{"product_id":"pristine-blues-collection-vol-1-pabx014","title":"Pristine Blues Collection Vol. 1 - PABX014","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003e10 Blues Albums \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003efeaturing \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRobert Johnson, Tampa Red, Mississippi John Hurt, Blind Lemon Jefferson, Charley Patton, Blind Blake, Blind Willie McTell, Skip James\u003c\/span\u003e\u003c\/b\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PABL010.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eROBERT JOHNSON Legendary Blues, Volume 1 - PABL001\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\"\u003cem\u003eThe most important blues musician who ever lived\u003c\/em\u003e\"\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cem\u003e Eric Clapton on Robert Johnson \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003eNewly restored using XR remastering technology \n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis experimental release came as a result of a late-night\nconversation with the head of another classical record company,\nfollowing discussion of the wider possibilities of Pristine Audio's XR\nremastering system. As XR relies on modern reference recordings to\nprecisely re-equalise older recordings in order to correct the\ninadequacies of vintage recording systems, it's often hard to use\noutside of the classical sphere. However, the music of Robert Johnson\nhas been widely recorded, and it was possible to find modern equivalents\nof many of these recordings, from which I was able to derive further\nequalisations for the remaining tracks.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eWhat emerges from this process is quite\nremarkable - for perhaps the first time one is able to hear the full\nrange, power and versatility of both Johnson's singing and playing in a\nsound quality that is more 1950's or 1960's than the 1930's hotel room,\nwhere these immensely influential recordings were made.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThe sample chosen here, \u003cem\u003eRamblin' On My Mind\u003c\/em\u003e,\ngives a very good indication of what to expect from the rest of the\ntracks, sound-wise. One or two of them have emerged even better from the\nremastering process than this. The overall effect of this collection is\nstunning to hear, especially for anyone used the thin sound of all\nprevious Johnson reissues. Once you've heard this remastered collection\nyou will not wish to return to anything else.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cb\u003eN.B. \u003c\/b\u003eDue to a compilation error, track 8 \"\u003cem\u003eWhen you've got a good friend\u003c\/em\u003e\"\nappears twice on this issue, and another song, prepared for this\nrelease, was omitted. This missing song appears on Volume Two of our\nRobert Johnson \u003cem\u003eLegendary Blues\u003c\/em\u003e releases (PABL002), which will complete the entire set of his recordings.\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eROBERT JOHNSON Legendary Blues, Volume 2 - PABL002\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\"\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: medium;\"\u003eYou want to know how good the blues can get?\u003c\/span\u003e Well this is it.\u003c\/em\u003e\"\u003cspan class=\"body\"\u003e\u003cem\u003e\u003cbr\u003e Keith Richards on Robert Johnson\u003c\/em\u003e\u003c\/span\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003eNewly restored using XR remastering technology\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAfter\nthe success of our experimental release of Robert Johnson 'Legendary\nBlues' the requests for the rest of his recordings came in thick and\nfast. I also took note of the comments - and criticisms - of that issue\nwhilst preparing this release.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eIn preparing a \"new\" Robert Johnson\nrelease, one should be clear that there is little point in duplicating\nthat which has already been issued. Each has its flaws - some of them\nglaring, others more subtle - and each has its adherents. My aim with \u003cem\u003eVolume Two\u003c\/em\u003e\nhas been to both keep with those who've written to say that the first\nvolume was by far the best remastering Johnson they'd ever heard, whilst\nhopefully addressing some of the concerns of others and bringing them\n'on board' as well.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eOne example of this, heard on Volume One\n(PABL001), was a reasonably subtle use of reverberation, which was\npresent in the source material used for that release (though not on the\noriginals), and not added by me. Volume Two has been sourced from a\nvariety of origins and no reverb has been added. My aim has been both to\nbring you a cleaner sound wherever possible, and - using XR remastering\n- one that is more authentic to the overall tonal quality of Johnson's\nvoice and guitar, despite the limitations of the recording equipment of\nthe day.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eI have also, in preparing this release,\nbeen able to make minor speed corrections to some of the tracks, basing\nmy conclusions on analysis of electrical mains hum harmonics found\nburied in many of the tracks, and repitching to between 0.2 and 2.5%\n(where a semitone is approximately 6%).\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThis release brings together all of the\nremaining known releases of Robert Johnson's recordings. It has been\nprogrammed in order of recording, omitting those already issued on\nVolume One. Where this issue contains two takes of a particular song, I\nhave relocated the second take to later on the recording. This is a\npersonal preference and a departure from releases which group takes\ntogether.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTAMPA RED The Man With The Gold Guitar - PABL003\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003eTampa Red - \"The Man With The Gold Guitar\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003eNewly restored using XR remastering technology\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTampa Red is the second blues artist to receive the 'XR' treatment,\nfollowing our issue of the complete Robert Johnson recordings a month\nago. Once again, great care was taken to find suitable recordings with\nwhich to construct tonal references and reshape the sound profiles of\nthese mainly late-1930's recordings, the process at the heart of the XR\nremastering system.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eClearly some sides have survived the\nintervening years better than others, and it's interesting to find\nbetter overall sound quality lurking in the earliest of these\nrecordings, 1934's \u003cem\u003eGrievin' and Worryin' Blues\u003c\/em\u003e than in some of\nthe records from later in that same decade. It's easy to speculate on\nwhy this might be the case - I've noted similar declines in surface\nquality in UK pressed discs during the 1930's - but one should perhaps\navoid jumping to conclusions.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eI've avoided running these tracks in order\nof recording dates, and have instead compiled them to create a perhaps\nmore musical flow for the listener. I am aware in doing this that each\nlistener would probably make a different choice.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThe two recordings from 1942 include one of Tampa Red's biggest hits, the innuendo-laden \u003cem\u003eI Want To Play With Your Poodle\u003c\/em\u003e, and what seemed to me its natural partner in crime,\u003cem\u003e She Wants To Sell My Monkey\u003c\/em\u003e.\nI will leave it to the listener to decide how best to interpret the\nlyrics here - what I find most musically interesting is how the addition\nof drums to the piano, guitar and kazoo instrumentation already common\nin earlier recordings, coupled with the ongoing development of his\nmusical style, looks forward with astonishing foresight to the major\nrevolution in popular music which was to arrive a decade or more later.\nIndeed, one can even hear in the off-beat kazoo playing, coupled with\nthe jaunty rhythms, the origins of 1960's Jamaican ska music, which grew\nout of the copying and adapting of blues-based music to be heard on\nAmerican radio stations picked up in Jamaica at the time, and would of\ncourse later slow down and evolve into reggae - by which time Tampa Red\nwas destitute and largely forgotten...\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eMISSISSIPPI JOHN HURT The Man From Avalon - PABL004\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003eMississippi John Hurt - \"The Man From Avalon \"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\"\u003cem\u003eMJH would have been mighty pleased...\u003cbr\u003e \u003c\/em\u003e\u003cem\u003eI see you as having helped to create a whole new dimension.\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003eFred Bolden, Mississippi John Hurt's nephew\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eBecause of his musical renaissance in the\n1960's I was lucky to be able to use much more recent recordings of\nMississippi John Hurt performing some of the same songs as he'd cut back\nin 1928 as sonic references in the XR remastering process for this\nrelease. The results have been especially pleasing and should serve to\nbring the listener even closer to the unique music and spirit of John\nHurt.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eTwo of the tracks provided a particular challenge, including our full-lenth sample \u003cem\u003eFrankie\u003c\/em\u003e,\nwhich despite myriad reissues over the years appears not to have been\naddressed. By analysing pitch variations in the opening two songs,\nrecorded in Memphis using mobile equipment, I discovered a pitch\nvariation across the length of the recording, indicating that the speed\nof the motor driving the cutting lathe varied more or less as shown in\nthe following graph:\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"center\"\u003e\u003cimg src=\"https:\/\/web.archive.org\/web\/20151025052919im_\/https:\/\/www.pristineclassical.com\/media\/Pictures\/MJH-repitch.gif?width=700\" alt=\"MJH repitch graph\" width=\"579\" height=\"237\"\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eBecause the disc was replayed and\ntransferred at a constant speed, the effect on the pitch is the exact\nopposite, thus the curve shown above represents the actual sliding\nrepitch required to even out the song '\u003cem\u003eFrankie\u003c\/em\u003e'.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThis pitch problem can be seen in the\nfollowing graphic - the horizontal lines indicate harmonics of the\nguitar part. Because there are no modulations in key during the song\nwe'd expect to see pretty much straight lines running across the screen,\nbut as you can see, set against a ruler line, the opening of the song\nis far from straight - we're looking therefore at the incorrect pitching\ncaused by the cutting lathe's motor:\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"center\"\u003e\u003cimg src=\"https:\/\/web.archive.org\/web\/20151025052919im_\/https:\/\/www.pristineclassical.com\/media\/Pictures\/Frankie1.jpg?width=700\" alt=\"Frankie graphic 1\" width=\"600\" height=\"385\"\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eOnce the variable repitch settings (above)\nhave been applied, and after a further fine-tuning, you can see the\neffect on these harmonics quite clearly:\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"center\"\u003e\u003cimg src=\"https:\/\/web.archive.org\/web\/20151025052919im_\/https:\/\/www.pristineclassical.com\/media\/Pictures\/Frankie2.jpg?width=700\" alt=\"Frankie repitched graphic\" width=\"600\" height=\"393\"\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eAnalysis of the other Memphis song, '\u003cem\u003eNobody's Dirty Business\u003c\/em\u003e'\nshowed an almost identical pitch problem consistent with the theory of\nan inconsistent motor driving the cutter's turntable. After some\ndiscussion with a number of experts as to the most likely cause of this,\nvarious hypotheses were put forward. The most authoritative response\nI'm quoting directly:\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\"\u003cem\u003eRecording companies had portable\nrecording outfits that toured the \"Territories\" and places such as New\nOrleans, especially after the introduction of electrical recording in\n1925.  Such outfits were invariably (lead-acid secondary) battery\noperated due to the variability (or even lack of) mains electricity\nsupplies.    Speed regulation was often manual, and not very precise. \n (Even the major studios used dc for this function to isolate themselves\nfrom eccentricities in the mains supply; some even used gravity feed to\ndrive the lathe - notably EMI even into the '50s, until the arrival of\nthe LP).   I am not aware of recording outfits that used spring drive\nfor the lathe at this time.  (The BBC of course developed its miniature\ndisc cutter during the war, which used spring drive for the turntable,\nand batteries only for the cutting amplifier - and there was that\nportable EMI tape recorder in the early '50s that used the same\nconfiguration).\u003cbr\u003e \u003cbr\u003e I would suggest that the pitch behaviour\nobserved suggests a partially discharged battery, where polarisation of\nthe plates can occur during discharge, leading to increased voltage drop\nand hence lower speed.  During the break between takes, the cells\nrecover.  I can't propose a scenario relating to increased cutter drag,\nbecause this should decrease as the surface speed under the cutter (and\nhence drag) decrease as the cutter moves from outer to inner diameter.\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eFurther discussion of the discovery and\nresolution of this issue can be found at the Mississippi John Hurt\nMusuem website's online forum\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBLIND LEMON JEFFERSON That Black Snake Moan - PABL005\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e20 Classic Recordings newly remastered\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003ci\u003eAs selected by members of The Blindman's Blues Forum\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis collection has to be one of the most challenging restoration and\nremastering tasks I've ever undertaken. Paramount Records was notorious\nfor its poor recordings and especially poor pressings, which were\ncheaply made, in-house, for perhaps the poorest mass audience in\nAmerica, for whom the term 'disposable income' would probably have been\nunknown.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eTo compound this problem, Paramount melted\ndown all of their metal masters during the Great Depression in order to\ntry and raise funds, though even this was was not enough to save them\nfrom closure in 1935.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eSince then their recordings of some of the\ngreatest early Blues artists have challenged both restorers and\nlisteners - even at their very best, some are virtually unlistenable.\nThe selection presented here is based upon an informal poll of\ncontributors to an excellent (bu now alas defunct) online Blues forum, \u003cem\u003eThe Blindman's Blues Forum\u003c\/em\u003e,\nand includes a number of sides which were recorded more than once. In\nmost cases I've chosen the least bad (I hesitate to use the word 'best'\nin this context) pressing to work from - with the sole exception of the\ntitle track, which stems from the original 1926 Paramount release and\nnot the later 1927 OKeh re-recording.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eMy chief aim here has been to address often\ndreadful tonal imbalances, bringing both greater warmth and clarity to\nthe singing and playing, using the latest technologies to make a marked\nimprovement upon previous attempts to remaster these sides. I think I\ncan claim at least a partial victory here - but the listener should be\naware that, with any recordings of the kind of original quality to be\nfound here, there will perhaps always remain severe constraints as to\nwhat is possible. As such the track order here is designed to be as easy\nas possible on the listener's ears, rather than following any\nchronological order.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCHARLEY PATTON Dirt Road Blues - PABL006\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e20 Classic Recordings newly remastered\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003ci\u003eAll tracks selected by members of The Blindman's Blues Forum\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWhen I first started issuing remastered Blues recordings, almost\nimmediately requests started coming in for a remastering of Charley\nPatton, more than any other performer. I knew I had an old Patton CD on\nthe shelf somewhere but didn't recall much about the sound quality or\nthe music, to be frank.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eWhen I put the disc on (and I don't intend\nto tell you which one it was!) I remembered why I was so ignorant of\nPatton's music - the sound was absolutely dreadful. A few days later,\nrequests on Blues forums for Patton were being met with comments along\nthe lines of \"there's no point\" and \"it can't be done\". I felt I knew\nwhat they were talking about!\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eSo he went on the back-burner - I started\nto acquire suitable source material but for neary six months avoided\nmaking a real start, beyond a few preliminary tests. Meanwhile I found\nmyself working on other, almost equally difficult material, building up a\nnew repertoire of remastering tricks and techniques, until finally I\nfelt ready to see whether I could do Patton justice.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThe original material is rough - some worse\nthan others. Where I've had a choice of takes I've generally gone for\nthe better quality sound, hence the inclusion of the inussued out-take\nof \"Elder Green Blues\" rather than the version Paramount decided to\nrelease on 78rpm disc.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eAs with our Blind Lemon Jefferson release, I\nturned to the experts to democratically choose the 20 tracks which\nappear here. They vary both musically and in terms of sound quality\nquite widely, and certainly provide an excellent introduction to\nPatton's music. In many cases the start of the discs are noisiest,\nsettling down after perhaps 30 seconds or so as the music often starts\nto pick up speed and energy.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eMusically many of these tracks are\nincredible. Patton seems capable of supplying two voices in call\/answer\nmode, whilst playing what sounds like three separate guitar lines \u003cem\u003eand\u003c\/em\u003e\nsupplying a percussion section - all at the same time. His singing\nstyle, often slurring the words beyond recognition (though most can be\nfound online if you search for his lyrics) contrasts with the clearly\ncomprehensible speaking voice heard on a number of tracks, and displays a\nwide and varied range of style and technique.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eMy aims in carrying out this particular\nremastering were two-fold: to clear away as much of the 'crud' of noise\nand distortion as possible, and to re-equalise the sound to make\neverything both clearer and more realistic.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eIn both of these aims the XR remastering\ntechnique brings with it clear benefits - and here follows the really\ntechnical bit. Using a three-hour-long compilation of dozens of\ndifferent male blues singers, covering a wide range of music and all\naccompanied by acoustic guitar, I generated an average frequency\nspectrum with which to guide the re-equalisation, which allows us to\ncounteract many of the tonal flaws in the original recording equipment.\nThen closely-targetted noise reduction strips away swathes of noise,\npushing the NR to the limits of what it can do alone. From this I can\ngenerate a new soundprint for the song with which to re-equalise once\nmore the original Patton recording, this time at much finer resolution.\nThis allows the equalisation to act as a secondary, noise-reducing\nfilter as well as re-setting the tonal balance of the music as already\ndescribed. After this equalisation it's now possible to use regular\ndigital noise reduction to dig even further into the disc noise, thus\nrevealing more of the sound of Patton and his guitar ever before.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBLIND BLAKE No Dough Blues - PABL007\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe king of ragtime guitar \u0026amp; master of 'piano guitar'\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003ci\u003e\u003cem class=\"bodymid\"\u003e\"\u003ci\u003eA great player, a great musical figure ... he was fabulous\u003c\/i\u003e\" - Ry Cooder\u003c\/em\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThe output of the Paramount Record Company\nin the late 1920's and early 1930's is among the most frustrating in the\nhistory of recorded sound. On the one hand, they managed to assemble\nwhat has come to be regarded as one of the greatest 'stables' of blues\nmusicians ever to record under one label, and of those, Blind Blake is\nmost certainly in the very top rank.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eOn the other hand, their production values\nand methods were abysmal. Disc quality was so poor that even when new\nand unplayed their products were so shoddy and inferior that they lost\ndistribution deals and some shops refused to stock them. Rather than\ninvest in metal masters strong enough to withstand the requirements of\npressing a hit record, they used cheap, soft metal parts which quickly\ndeteriorated. If a hit was on the cards they merely recalled the\nmusician and got them to re-record the song and make a new, poor quality\nmaster - hence the existence of several versions of a number of Blind\nBlake's output in varying degrees of sound quality, often ranging from\npoor to abysmal.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eIn putting together and remastering this\ncollection I've tried to balance a number of requirements: firstly to\nput together a representative sample of Blake's entire recorded career\nbetween 1926 and 1936, secondly to cover a range of styles, and thirdly\nto try and find the best sounding surviving recordings from which to\nwork.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThe latter means, inevitably, that there is\nsome considerable overlap with other one-disc sets. So do we really\nneed another Blind Blake collection? Well it is my belief that, thanks\nto recent advances in sound restoration and remastering, it is most\ncertainly worth revisiting these recordings once again. I've aimed not\njust to reduce background noise, but also to re-equalise to varying\ndegrees a majority of the tracks in order to compensate for the sonic\ninadequacies of the Paramount originals. In most cases this has resulted\nin a much fuller and well-rounded sound, as well as a smoother and more\nconvincing top end. Alas all too often the high treble simply\ndisappears into the surface hiss, and one can debate for ever the\nprecise balance of top end hiss suitable allowable in order to discern\nthe music buried within it - for each track a careful judgment has been\nnecessary, based on the widely varying quality of the original material.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBLIND WILLIE MCTELL Searching The Desert For The Blues - PABL008\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe king of 12-string acoustic blues - 26 of the very best\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003eIn astonishing newly XR-remastered sound quality - surely the best ever!\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eLike many pre-war Blues artists, Blind\nWillie McTell recorded for a number of record companies, often at the\nsame time, under a variety of pseudonyms. Fortunately for the lover of\nvintage blues, none of these was the notorious Paramount record company,\nand as a result we have a body of work which not only stands up\nmusically, but in terms of recording and pressing quality as well -\nunlike the recordings of the likes of Charley Patton, Blind Blake and\nBlind Lemon Jefferson, for example.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eIn some respects this ought to make the\naudio restorer's job easier, you might think. Alas, life is rarely that\nsimple - with higher quality originals to begin with, one inevitably\naims higher and is less able to settle for anything less than\nexcellence.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eIn compiling this CD, I initially worked on\nsome 40 tracks by Blind Willie McTell, in many cases from two or three\ndifferent sources. Each was taken a considerable way along the road of\nrestoration and remastering in order that a judgment could be made (a)\nbetween different copies of the same recording, and then (b) between the\ncomplete set to narrow it down to a full CD (and I apologise here both\nfor having to leave some excellent material out, and for leaving some\nrather small gaps between tracks in order to squeeze as much on as\npossible).\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThen comes the painstaking job of\n\"finishing\" - a near-forensic examination of each track, looking for\nindividual clicks, surface swishes and other extraneous noises, and\nattempting to remove or reduce them, one by one, as well as varrying out\nfurther final noise and hiss reduction. For a set such as this, which\nhad already taken several weeks to assemble, this finishing work took a\nfurther three full days of intensive effort to complete.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eWhat do I hope to achieve with all this\neffort? The finest-sounding and most representative collection of\npre-war recordings by McTell ever assembled. No doubt some will dispute\nthe track selections - especially some are here on musical merit.,\nothers on sonic merit - but put together as a whole I do feel this\nconsiderably improves on all previous issues of this material that it's\nbeen my pleasure to listen to over the years. I hope you'll feel\nsimilarly!\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSKIP JAMES Yola My Blues Away - PABL009\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eIdiosyncratic, original and unique - Skip James' 1931 set\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003eAn all-time blues classic - these rarest of recordings fully restored and remastered\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eI have written elsewhere on this site about\nthe poor quality of recordings emanating from the Paramount Records\ncompany in the late 1920s and early 1930s, where it seemed no corner\ncould not be cut, technically, and no expense not saved in the\nproduction of desperately inferior pressings of some of the finest blues\never cut.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eIn the case of Skip James, whose sole visit\nto the Paramount recording studio in Grafton, Wisconsin in the February\nof 1931 resulted in his entire recorded output prior to the mid-1960s,\nthe blues-lover is even less well served, as James's nine records sold\nappallingly badly - it's now estimated by one well-regarded discography\nthat only around thirty copies exist in total of his entire Paramount\noutput, with many of the discs having only one or two known copies (see\nbelow).\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThe net result of this is that, despite\nnumerous reissues of this short canon over recent years, the original\nsource material ain't getting any better. There's no collector quietly\nsitting on a collection of mint pressings ready to spring a surprise on\nthe blues music world. Nobody has a copy of, for example, \u003cem\u003eWhat Am I To Do\u003c\/em\u003e\n(the most badly pressed and damaged of the set) which lacks the blasts\nof distortion every time James plays a loud piano chord - and it's\ndistortion of the destructive kind, which obliterates permanently the\nmusic from which it derived.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThus it is to the audio restoration\nengineers such as myself to try to make the best of what we do have,\ntaking a variety of different approaches to the same set of originals.\nMy approach is two-fold, in a way which is perhaps unique in this field.\nFirst of all, as most of us do, I aim to reduce as much as possible the\nshortcomings of the medium - in this case those appalling disc\nsurfaces, with their clicks, crackles, hiss, rumble and distortion.\nSecondly, and this is what differentiates the XR remastering process\nfrom others, I aim also to address the shortcomings in the equipment\nused to make those recordings - the poor quality microphones and\naccompanying studio equipment which did such a poor job of reproducing\nthe sound of Skip James even before it reached the disc master.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eUsing sophisticated computer analysis and\ntonal modelling of both these early recordings, and those much better\nquality discs he cut in the 1960s, we're able to get a good idea of what\nwent wrong first time round, and where best to adjust the tonal\nresponse of the older recordings to get closer to a realistic sound,\nundoing as much as possible the tonal deficiencies of the original\nrecording equipment.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eFinally, because this has the side-effect\nof exacerbating aspects of the surface noise problems already discussed,\nthere's then an extended period of fine-tuning, balancing, compromise\nand fixing in which I try to preserve the tonal improvements whilst\nkeeping the newly-revealed surface noises to a minimum. It's a careful\nbalancing act, and requires one to accept that some of these tracks can\nnever sound as good as one would like.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eWhat I have achieved, however, is what I\nbelieve is a major renovation and restoration which allows us to assess\nthese recordings in a new light - and marvel at just how good Skip James\nwas. It's an incredible set, rightly regarded as one of the most\nimportant of the early blues recordings, and well worth spending the\nhuge amount of studio time in remastering that was required to produce\nthis album.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eROBERT JOHNSON Phonograph Blues - PABL010\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"line-height: 107%; font-size: 20.0pt;\"\u003e\u003cspan style=\"font-size: 14pt;\"\u003eRobert Johnson Mint Test Pressings \u003cbr\u003e\u003ci\u003eXR Remastered For Outstanding Sound Quality\u003c\/i\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"line-height: 107%; font-size: 20.0pt;\"\u003e\u003cspan style=\"font-size: 14pt;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\"It took guitar playing, songwriting, delivery, to a totally different height. And at the same time it confused us, because it wasn't band music, it was one guy ... Robert Johnson was like an orchestra all by himself. Some of his best stuff is almost Bach-like in construction\"\u003cbr\u003e- \u003ci\u003eKeith Richards, Rolling Stones, \"A Life\" (2010)\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eRobert Johnson's influence on a generation of musicians cannot be overstated. The release, in 1961, of an LP called King of the Delta Blues was perfectly timed to capture the imagination of a new generation of young, often white and British musicians eager to explore this mysterious musical form, and talented enough to go on to become some of the most legendary popular music artists of the 20th and 21st centuries.\u003cbr\u003e\u003cbr\u003eThat LP was put together by Columbia producer Frank Driggs, and in the process of compiling tracks a number of test pressings were made from original metal masters onto super-quiet surfaces using originla 78rpm presses just before they were abandoned by record companies around the world. A set of these, in mint condition - just ten sides in all - found its way to Pristine, and forms the basis for this incredible mini-album of Robert Johnson's music, released to coincide with the 80th anniversary of his first recordings in November 1936.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eBut what you hear is not what you'd expect from an 80 year old recording - instead the combination of these astonishing test pressings and Pristine's XR remastering process brings you - for the first time - the sound of Robert Johnson in full high fidelity sound. In informal comments via e-mail, two legendary multi-platinum-selling musicians expressed separately and simply their first impressions: \"WOW ! Brilliant !\" - \"Remarkable... really....\"\u003cbr\u003e\u003cbr\u003e\"I kind of got hooked on it because it was so much more powerful than anything else I had heard or was listening to. Amongst all of his peers I felt he was the one that was talking from his soul without really compromising for anybody. In one way or another, he's been in my life since I was a kid.\"\u003cbr\u003e-\u003ci\u003e Eric Clapton, NPR (2004)\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eAndrew Rose\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eROBERT JOHNSON Legendary Blues, Volume 1 - PABL001\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003col\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eSweet Home Chicago\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003ePhonograph Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eTravelling Riverside Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003e32-20 Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eCome On In My Kitchen\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eMe and the Devil Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003ePreachin' Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eWhen You Got A Good Friend\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eRamblin' On My Mind\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eThey're Red Hot\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eI'm A Steady Rollin' Man\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eKind Hearted Woman Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eMilkcow's Calf Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eI Believe I'll Dust My Broom\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eTerraplane Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eWalkin' Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eWhen You Got A Good Friend\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eStop Breakin' Down Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eLittle Queen of Spades \u003c\/b\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eROBERT JOHNSON Legendary Blues, Volume 2 - PABL002\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eKind Hearted Woman Blues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eRamblin' On My Mind (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eWhen You Got A Good Friend (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eCome On In My Kitchen (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003ePhonograph Blues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eDead Shrimp Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eCross Road Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLast Fair Deal Gone Down\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eIf I Had Possession Over Judgement Day\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eStones in My Passway\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eFrom Four Until Late\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eHell Hound On My Trail\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLittle Queen Of Spades (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eMalted Milk\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eDrunken Hearted Man\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eMe And The Devil Blues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eStop Breakin' Down Blues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eTraveling Riverside Bllues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eHoneymoon Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLove In Vain Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eMilkcow's Calf Blues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eCross Road Blues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eDrunken Hearted Man (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLove In Vain Blues (Take 2) \u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTAMPA RED The Man With The Gold Guitar - PABL003\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eShe's Love Crazy\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:00) 24\/6\/41\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDelta Woman Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:07) 11\/10\/37\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eBessemer Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:48) 15\/5\/39\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003e It's A Low Down Shame\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:57) 24\/6\/41\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHard Road Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:57) 27\/11\/40\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSo Far, So Good\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:43) 24\/6\/41\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eYou Missed A Good Man\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:34) 1\/11\/35\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eAnna Lou Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:53) 10\/5\/40\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eGot To Leave My Woman\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:19) 14\/3\/38\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eKingfish Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:08) 22\/3\/34\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eLove With A Feeling\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:58) 16\/6\/38\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eTravel On\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:24) 11\/10\/37\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDeceitful Friend Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:02) 11\/10\/37\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWhen The One You Love Is Gone\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:08) 4\/5\/37\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eIt Hurts Me Too\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:32) 10\/5\/40\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWitchin' Hour Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:13) 27\/10\/34\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eGrievin' And Worryin' Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:05) 14\/6\/34\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eLet Me Play With Your Poodle\u003c\/b\u003e\u003cspan class=\"bodysmallarial\"\u003e (2:39) 6\/2\/42\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eShe Wants To Sell My Monkey\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:20) 6\/2\/42\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWhy Should I Care?\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:26) 14\/3\/38\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\n\n\nAll songs written and performed by Tampa Red (vocals, guitar, electric guitar, piano, kazoo) \u003cbr\u003ewith\nCarl Martin (guitar, 17), Henry Scott (guitar, 16), Black Bob (guitar,\n7, 10, 11?), Willie B. James (guitar, 2, 12, 13, 14, 20), Blind John\nDavis (piano, 3, 8, 15), Ransom Knowling (bass, 1, 3, 4, 6), Big Maceo\nMerriweather (piano, 1, 4, 6, 18, 19), Clifford 'Snags' Jones (drums,\n18, 19), and others not known \u003cbr\u003eAll recorded in Chicago except tracks 2, 9, 11, 12, 14, 20, Aurora, Illinois\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eMISSISSIPPI JOHN HURT The Man From Avalon - PABL004\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003col\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eFrankie\u003c\/b\u003e (3:29)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eNobody's Dirty Business\u003c\/b\u003e (3:00)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eStack O' Lee Blues\u003c\/b\u003e (3:00)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eCandy Man Blues\u003c\/b\u003e (2:48)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eBlessed Be The Name\u003c\/b\u003e (2:49)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003ePraying On The Old Camp Ground\u003c\/b\u003e (2:39)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eBlue Harvest Blues\u003c\/b\u003e (2:56)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSpike Driver Blues\u003c\/b\u003e (3:17)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eLouis Collins\u003c\/b\u003e (3:02)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eGot The Blues Can't Be Satisfied\u003c\/b\u003e (2:54)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eAin't No Tellin'\u003c\/b\u003e (2:58)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eAvalon Blues\u003c\/b\u003e (3:06)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eBig Leg Blues\u003c\/b\u003e (2:51)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTracks 1 \u0026amp; 2 Recorded in Memphis, Tennessee, 14th February 1928 (most likely in a hotel room)\u003cbr\u003e Tracks 9, 11, 12 recorded at OKeh Studios, New York City, 21st December 1928\u003cbr\u003e All other tracks recorded at OKeh Studios, New York City, 28th December 1928\u003cbr\u003e Issued as OKeh 78s: 2560 (1,2); 8654 (3,4); 8666 (5,6); 8692 (7,8); 8724 (9,10); 8759 (11,12) - Track 13 was unissued\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBLIND LEMON JEFFERSON That Black Snake Moan - PABL005\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cp\u003e1 \u003cb\u003ePneumonia Blues\u003c\/b\u003e (24 Sept. 1929) 3:26\u003cbr\u003e 2 \u003cb\u003eLong Lonesome Blues\u003c\/b\u003e (c. May 1926) 3:07\u003cbr\u003e 3 \u003cb\u003eSouthern Woman Blues\u003c\/b\u003e (24 Sept. 1929) 3:13\u003cbr\u003e 4 \u003cb\u003eThat Crawlin' Baby Blues\u003c\/b\u003e (24 Sept. 1929) 2:48\u003cbr\u003e 5 \u003cb\u003eD. B. Blues\u003c\/b\u003e (c. Aug. 1928) 2:50\u003cbr\u003e 6 \u003cb\u003eHow Long How Long\u003c\/b\u003e (c. July 1928) 2:51\u003cbr\u003e 7 \u003cb\u003eJack O' Diamond Blues\u003c\/b\u003e (c. May 1926) 2:55\u003cbr\u003e 8 \u003cb\u003eLonesome House Blues\u003c\/b\u003e (c. Oct. 1927) 2:32\u003cbr\u003e 9 \u003cb\u003eRabbit Foot Blues\u003c\/b\u003e (c. Dec. 1926) 3:02\u003cbr\u003e 10 \u003cb\u003eMatchbox Blues\u003c\/b\u003e (14 March 1927) 2:59\u003cbr\u003e 11 \u003cb\u003e'Lectric Chair Blues\u003c\/b\u003e (c. Feb. 1928) 2:38\u003cbr\u003e 12 \u003cb\u003eEasy Rider Blues\u003c\/b\u003e (c. April 1927) 3:00\u003cbr\u003e 13 \u003cb\u003eShuckin' Sugar Blues\u003c\/b\u003e (c. Nov. 1926) 3:10\u003cbr\u003e 14 \u003cb\u003eSee That My Grave's Kept Clean\u003c\/b\u003e (c. Feb. 1928) 2:59\u003cbr\u003e 15 \u003cb\u003eStocking Feet Blues\u003c\/b\u003e (c. Nov. 1926) 3:13\u003cbr\u003e 16 \u003cb\u003eThat Black Snake Moan\u003c\/b\u003e (c. Nov. 1926) 3:12\u003cbr\u003e 17 \u003cb\u003eHangman's Blues\u003c\/b\u003e (c. Aug. 1928) 3:30\u003cbr\u003e 18 \u003cb\u003eWartime Blues\u003c\/b\u003e (c. Nov. 1926) 3:14\u003cbr\u003e 19 \u003cb\u003eBad Luck Blues\u003c\/b\u003e (c. Dec. 1926) 2:56\u003cbr\u003e 20 \u003cb\u003eSunshine Special\u003c\/b\u003e (c. Oct. 1927) 2:44\u003cbr\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCHARLEY PATTON Dirt Road Blues - PABL006\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cp\u003e1 \u003cb\u003eScreamin' And Hollerin' The Blues\u003c\/b\u003e (14\/6\/29) 3:01\u003cbr\u003e 2 \u003cb\u003eDown The Dirt Road Blues\u003c\/b\u003e (14\/6\/29) 3:01\u003cbr\u003e 3 \u003cb\u003ePony Blues\u003c\/b\u003e (14\/6\/29) 3:02\u003cbr\u003e 4 \u003cb\u003eIt Won't Be Long \u003c\/b\u003e(14\/6\/29) 3:21\u003cbr\u003e 5 \u003cb\u003ePea Vine Blues\u003c\/b\u003e (14\/6\/29) 3:06\u003cbr\u003e 6 \u003cb\u003eTom Rushen Blues\u003c\/b\u003e (14\/6\/29) 3:09\u003cbr\u003e 7 \u003cb\u003eA Spoonful Blues\u003c\/b\u003e (14\/6\/29) 3:15\u003cbr\u003e 8 \u003cb\u003eShake It And Break It (But Don't Let It Fall, Mama)\u003c\/b\u003e (14\/6\/29) 3:08\u003cbr\u003e 9 \u003cb\u003eElder Green Blues\u003c\/b\u003e (Oct. 1929) 3:05\u003cbr\u003e 10 \u003cb\u003eCircle Round The Moon\u003c\/b\u003e (Oct. 1929) 2:35\u003cbr\u003e 11 \u003cb\u003eSome Of These Days I'll Be Gone\u003c\/b\u003e (Oct. 1929) 2:52\u003cbr\u003e 12 \u003cb\u003eWhen Your Way Gets Dark\u003c\/b\u003e (Oct. 1929) 3:10\u003cbr\u003e 13 \u003cb\u003eHeart Like Railwood Steel\u003c\/b\u003e (Oct. 1929) 2:52\u003cbr\u003e 14 \u003cb\u003eJim Lee, Part 1\u003c\/b\u003e (Oct. 1929) 3:01\u003cbr\u003e 15 \u003cb\u003eHigh Water Everywhere, Part 1\u003c\/b\u003e (Oct. 1929) 3:00\u003cbr\u003e 16 \u003cb\u003eRattlesnake Blues\u003c\/b\u003e (Oct. 1929) 2:49\u003cbr\u003e 17 \u003cb\u003eSome Summer Day\u003c\/b\u003e (June 1930) 3:03\u003cbr\u003e 18 \u003cb\u003eMoon Going Down\u003c\/b\u003e (June 1930) 3:18\u003cbr\u003e 19 \u003cb\u003eDry Well Blues\u003c\/b\u003e (June 1930) 3:22\u003cbr\u003e 20 \u003cb\u003eRevenue Man Blues\u003c\/b\u003e (31\/1\/34) 2:38\u003cbr\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBLIND BLAKE No Dough Blues - PABL007\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003col\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eBlake's Worried Blues\u003c\/b\u003e - c.10\/26\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWest Coast Blues\u003c\/b\u003e (2nd recording, 1st take) - c.10\/26\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSkeedle Loo Doo Blues\u003c\/b\u003e (1st take) - c.11\/26\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDry Bone Shuffle\u003c\/b\u003e (2nd take) - 13\/4\/27\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHey Hey Daddy Blues\u003c\/b\u003e - c.10\/27\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSea Board Stomp\u003c\/b\u003e - c.10\/27\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSouthern Rag\u003c\/b\u003e - c.10\/27\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHe's In The Jailhouse Now\u003c\/b\u003e - c.11\/27\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWabash Rag\u003c\/b\u003e - c.11\/27\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDoggin' Me Mama Blues\u003c\/b\u003e - c.5\/28\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eNo Dough Blues\u003c\/b\u003e - c.5\/28\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003ePanther Squall Blues\u003c\/b\u003e - c.5\/28\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eFightin' The Jug\u003c\/b\u003e - 20\/6\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eEarly Morning Blues\u003c\/b\u003e (2nd recording, 1st take) - c.10\/26\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eChump Man Blues\u003c\/b\u003e - 17\/8\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eGeorgia Bound\u003c\/b\u003e - 17\/8\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHastings St.\u003c\/b\u003e - 17\/8\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eI Was Afraid Of That, Part 2\u003c\/b\u003e - 17\/8\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eIce Man Blues\u003c\/b\u003e - 17\/8\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eToo Tight Blues No 2\u003c\/b\u003e - 17\/8\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eBlind Arthur's Breakdown\u003c\/b\u003e - c.9\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eGuitar Chimes Blues\u003c\/b\u003e - c.9\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDiddie Wah Diddie No 2\u003c\/b\u003e - 29\/5\/30\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHard Pushing Papa\u003c\/b\u003e - 29\/5\/30\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eRope Stretchin' Blues Part 1\u003c\/b\u003e (2nd take) - c.10\/31\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDepression's Gone From Me Blues\u003c\/b\u003e - c.6\/32\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBLIND WILLIE MCTELL Searching The Desert For The Blues - PABL008\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003col\u003e\u003col\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eStole Rider Blues\u003c\/b\u003e 40309-2 \u003cspan class=\"bodysmallarialblue\"\u003erec. 18.10.1927 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eMama, Tain't Long Fo' Day\u003c\/b\u003e 40310-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 18.10.1927 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eMr. McTell Got The Blues (take 2)\u003c\/b\u003e 40311-2 \u003cspan class=\"bodysmallarialblue\"\u003erec. 18.10.1927 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eThree Women Blues\u003c\/b\u003e 47185-2 \u003cspan class=\"bodysmallarialblue\"\u003erec. 17.10.1928 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDark Night Blues\u003c\/b\u003e 47186-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 17.10.1928 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eStatesboro Blues\u003c\/b\u003e 47187-3\u003cspan class=\"bodysmallarialblue\"\u003e rec. 17.10.1928\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003e Loving Talking Blues\u003c\/b\u003e 47188-3 \u003cspan class=\"bodysmallarialblue\"\u003erec. 17.10.1928 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eCome On Around To My House Mama\u003c\/b\u003e 19302-2 \u003cspan class=\"bodysmallarialblue\"\u003erec. 30.10.1929\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eKind Mama\u003c\/b\u003e 149319-2 \u003cspan class=\"bodysmallarialblue\"\u003erec. 31.10.1929 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDrive Away Blues\u003c\/b\u003e 56599-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 26.11.1929 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eTalkin' To Myself\u003c\/b\u003e 150257-2 \u003cspan class=\"bodysmallarialblue\"\u003erec. 17.4.1930 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSouthern Can Is Mine\u003c\/b\u003e 151904-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 23.10.1931\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eBroke Down Engine Blues\u003c\/b\u003e 151905-1 \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003erec. 23.10.1931 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003ePainful Blues\u003c\/b\u003e 151907-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 23.10.1931 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eScarey Day Blues\u003c\/b\u003e 405003-1\u003cspan class=\"bodysmallarialblue\"\u003e rec. 23.10.1931\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eLow Rider's Blues\u003c\/b\u003e 405084-1 \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003erec. 31.10.1931 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eGeorgia Rag\u003c\/b\u003e 405085-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 31.10.1931 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eRollin' Mama Blues\u003c\/b\u003e 71603\u003cspan class=\"bodysmallarialblue\"\u003e rec. 22.2.1932\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eLonesome Day Blues\u003c\/b\u003e 71604-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 22.2.1932 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eMama, Let Me Scoop For You\u003c\/b\u003e 71605 \u003cspan class=\"bodysmallarialblue\"\u003erec. 22.2.1932 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSearching The Desert For The Blues\u003c\/b\u003e 71606-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 22.2.1932 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWarm It Up To Me\u003c\/b\u003e 14008-2\u003cspan class=\"bodysmallarialblue\"\u003e rec. 14.9.1933 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSavannah Mama\u003c\/b\u003e 14035-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 18.9.1933 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eLove-Makin' Mama\u003c\/b\u003e 14045-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 19.9.1933\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eLord, Send Me An Angel \u003c\/b\u003e14050-1 \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003erec. 19.9.1933\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eLay Some Flowers On My Grave\u003c\/b\u003e C-9952-A \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003erec. 25.4.1935 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSKIP JAMES Yola My Blues Away - PABL009\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003col\u003e\u003col\u003e\u003col\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eCherry Ball Blues\u003c\/b\u003e (L-748-2)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHard Time Killin' Floor Blues\u003c\/b\u003e (L-752-2)\u003cbr\u003e Paramount 13065\u003cbr\u003e 2 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003e22-20 Blues\u003c\/b\u003e (L-765-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eIf You Haven't Any Hay Get On Down The Road\u003c\/b\u003e (L-766-1)\u003cbr\u003e Paramount 13066\u003cbr\u003e between 5 and 10 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eIllinois Blues\u003c\/b\u003e (L-749-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eYola My Blues Away\u003c\/b\u003e (L-753-1)\u003cbr\u003e Paramount 13072\u003cbr\u003e 2 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHow Long \"Buck\"\u003c\/b\u003e (L-761-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eLittle Cow And Calf Is Gonna Die Blues\u003c\/b\u003e (L-763-1)\u003cbr\u003e Paramount 13085\u003cbr\u003e 2, maybe 3 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDevil Got My Woman\u003c\/b\u003e (L-746-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eCypress Grove Blues\u003c\/b\u003e (L-747-2)\u003cbr\u003e Paramount 13088\u003cbr\u003e 8 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eI'm So Glad\u003c\/b\u003e (L-759-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSpecial Rider Blues\u003c\/b\u003e (L-760-2)\u003cbr\u003e Paramount 13098\u003cbr\u003e 2 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eFour O'Clock Blues\u003c\/b\u003e (L-750-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHard-Luck Child\u003c\/b\u003e (L-751-2) \u003cbr\u003e Paramount 13106\u003cbr\u003e 4 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eJesus Is A Mighty Good Leader\u003c\/b\u003e (L-754-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eBe Ready When He Comes\u003c\/b\u003e (L-755-2) \u003cbr\u003e Paramount 13108\u003cbr\u003e 3 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDrunken Spree\u003c\/b\u003e ((L-758-2)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWhat Am I To Do\u003c\/b\u003e (L-764-1) \u003cbr\u003e Paramount 13111\u003cbr\u003e 1 known copy\u003c\/li\u003e\n\u003c\/ol\u003e\u003c\/ol\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eROBERT JOHNSON Phonograph Blues - PABL010\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSIDE ONE: 1936\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWhen You Got A Good Friend (Take 2)\u003c\/b\u003e  (2:56)\u003cbr\u003e Recorded 1936-11-23.  Matrix Number: SA 2584-2\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRamblin' On My Mind\u003c\/b\u003e  (2:57)\u003cbr\u003e Recorded 1936-11-23.  Matrix Number: SA 2583-1\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePhonograph Blues\u003c\/b\u003e  (2:44)\u003cbr\u003e Recorded 1936-11-23.  Matrix Number: SA 2587-1\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePossession of Judgement Day\u003c\/b\u003e  (2:40)\u003cbr\u003e Recorded 1936-11-27.  Matrix Number: SA 2633-1\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWhen You Got A Good Friend\u003c\/b\u003e (Take 1)  (2:42)\u003cbr\u003e Recorded 1936-11-23.  Matrix Number: SA 2584-1\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eRecorded at The Gunter Hotel, 205 E Houston St, San Antonio, Texas\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSIDE TWO: 1937\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eI'm A Steady Rollin' Man\u003c\/b\u003e  (2:40)\u003cbr\u003e Recorded 1937-06-19.  Matrix Number: DAL 378-1\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eStones In My Passway\u003c\/b\u003e  (2:32)\u003cbr\u003e Recorded 1937-06-19.  Matrix Number: DAL 377-2\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHellhound On My Trail\u003c\/b\u003e  (2:40)\u003cbr\u003e Recorded 1937-06-20.  Matrix Number: DAL 394-2\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLove In Vain\u003c\/b\u003e  (2:25)\u003cbr\u003e Recorded 1937-06-20.  Matrix Number: DAL 402-2\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMilkcow's Calf Blues\u003c\/b\u003e  (2:19)\u003cbr\u003e Recorded 1937-06-20.  Matrix Number: DAL 403-1\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eRecorded at 508 Park Avenue, Dallas, 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