THE RISE AND FALL OF PARAMOUNT RECORDS VOL: 2 (1928-32) - 6xLP, 800 digital tracks, Metal Cabinet, Book and more...
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Volume One was called "spectacular" (New York Times), "unprecedented" (Rolling Stone), "breathtaking" (Boing Boing), "a cabinet of wonder, indeed" (Pitchfork), and "the most perfectly realized attempt to combine music and documentation" (Fretboard Journal) and "damnedest musical objet d'art I've ever seen" (Nashville Scene).
On November 18, Jack White's Third Man and John Fahey's Revenant present the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).
By 1928, after launching the recording careers of Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, King Oliver, Alberta Hunter, Ma Rainey and Blind Blake, Paramount was entitled to a breather. But just as it seemed the label might be losing steam, it began a second act that threatened to dwarf its first.
From 1928-32, the label embarked on a furious run for the ages, birthing the entire genre of Mississippi Delta blues recordings and issuing some of the most coveted 78s in the history of wax, by the likes of: Skip James, Charley Patton, Son House, Tommy Johnson, Willie Brown, King Solomon Hill, Rube Lacy, Ishman Bracey, Geeshie Wiley & Elvie Thomas, The Mississippi Sheiks, and hundreds of others.
Paramount simply killed. But more than that, it changed how America thought of itself. It was the first and most comprehensive chronicler of what America really sounded like - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, it was profit-minded Paramount - not a preservationist body like the Library of Congress - that created the richest repository of this young nation's greatest art form.
Six LPs, 800 digital tracks on a custom USB drive, two definitive large-format books. All housed in a vintage velvet-upholstered, polished aluminum case evoking the era's high art deco stylings, the National metal-bodied guitar, and America's own Machine Age modernism.
* 800 newly-remastered digital tracks, representing 175 artists
* 90+ fully-restored original 1920s-30s Paramount ads from Chicago Defender
* 6 x 180g LPs pressed on label-less alabaster-white vinyl, each side with its own hand-etched numeral and hand-scratched holographic image
* 250 pg. large-format clothbound hardcover book featuring original Paramount art and the label's curious tale
* 400 pg. encyclopedia-style softcover field guide containing artist bios & portraits and full Paramount discography
* First-of-its-kind music and image player app containing all tracks and ads, housed on streamline moderne USB drive
* Polished aluminum and stainless steel cabinet, evoking 1930s high art deco stylings and America's Machine Age take on modernist design