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OTIS BLACKWELL â€“ SINGING THE BLUES (BLACKWELL'S INCREDIBLY RARE FIRST ALBUM)
-Â ORIGINAL 1956 DAVIS
RECORDS MONO LP JD-109
ORIGINAL GOLD DAVIS
LABEL WITH BLACK LOGO AND PRINT.
DEEP GROOVE PRESSING
THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS
NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.
ORIGINAL GATEFOLD COVER, MADE OF THICK CARDBOARD (AMERICAN
ORIGINAL LAMINATED COVER
THICK, HEAVY VINYL
CLEAN, WEAR-FREE LABELS
(►PLEASE SEE THE
IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)
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.Â GUARANTEED!)
Few 1950s rock & roll
tunesmiths were as prolifically talented as Otis Blackwell. His immortal
compositions include Little Willie John's "Fever," Elvis Presley's
"Don't Be Cruel" and "All Shook Up," Jerry Lee Lewis' "Great
Balls of Fire" and "Breathless," and Jimmy Jones' "Handy
Man" (just for starters).
Though he often collaborated
with various partners on the thriving '50s New York R&B scene (Winfield
Scott, Eddie Cooley, and Jack Hammer, to name three), Blackwell's songwriting
style is as identifiable as that of Willie Dixon or Jerry Leiber & Mike
Stoller. He helped formulate the musical vocabulary of rock & roll when the
genre was barely breathing on its own.
Befitting a true innovator,
Blackwell's early influences were a tad out of the ordinary. As a lad growing
up in Brooklyn, he dug the Westerns that his favorite nearby cinema screened.
At that point, Tex Ritter was Otis Blackwell's main man. Smooth blues singers
Chuck Willis and Larry Darnell also made an impression. By 1952, Blackwell
parlayed a victory at an Apollo Theater talent show into a recording deal with
veteran producer Joe Davis for RCA, switching to Davis' own Jay-Dee logo the
next year. He was fairly prolific at Jay-Dee, enjoying success with the
throbbing "Daddy Rollin' Stone" (later covered by the Who). From 1955
on, though, Blackwell concentrated primarily on songwriting (Atlantic, Date,
Cub, and MGM later issued scattered Blackwell singles).
co-written by Cooley, was Blackwell's first winner (he used the pen name of John
Davenport, since he was still contractually obligated to Jay-Dee). Blackwell
never met Elvis in person, but his material traveled a direct pipeline to the
rock icon; "Return to Sender," "One Broken Heart for Sale,"
and "Easy Question" also came from his pen. Dee Clark ("Just
Keep It Up" and "Hey Little Girl"), Thurston Harris, Wade
Flemons, Clyde McPhatter, Brook Benton, Ben E. King, the Drifters, Bobby Darin,
Ral Donner, Gene Vincent, and plenty more of rock's primordial royalty benefited
from Blackwell's compositional largesse before the British Invasion forever
altered the Brill Building scene.
Â (EXCERPT FROM AN ONLINE ARTIST BIO BY BILL DAHL, ALL MUSIC
historical information on this album, including track listing ►CLICK
Â (IMPORTANT NOTE: unless otherwise noted, ALL
records are graded visually, and NOT play-graded!; weÂ grade records under the strong, diffuse room light or discrete
WE GRADE THE VINYL AS EXCELLENT.
This is one of those albums that are somewhat difficult to grade. It is
somewhere between VG++ and NEAR MINT, just a notch below NEAR MINT. A
few light abrasions ARE visible, but they are extremely shallow,
superficialÂ and only moderately
visually distracting (nothing significant).For the most part, the vinyl looks
impeccable without any MAJOR visual flaws or imperfections. Much of the
original luster is intact, and the vinyl shines and sparkles almost like new.
The record is 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!
The record has a "deep groove" (an indent in the label about
1/2-inch from the edge of the label, which on SOME labels is associated with
very early or first pressings).
The record comes in a hi-grade MFSL PVC inner sleeve, which has -
apparently with success - shielded the record from the harmful impact of
elements over many years!
Of course, this is a full-bodied ANALOG recording, and not an inferior,
COVER (THIS IS THE ORIGINAL, LAMINATED, GLOSSY COVER):
THE COVER IS NICE --- ABOUT VERY GOOD++ (VG++).
The following flaws or
imperfections are noted on the cover:
Cover has some light ring wear (nothing significant); On the
scale from 1 to 10 (1 being the least, andÂ
10 being the most severe), we assess the severity of ring wear as 4Â Â (VISIBLE ON BACK SIDE ONLY)
Back cover has circular tarnish (grayish, dust-covered
sections, which closely follow the contour of the record),Â probably caused by friction or by rubbing
against other covers during the storage. The tarnish is similar in appearance
to a common ring wear, but, UNLIKE ring wear, these grayish areas may be
possible to clean up with a minor effort and with a right cleansing solution.
Cover shows some light yellowing on both sides, apparently
from agingÂ Â (nothing significant).
Cover has a few tiny wrinkles along the spine