Volume One (1917-27) chronicled Paramount's improbable rise from also-ran to jazz-blues juggernaut, launching the recording careers of giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Big Bill Broonzy, and Fats Waller.
But just as it seemed Paramount might be losing steam, it began a second act that threatened to dwarf its first. This astonishing second act is the subject of The Rise & Fall of Paramount, Volume Two (1928-32), the final chapter in our commemoration of America's greatest record label.
In its final 5 year push from 1928-32, Paramount embarked on a furious run for the ages, birthing the entire genre of Mississippi Delta blues recordings and issuing some of the most coveted records in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Willie Brown, King Solomon Hill, Tampa Red, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Jaydee Short, George "Bullet" Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Louise Johnson, Geeshie Wiley & Elvie Thomas, The Mississippi Sheiks. and hundreds of other artists.
Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first enterprise of any kind to capture what America really sounded like in the 1920s and '30s - 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 inadvertently created the most significant repository of this young nation's greatest art form.
Six LPs, 800 digital tracks, two definitive large-format books. All housed in a polished aluminum case evoking the era's high art deco stylings and America's own Machine Age take on modernist design.
A joint release by Third Man and Revenant, co-produced by leading Paramount scholar Alex van der Tuuk, with all Paramount masters issued under license agreement with GHB Jazz Foundation. The Rise & Fall of Paramount, Volume Two (1928-32) is available for pre-order beginning TODAY. Learn more about the set, and pre-order your copy HERE
And, if you're in the New Haven area, make sure to spend your evening tonight with Jack White, Greil Marcus, Dean and Scott Blackwood, Adia Victoria, and Daphne Brooks, exploring the history of Paramount Records. 7pm at the Battell Chapel at Yale University.
Well, it depends on what you’re comparing— Individual components or the full sets overall? If you’re trying to compare the full sets, I think it’s impossible to say one’s better than the other because they complement each other. So far, having heard pretty much only what’s on the records in Vol.2 so far, it sounds as if the assortment of the music, genre- and style-wise, isn’t tremendously different, though there are small differences. At first glance, it seems that women are more heavily represented in Vol.1 than Vol.2, but that’s a reflection of the time periods in each set. And Vol.2 includes more recognizable names, more artists who went on to bigger acclaim historically, which makes it seem like Vol.1 is a bigger treasure trove of discovery. But there’s so much, Vol.2 is jam-packed with surprises, too. I’m already in love with Lottie Kimbrough and Louise Johnson (thanks to Greil Marcus). And I need to look up Lawrence Welk’s tracks on the Jobber-Luxe. it was quite a surprise to flip through the Field Manual and see him (Do kids these days even know who he is?). So, yeah, at this point, at least, I couldn’t say one set is better than the other. They go together. Good luck with your case!
Kali, I contacted TMR today about the issues of the Vol. 2, I will keep you posted on my progress as to how this is resolved. In comparison of Vol. 1 and Vol. 2, Is 1 as good as 2? I love Vol. 2, although my has some damage it is still a amazing box set.
william, did you contact TMR about the damage? I wouldn’t worry about the scuffed book, myself, as I know mine’s going to end up that way just from being handled (Speaking of which, if you’re ever going to knock over a bottle of soda next to your big red book from Volume 1, make sure it’s Faygo Rock’n’Rye. The color blends perfectly, can’t even notice it.). But I would definitely be bugged by receiving it with a gouge in the case and ripped sleeves inside.
Got half-way through the records last night and the rest of the way through this morning, and have browsed the Field Manual through Charley Patton’s entry (yay for snow days). There are little things about each volume that I prefer over the other— The wood of the Vol.1 cabinet is warm and appealing, but the Vol.2 cabinet interior is so cleverly constructed. The artwork in each of the two big books represents the Nouveau and Deco periods so perfectly. I love the mirrored back cover of the red books, but those full page pieces of art in the silver (white?) book are knockouts. And the silver paper of Vol. 2 field manual keeps blowing me away. I’m so excited to think about the weeks and weeks it’s going to take to get familiar with all the music in this volume, just like with the previous one. By this time next year, I should be able to put together a playlist of all my favorites from both. Jack, all the idiotic tour rider, jerk/diva misrepresentation may seem like all anyone wants to talk about right now, but 20, 50, 100 years from now that bullshit won’t even be a blip in history and these two sets will still be around, passed down complete or in pieces through generations, or as treasures found in some future antique shop, as a physical reminder that you were involved in creating things that were beautiful and fine and important. It makes me so glad (Skip James pun not intended) to be around now to experience those beautiful things firsthand.
Kali my only real complaint is that my silver book has scuff marks on in and the aluminum case has a deep gouge on the front along with the plastic record sleeves inside all have tears in them, not all big issues but for the wait and the money spent it should have been in new condition rather than used.
And can I just say, the artwork in the big silver book is spectacular, it’s like an Art Deco lover’s wet dream. Bunch’a photos I took, if anyone’s interested in seeing more— https://www.flickr.com/photos/28108918@N02/15933458324/in/album-72157650857968581/lightbox/
I need to start reading tomorrow. Got home this evening, started a fire in the fireplace, and took my time spreading out all the pieces. I love that the records begin with Skip’s I’m So Glad. And the holograms! Six sides through, my favorite so far is the crescent moon with a star. @william melton, are you able to read the runout groove etchings? I’m having trouble seeing them against the white vinyl. The only one I’ve gotten so far is “something very marvelous” because I saw that phrase in the big silver book. I assume the runout etchings in this volume are similar to Volume 1 in that they’re all phrases from the accompanying book.
I received mine about 4 days ago Kail, and I love it! well worth the wait. so far I love side 3 the most. and I have read up to chapter 5. great reading.
The page titles of the website tickle me to death— "In a waffle-iron-like machine, a “dough” made of shellac, lamp-black, and limestone is pressed inton a record. This tab is playing audio." God is in the details, indeed.
Gotta figure out how to attached the usb to the hood of my car…