Collector’s Corner: Some Late 2020 Additions

Collector’s Corner: Some Late 2020 Additions

 

If there was one bright spot in 2020 (aside from the defeat of Donald Trump), it was that some collectors suddenly became more amenable to thinning their holdings, for any number of reasons. And so, some very fine things found an appreciative new home here in the final months of an otherwise horrid period. Here are a few favorite newcomers that I hope you’ll enjoy as you toast the start of a new year and a new era.

If you have records of this type to sell, in equally fine condition, your lists of disposables are always welcome. Please use standard VJM grading, note all defects no matter how seemingly minor (especially any graininess in the pressing), be brutally honest in your grading, and state your asking price.  (Due to exorbitant shipping costs and delays and mishandling by Customs, I am purchasing only from U.S. sources.) — Allan Sutton

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BLIND LEMON JEFFERSON: Shuckin’ Sugar Blues  (EE–)

Chicago (Marsh Laboratories): c. October 1926
Paramount 12454 (mx. 3077 – 2  /  ctl. 498)

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BLIND BOY FULLER: Untrue Blues  (EE+)

New York: February 9, 1937
Melotone 7-10-56  (mx. 20641 – 2)

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BIG BILL BROONZY: You Know I Got a Reason  (EE+)

Chicago: September 3, 1936
Melotone 6-11-72 (mx. C 1457 – 2)

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LOUIE BLUIE (HOWARD ARMSTRONG) & TED BOGAN: Ted’s Stomp  (EE+)

Chicago: March 23, 1934
Bluebird B-5593 (mx. BS 80504 – 1)

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DICK JUSTICE: Cocaine  (E)

Chicago: May 20, 1929
Brunswick 395 (mx. C 3516 – )
Two takes were recorded; the issued take is not indicated in the pressing or the Brunswick files.

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COON-SANDERS ORCHESTRA (Carleton A. Coon, vcl): Bless You, Sister  (E)

Chicago: December 12, 1928
Victor 21895 (mx. BVE 48726 – 2)  (regional release, per Victor files)

 

Buy Direct from Mainspring Press:

Winner of the 2019 ARSC Award for Excellence in Historical Recorded-Sound Research, this unique volume contains more than 1,100 entries covering the record companies, independent studios, and individual producers — and the thousands of disc and cylinder brands they produced for the commercial market (including consumer, jukebox, and subscription labels) — from the birth of commercial recording to the start of the LP era.

“A mighty fortress is this book – and it guards an accumulation of knowledge of unparalleled proportions.”
– Tim Fabrizio, ARSC Journal

American Record Companies and Producers will forever be the ultimate resource.”
– John R. Bolig, author of The Victor Discographies

“I am in awe of the scope, breadth, detail
and documentation.”

– James A. Drake, author of Ponselle: A Singer’s Life and Richard Tucker: A Biography


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