Sold Date: November 6, 2024
Start Date: November 1, 2024
Final Price: $58.99 (USD)
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Doc Watson – The Essential Doc Watson Label:Vanguard – VSD - 45/46 Series:Vanguard Twofers Format: 2 x Vinyl, LP, Compilation, Pitman Pressing Country:US Released:1973 Genre:Folk, World, & Country Style:Bluegrass, Folk A1Tom Dooley3:13 A2Alberta2:40 A3Froggie Went A-Courtin'4:02 A4Beaumont Rag1:37 A5St. James Hospital3:25 A6Muskrat2:51 B1Down In The Valley To Pray1:57 B2Blue Railroad Train2:41 B3Rising Sun Blues4:17 B4Shady Grove2:55 B5My Rough And Rowdy Ways2:28 B6The Train That Carried My Girl From Town3:45 C1Black Mountain Rag1:30 C2I Was A Stranger3:05 C3Blueridge Mountain Blues2:20 C4Country Blues3:05 C5Groundhog1:40 C6Little Orphan Girl2:50 C7Blackberry Blossom1:50 D1Going Down The Road Feeling Bad2:05 D2Rambling Hobo0:50 D3Little Omie Wise4:05 D4Handsome Molly2:00 D5Whitehouse Blues1:30 D6I Want To Love Him More2:05 D7Way Downtown2:00 Phonographic Copyright ℗ – Vanguard Recording Society, Inc. Copyright © – Vanguard Recording Society, Inc. Pressed By – Columbia Records Pressing Plant, Pitman Published By – Stormking Music Published By – Hillgreen Music Published By – American Music (2) Published By – Peer International Acoustic Guitar [2nd Guitar] – Merle Watson (tracks: A1 to B6, C7) Acoustic Guitar, Vocals, Harmonica, Banjo – Doc Watson Arranged By – Doc Watson (tracks: B4) Arranged By, Adapted By – Doc Watson (tracks: A1, A2, A4, A6, B1, B6, C1, C4 to D3, D7) Banjo – Arnold Watson (tracks: C3, D1), Don Stover (tracks: B6) Co-producer – Jack Lothrop (tracks: B4 to B6) Dobro – Shot Jackson* (tracks: B6) Double Bass – Eric Weissberg (tracks: B5), Junior Huskey (tracks: B6), Russ Savacus* (tracks: A1 to B6) Drums – Buddy Harman (tracks: B6) Fiddle – Buddy Spicher (tracks: B6), Fred Price (tracks: D7), Gaither Carlton (tracks: C3, D1, D4), Tommy Jackson (2) (tracks: B6) Piano – Floyd Cramer (tracks: B6) Producer – Ralph Rinzler Resonator Guitar, Dobro – Grady Martin (tracks: B6) Vocals – Mrs. G.D. Watson* (tracks: D6), Arnold Watson (tracks: D6), Clint Howard (tracks: D7) Written-By – Alton Delmore (tracks: B2), Clarence Ashley (tracks: B3), Dock Boggs (tracks: C4), Elsie McWilliams (tracks: B5), James Baker* (tracks: A5), Jimmy Rodgers* (tracks: B5, C2), Leadbelly (tracks: A2), Rabon Delmore (tracks: B2), Traditional (tracks: A1, A3, A4, A6, B1, B4, B6, C1, C3, C5, C6, D2 to D7) Sides A & B are studio recordings from Doc Watson's early Vanguard releases. Sides C & D recorded live at the Newport Folk Festivals, 1963 & 1964. In gatefold sleeve.

USA DOUBLE VINYL ALBUM IN GATEFOLD SLEEVE WITH ORIGINAL WHITE INNER SLEEVES.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.   INNER SLEEVE VERY GOOD+ WITH NO SEAM SPLITS.

DISCS: EXCELLENT MINUS. NO SCRATCHES, JUST A FEW LIGHT HAIRLINES. CLEAN LABELS.

Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album?

First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl.  Why  experience the worse elements of both formats?  These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared.  They are nearly always compressed with murky transients and a general lifelessness in the overall sound.  There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm.

First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider.  Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive.  Inner details are clearer, the music tends to sound more ‘alive’ and vibrant and you 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.