Thank you for buying this record. What follows is its documentation: the
pressing identified, the matrix / runout transcribed by hand from the dead
wax, and the condition as assessed before it was listed. It is yours to keep
with the record.
— Paul, Vinyl Curator
Otis Spann
The Blues Never Die!
c. 1971-85 · Prestige PRT-7719 (labels); PR 7719 (cover) · Stereo · US · LP · 33 1/3 RPM
Pressing details
| Label | Prestige |
| Catalogue number | PRT-7719 (labels); PR 7719 (cover) |
| Year | c. 1971-85 |
| Mono / Stereo | Stereo |
| Country | US |
| Format | LP |
| Speed | 33 1/3 RPM |
| Genre | Blues - Chicago Blues |
| Producer | Samuel Charters |
| Musicians | Otis Spann (piano, vocals), James Cotton (harmonica, vocals), James Madison (guitar), “Dirty” Rivers (guitar), Milton Rector (bass), S.P. Leary (drums) |
Matrix / Runout
Side A: P7719A-1 T1 FS7979TD TMPCRPTH#1 1 C
Side B: P7719B-1 T1 FS7979TD TMPCRPTH#1 3 A
Condition
- Cover
- EX
- Vinyl
- NM
Variant chronology
1965 - US Prestige PR 7391, mono, first issue
1965 - US Prestige PR 7719, stereo channel
1965 - UK Stateside SL 10169, mono
1969 - US Prestige PR 7719/PRST 7719, stereo reissue
1971-1985 - US Prestige PRT-7719, Fantasy series, stereo reissue <- this copy
1982 - Italy Prestige HBS 8012, stereo reissue
n.d. - Germany Bellaphon BJS 4053, stereo reissue
n.d. - UK Ace CH 231, stereo reissue
1990 - US Original Blues Classics OBC-530, remastered reissue
This Pressing
Fantasy-era reissue (c. 1971-85) - Berkeley/Fantasy-distributed yellow label with the flying-bird device, replacing the original 1960s trident pressing.
The Album
Recorded in Chicago in 1965, this session paired pianist Otis Spann - the longtime anchor of Muddy Waters's band - with harmonica player and singer James Cotton, another key member of that same group, backed by additional Waters sidemen drawn from the club date circuit around Pepper's Lounge on the city's South Side. By the mid-1960s Spann had spent more than a decade as one of the most in-demand session and bandstand pianists in Chicago blues, prized for a touch that was both percussive and deeply lyrical, and this date let him step forward as leader and vocalist on his own compositions alongside a handful of covers, including Elmore James's slide-guitar staple and a Muddy Waters standard. The program mixes originals credited to Spann and Cotton with blues repertoire staples, giving both men ample room to stretch out as singers in a relaxed, in-the-pocket small-group setting that mirrored the sound of a typical late-night set at the club where they worked. The album captures a particularly fertile stretch for Chicago's postwar blues community, when the music associated with the Waters band was reaching wider audiences through folk and blues festival bookings even as the core players kept their working rapport sharp in nightly performance. Critics at the time praised the record's unforced, idiomatic feel and singled out Spann's playing as some of his most satisfying on record, cementing his reputation as a stylistic descendant of the pre-war barrelhouse and boogie-woogie pianists transplanted into the electric Chicago idiom. It remains valued today as one of the most purely enjoyable latter-day documents of the Muddy Waters band's rhythm section working on its own terms, and a high point in Spann's discography as a leader.
Tracklist
Side 1
1. The Blues Never Die - 3:40
2. I Got a Feeling - 2:50
3. One More Mile to Go - 3:45
4. Feelin' Good - 3:30
5. After While - 4:05
Side 2
1. Dust My Broom - 2:35
2. Straighten Up, Baby - 2:30
3. Come On - 2:40
4. Must Have Been the Devil - 2:40
5. Lightnin' - 2:40
6. I'm Ready - 3:05
The Label
Both sides carry a yellow ground with black print, the album title and artist name centred under a stylised flying bird device - a white bird on Side 1 with a faint ghosted Prestige wordmark above the title, and a grey bird with the word Prestige printed in yellow on Side 2 - with the rim reading Distributed by Fantasy Records, Berkeley, California. This bird-device design replaced Prestige's 1960s trident label after Fantasy Records bought the company in 1971 and moved operations to Berkeley, placing this pressing within the Fantasy-distribution era that ran from 1971 into the 1980s. The labels print the catalogue number as PRT-7719, while the jacket still carries the earlier PR 7719 form, a mismatch typical of catalogue numbers carried over unchanged across a reissue's artwork and its label plate. This design sits below the original mid-1960s trident-label pressings of PR 7391/PR 7719 in the release chronology and represents a later Fantasy-era repressing rather than an original pressing.
Fidelity
This pressing dates from Prestige's Fantasy-distribution years, when reissues were run on lighter-weight stock than the original Bergenfield-era pressings and mastered from second-generation stereo tapes rather than the original session masters used for the first trident-label issues. Collectors generally rate the original mid-1960s Prestige stereo pressing as the sonic benchmark for this title, with the Fantasy-era yellow-label reissues regarded as serviceable but somewhat flatter and less dynamic. No audiophile remastering of this title (Analogue Productions, Mobile Fidelity, or similar) exists, so the choice for critical listening remains between the scarce original trident pressing and later reissues such as this one.
Notes
This copy carries the yellow Prestige label with the Fantasy flying-bird device and the Distributed by Fantasy Records, Berkeley, California rim text, placing it in the Fantasy-ownership era that began in 1971 when Fantasy Records bought Prestige and relocated it to Berkeley - well after the original mid-1960s trident-label pressings of this title. The labels print the catalogue number as PRT-7719 while the jacket retains the earlier PR 7719 form, and the back cover still carries the note that the album was formerly catalogued as Prestige 7391, a holdover from the original artwork carried into this later repressing. The runout etchings carry reissue-stamper codes rather than the trident-era original stampers, placing this pressing in the Fantasy era rather than as a first issue.
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