of the players came from Louisiana and Texas to work in the shipyards of the Bay Area, which had no blues tradition of its own prior to World War II. This Arhoolie compilation of 1948-1957 material spotlights some of those top Oakland bluesmen, many of whom show the influence of the city's most famous blues resident, Oklahoma-native Lowell Fulson. From K.C. Douglas' countrified "Mercury Boogie" (later cut by David Lindley as "Mercury Blues") to Jim Wilson's slow-burning "Blues at Sundown," the mix offers a consistently fine selection of electric and acoustic delights. And whether you are excited about such billboard names as Jimmy McCracklin and Weldon "Juke Boy" Bonner or the obscure likes of pianist Mercy Dee or guitarist Johnny Fuller, this album makes for a very enjoyable primer on one of the blues' most overlooked hotbeds.