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
Various Artists
The Original American Folk Blues Festival
1962 · Brunswick 009 012 · Mono · Germany · LP, gatefold · 33 1/3 RPM
Pressing details
| Label | Brunswick |
| Catalogue number | 009 012 |
| Year | 1962 |
| Mono / Stereo | Mono |
| Country | Germany |
| Format | LP, gatefold |
| Speed | 33 1/3 RPM |
| Genre | Blues - Electric/Chicago & Country Blues (live festival compilation) |
| Producer | Horst Lippmann, Fritz Rau |
| Musicians | Memphis Slim (piano, vocals), T-Bone Walker (guitar, vocals), Sonny Terry (harmonica, vocals), Brownie McGhee (guitar, vocals), John Lee Hooker (guitar, vocals), Shakey Jake Harris (harmonica, vocals), Willie Dixon (bass), Jump Jackson (drums) |
Matrix / Runout
Side A: K2-S V 46397A 009012 A MADE IN GERMANY
Side B: K2-S Q 46397B 009012 B MADE IN GERMANY
Condition
- Cover
- NM-
- Vinyl
- EX
Variant chronology
1962 - Germany, Brunswick 009 012, mono, gatefold sleeve with 4-page bilingual booklet (original and only Brunswick issue) <- this copy
1962 - Germany, stereo variant of the same Brunswick-era pressing marked "STEREO 109 012" on the cover
1964 - Germany, Fontana 681 522 TL, mono
1964 - Germany, Fontana 885 411 TY, stereo
1964 - UK, Fontana TL5225, mono
1966-68 - France, Polydor gold "privilège" label reissue
1974 - Germany, Polydor 2310 296 / 2482 041 reissue
1981-82 - Germany/Spain/UK, L+R Records LR 42.024 reissue series
This Pressing
1962 German Brunswick mono LP - the original and only Brunswick pressing of the debut American Folk Blues Festival recording, in its gatefold sleeve with the 4-page bilingual insert booklet.
The Album
This record documents the very first American Folk Blues Festival, the touring package that promoters Horst Lippmann and Fritz Rau assembled to bring authentic American blues to European audiences for the first time, recorded in Hamburg in October 1962. It gathers the leading voices of that inaugural tour side by side: the deep piano blues of Memphis Slim, the jump-and-swing guitar of T-Bone Walker, the country-blues interplay of Sonny Terry and Brownie McGhee, the raw electric sound of John Lee Hooker, and the Chicago harmonica style of Shakey Jake, all shaped behind the scenes by bassist and songwriter Willie Dixon. For most of these artists this was their first appearance before a European audience, and the record captures the energy of musicians who had spent careers playing for segregated American audiences suddenly performing for an audience hearing this music live for the first time. The tour and this documentation of it are now credited with helping ignite the European blues boom of the 1960s, feeding directly into the British blues revival that produced the Rolling Stones, the Yardbirds and their peers. Its importance to the genre lies less in any single performance than in its role as a historical bridge, carrying the blues out of the American South and Chicago clubs and onto European stages and record players. The festival itself became an annual institution that ran for decades, and this LP stands as the founding document of that legacy, prized by collectors and blues historians as the first recorded evidence of the series.
Tracklist
Side 1
1. We're Gonna Rock (Carr)
2. I Wanna See My Baby (Walker)
3. I'm In Love (Walker)
4. I'm Crazy 'Bout You Baby (Terry)
5. Stewball (Dixon)
6. Let's Make It Baby (Hooker)
Side 2
1. Shake It Baby (Hooker)
2. The Right Time (Brown)
3. Hey Baby (Harris)
4. Love My Baby (Harris)
5. Crying At The Station (McGhee)
6. Bye Bye Baby (Chatman)
The Label
The label in hand is the plain grey-and-gold Brunswick design with the shield-and-scroll Brunswick crest, a GEMA/BIEM rights box at lower left, an M/33 speed triangle at upper right, and rim text reading "MFD. BY DEUTSCHE GRAMMOPHON GESELLSCHAFT" with no four-to-six-digit label code present. The absence of a label code rules out a post-1977 pressing and is consistent with the mid-1960s German Brunswick pressings manufactured for DGG's Brunswick imprint before the group's catalogue numbers moved to Fontana and later Polydor. This is the sole Brunswick pressing of the catalogue number, sitting at the head of the release's pressing history; the Fontana- and Polydor-labelled pressings that followed used different catalogue numbers and represent later editions of the same recording, not later pressings of this label design.
Fidelity
The recording was made on tape from the 1962 Hamburg concert, a mono document typical of early-1960s European live blues recordings rather than a studio audiophile production. Collectors regard the German Brunswick original as the most direct surviving source for this material, since no audiophile remaster or specialist reissue of this specific pressing exists; later Fontana and Polydor pressings and the 1980s L+R reissues are viewed as secondary transfers rather than sonic improvements. Within its own limitations - a single mono mix from festival-era tape - this pressing sits at the top of the fidelity hierarchy for the title simply by being the closest to the original tape and the first commercial release of it.
Notes
Catalogue 009 012 on Brunswick is the sole issue of this title on that label, pressed in Germany for Deutsche Grammophon Gesellschaft. The grey/gold Brunswick label carries GEMA/BIEM rights text and an M/33 speed mark with no label code, consistent with a pre-1977, mid-1960s manufacture and ruling out a later Brunswick pressing. All later editions of this recording appear under different catalogue numbers on Fontana and Polydor, so the Brunswick 009 012 pressing represents the earliest commercial release of the material rather than one of several Brunswick variants.
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