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Blind Willie McTell - 1927-1935 (LP, Comp, Ltd, RE, 180) Mint (M) / Mint (M)

Blind Willie McTell - 1927-1935 (LP, Comp, Ltd, RE, 180) Mint (M) / Mint (M)


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Summary: Vinyl, LP, Compilation1, 1927-1935, Blind Willie McTell, 2011, US, Limited Edition

Media Condition:  Mint (M)
Sleeve Condition: Mint (M)
Country:    US  
Genre:       Blues
Style:         Country Blues, Delta Blues

New & Sealed.


A1: 1935 A2: 1933 A3: 1933 A4: 1935 A5: 1929 A6: 1931 A7: 1933 B1: 1933 B2: 1931 B3: 1930 B4: 1927 B5: 1935 B6: 1931 B7: 1929 Subject Of Cover Art: Willie McTell, c. 1927 We wish to thank Don Kent, Bernard Klatzko, Nick Perls, Dick Spottswood and Mike Stewart for the loan of their rare originals. — Replica reissue Liner notes in English Spine: Blind Willie McTell  1927-1935   Yazoo L-1037 Sticker on shrink wrap: 180 gram * Limited Edition Classic LP * High-Definition Premium Virgin Vinyl Pressing For Super Fidelity


A1. Blind Willie McTell - Ticket Agent Blues
A2. Blind Willie McTell - B&O Blues No. 2
A3. Blind Willie McTell - It's A Good Little Thing
A4. Blind Willie McTell - Cold Winter Day
A5. Blind Willie McTell - Kind Mama
A6. Ruth Day, Blind Willie McTell - Experience Blues
A7. Blind Willie McTell - Southern Can Mama
B1. Blind Willie McTell - My Baby's Gone
B2. Ruth Day, Blind Willie McTell - Painful Blues
B3. Blind Willie McTell - Razor Ball
B4. Blind Willie McTell - Stole Rider Blues
B5. Blind Willie McTell - God Don't Like It
B6. Blind Willie McTell - Scarey Day Blues
B7. Blind Willie McTell - Atlanta Strut


Barcode and Other Identifiers:

Matrix / Runout S-78325 A
Matrix / Runout S-78326 B
Barcode 725543357915


Pressed By Rainbo Records
Pressed By Rainbo Records

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Product listed via Disconnect


… McTell’s lively sense of showmanship and his unusually varied repertoire both owed something to the demands of street singing and medicine show work. Of his actual life we know little beyond the elliptical reminiscences he left during his recording session for the Library of Congress (1940) and an Atlanta record dealer who collared him in 1956 when he was well past his peak as a musician.

McTell’s picking style invites comparison to his fellow Georgians, Peg Leg Howell and Barbecue Bob only in its eccentricity and the jagged rhythms it produces. Even in playing the ragtime standards that normally feature alternating bass techniques McTell uses unique, scattershot picking patterns. The interplay between his thumb and picking fingers is so free as to suggest the possibility that he did not anchor his pinkie to the guitar.

- from liner notes

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