Blues Vinyl 260 Items

When internally the plan came up to release a bunch of vinyl singles for Unrock’s 30th anniversary as an entity, Richard just like his brother Alan, the other keyholder of Sun City Girls legacy was among the first to take a deep look into his archives. Out came two shining pearls from different periods of his long career. Taqasim For Omar (acoustic) was recorded in Seattle in 2008. It was recorded before the Sir changed his mind and recorded the track with an all electric band again for his Freak of Araby LP.

Magrebh Blues was recorded in Tangier, 2018 when Bishop recorded Tangier Sessions in Morocco. The track came out too bluesy for what Richard wanted to show with the album, but it is the only track he played on the mysterious guitar which beautifully sounds like a magrebhinian blues. Photography by Hans van der Linden, realisation by Philip Lethen. One-time limited run on black vinyl.

"This release is my way of celebrating the memory of one of the most important figures in early blues and gospel - the great Blind Willie Johnson - who would have turned 125 this year. The recording of his masterpiece "Dark was the night, cold was the ground" (recorded in my favorite recording year, 1927) can be found on the golden records onboard Voyager I and II and was added to the National Recording Registry in 2010, which selects recordings annually that are deemed "culturally, historically, or aesthetically significant". Although his music is often very hopeful, when you look back at his life, hope is not the first word that comes to mind. Willie wasn't blind at birth but became blind at seven years old. Exactly how it happened is uncertain, but one statement is that his aunt accidentally threw lye in his eyes. In his older years a fire took his house, but him being poor and blind and black he wasn't left with much else of a choice than to stay and live in the ruins of his old home. Living in this environment gave him pneumonia which subsequently led to his death. But his beautiful music just might live forever - forever floating in space."

New West Records is proud to announce the revival of Antone's Records and the renaissance begins with Angela Strehli, one of the most legendary and iconic members of the Antone’s blues family. Mrs. Strehli is back with Ace Of Blues, her first solo release in 17 years and her first record with Antone’s since 1987’s Soul Shake. On Ace Of Blues, Strehli offers 12 rolling & funky tracks that celebrate and honor the classic influences that inspired her 50+ year career. Presented with extensive liner notes and never-before-seen historical photos, Ace Of Blues cements Angela’s legacy as one of America’s premiere blues singers.

Born Aaron Livingston, GRAMMY Award winning Son Little unleashes his album Like Neptune never sounding stronger or more confident than now, showcasing his original vision of r&b, informed by his love for hip-hop imbued with tinges of funk, pop, and psychedelia. While Little"s collaborations with The Roots and RJD2 had already helped him make a name for himself by that point in his adopted hometown of Philadelphia, critics on both sides of the pond were quick to recognize the unique power of Little"s solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little"s "impeccably crafted songs" as "honest and unpretentious," while The Independent proclaimed him "a formidable talent," and Vice declared that he was "dissolving the barrier between R&B and rock "n" roll one tearjerker at a time."

Ga-20 clearly is on to something big. It's a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the placewhere traditional blues, country and rock `n' roll intersect. "We make records that we would want to listen to," says guitarist Matt Stubbs. "It's our take on the song-based traditional electric blues we love." Stubbs, guitarist/vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It's no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, "Since we started the band we've focused on the story, the melody, and on creating a mood. Playing live as much as we do,we're finding more and more that people are discovering how cool it all is.Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not." With their new Colemine album, Crackdown, and an intensive tour schedule, that's all about to change. On Crackdown, Ga-20's third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019's Lonely Soul and 2021's Try It_You Might Like It! Ga-20 Does Hound Dog Taylor) Ga-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock `n' roll. The album's nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs.

Ga-20 clearly is on to something big. It's a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the placewhere traditional blues, country and rock `n' roll intersect. "We make records that we would want to listen to," says guitarist Matt Stubbs. "It's our take on the song-based traditional electric blues we love." Stubbs, guitarist/vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It's no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, "Since we started the band we've focused on the story, the melody, and on creating a mood. Playing live as much as we do,we're finding more and more that people are discovering how cool it all is.Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not." With their new Colemine album, Crackdown, and an intensive tour schedule, that's all about to change. On Crackdown, Ga-20's third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019's Lonely Soul and 2021's Try It_You Might Like It! Ga-20 Does Hound Dog Taylor) Ga-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock `n' roll. The album's nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs.

The music of instrumental-folk quartet NRQ seems to defy categorization. Drawing their influences from styles as disparate as free jazz, Chinese folk songs, Calypso music, and the music of the Appalachians, every song presents a new twist or turn, and every album succeeds in defying expectations. Their third album, ‘was here’ saw the band welcome trumpeter and steel pan player MC. sirafu (The Natsuyasumi Band, Kataomoi, etc.), keyboard player Emerson Murakami (mmm, Kisel, etc.), and percussionist Okyon to create a sound quite unlike anything else they’ve ever done. The album was recorded exclusively with vintage tape machines, and the result is a warm, analog sound, with just the barest amount of hiss gently enveloping each track. Combined with the oddly mesmerizing artwork, this album has been practically begging for an analog release. P-vine is proud to be giving ‘was here’ the analog treatment it has long deserved!

Hot vintage sex songs for your own pleasure

Ealz! Records & brand new label A.D.S team up to pay tribute to the mysterious bluesman and producer : Cleo Page. Born in Louisiana, this L.A.-based musician worked with the great Johnny Otis, hang out on Central Avenue’s clubs and possibly jammed with top West Coast bluesmen like Jessie Allen, Pete “guitar” Lewis, Jimmy Nolen, Lafayette Thomas. Curley Page for some, Sly Williams for others, difficult to follow his career and in definitive, little is known about him despite his “big deal” recently approved by blues specialists : Cleo Page IS the man who wrote and recorded the original Boot Hill, a blues classic covered many times up until now. Cleo Page who lived in California since 14 years-old has been crossing Blues, Rhythm & Blues and protoRock'n'Roll in a personal way. He will run his own labels in the heart of Watts just after the 1965 riots. Those tragic events deeply influenced his laid-back groovy sounds, powerful guitar playing, organ-driven garage Blues with strong political and social messages. Somewhere between the first electric recordings of Howlin' Wolf and… Black Diamond Heavies! You're about to discover 12 rare tracks probably recorded between late ‘60s and early ‘70s. This brand new release includes the ultra-rare track "Black Man part. 1 & 2". Material reissued here for the first time in an arty/artisanal trifold Vinyl LP and a bonus Vinyl 7inch

Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical mo?ments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight" with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's re?nowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new Anti- Records release Carry Me Home-would mark a personal high watermark for both artists. Captured live in the summer of 2011, Carry Me Home showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Nei?ther Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment. "It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical mo?ments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight" with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's re?nowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new Anti- Records release Carry Me Home-would mark a personal high watermark for both artists. Captured live in the summer of 2011, Carry Me Home showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Nei?ther Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment. "It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

Born in 1886 in Columbus (Georgia), Ma Rainey is considered by most the mother of the Blues. She did a lot to popularize this style among younger generations and will be a direct influence for countless artists. Author of the first hits of the genre (See See Rider Blues and Chain Gang Blues in the 1920s), she will take a young girl by the name of Bessie Smith under her wing and will write songs with Louis Armstrong or Coleman Hawkins.

Oh yeah! It’s the 1950s and sweaty night clubs and dance venues are packed with young people wanting to leave their troubles behind to the rhythm of the newest sounds from Black America. In the 1940s blues was speeded up to become Rhythm & Blues, and now it’s at its loudest, electric guitar loaded, hard drumming, harmonica wailing, screamy best. Enjoy this small compilation of tunes and let the smoky club scene of the 1950s / early 1960s bring the party to your own home. These songs that were originally issued in 7” 45 RPM singles that nowadays exchange hands for little fortunes among collectors!

Includes four bonus tracks.

Antibalas’ new studio album, Where The Gods Are In Peace, is an epic Afro-Western Trilogy searching for solace from American political opportunism, greed and vengeance. Through its battle cry of resistance against exploitation and displacement, ANTIBALAS’ long-form compositions investigate oppression in 1800s America that eerily mirror the current state of the country. Three explosive original arrangements cultivate an urgent call to heal a broken system. Ultimately, the sonic excursion lands on an island where love is our first instinct. A new ideology is born opening our hearts to the possibilities of living as one unified people, where all gods are equal and together we prevail.

True to traditional form, Where The Gods Are In Peace pays respect to the forefathers of Afrobeat with compositions spanning nine to 15 minutes in length. With a blessing from the Fela Kuti legacy early in the band’s career, ANTIBALAS has long been revered for re-popularizing the classic Afrobeat sound while adding their distinct New York City grit to the mix. Influences of punk rock, free jazz, and hip-hop seep into their expansive works to define a truly 21st century translation of the Afrobeat genre and beyond.

Not known for his acoustic work, Buddy Guy unplugs for a rare album-length excursion into folk blues. The guitarist gets down and dirty with 12 tracks that sound like they were recorded after hours in his living room or on his back porch.

Released on a pink 10-inch vinyl platter, as part of the series 'Ten X Ten', here are ten tracks by the legendary Texas soul-blues singer.

Valerie June announces her new album “The Order Of Time”.
Valerie June Hockett (born January 10, 1982), known as Valerie June, is an Americana singer, songwriter, and multi-instrumentalist from Memphis, Tennessee, United States. Her sound encompasses a mixture of folk, blues, gospel, soul, country, Appalachian and bluegrass.

Muddy Waters was the greatest blues musician ever, and the most influential. He invented electric blues, inspired
the Rolling Stones and created the template for the rock’n’roll band and its wild lifestyle. Enjoy his Chess singles
here on our superb 2LP set.

Includes two bonus tracks.

Limited edition for Record Store Day 2015!

Founded at the end of 2021, Blues Bizarre release now its self-titled debut album, which breaks the genre boundaries of blues and is a breath of fresh air for today's roots music and rock. Blues Bizarre is one of the pioneers of the new wave of blues in Nordic, which combines the tradition of the genre with different styles from Eastern music to progressive rock, also taking influences from the Allman Brothers and the Tedeschi Trucks Band. The result is evolutionary music that lives in time and the cornerstone of the band's music are their own new songs. Gonna Be FineGood MemeriesPoor BoyDon't Go Blamin' On MeNow You Know How to Play the BluesThe DawnTrip to IndiaSmall Steps

The music on this album is representative of the three main "lives" of Blues Incorporated. The first and most well-known is the outfit which made their debut album, R&B From The Marquee featuring vocals from Cyril Davies and Long John Baldry. Secondly, the late '63 to early '65 period when the band were fronted by experienced black American vocalist, Herbie Goins. Finally the spell from mid '65 to '66 when the band were effectively without a vocalist other than Alexis Korner himself. Blues Inc. released four studio LP's, one live LP and two UK singles from 1962 to 1966 but the disc you have in your hands is the first vinyl LP to zero-in on the band at the Beeb. All tracks excellent sound quality except for* Side A 1. Rockin' 2. Overdrive 3. I Need Your Loving 4. Turn On Your Lovelight 5. Roberta 6. Every Day I Have The Blues 7. Oh Lord, Don't Let Them Drop That Atomic Bomb On Me 8. Sappho* Side B 1. River's Invitation* 2. Blues A La King 3. The Organiser 4. Watermelon Man 5. Back At The Chicken Shack 6. Trouble In Mind 7. The Jailbird 8. Hey Hey* Mono Recordings

The Blues is a unique sound that comes from particular times, places, and people. However, that sound is universal in that it can be used to articulate every human emotion. In this album, I invite listeners from all walks of life to the world of The Blues as it is in 2024. I invite people to engage with the ups and downs we all experience, through this music.

The blues was a black-American innovation in our history that had many facets to it. There are technical components to the blues - standards and vocal phrasing. There are also components to the blues that are more abstract, such as history, geography, even intellectual movements. In this album, I endeavored to use those building blocks to articulate the humanity I see around me - past, present, and future - without compromising the quality, the foundation that the blues provides.

These fifteen original songs are my invitation to everyone out there - whether you’re a blues aficionado or just passing through the genre, I hope you find plenty to engage with.

The Blues is a unique sound that comes from particular times, places, and people. However, that sound is universal in that it can be used to articulate every human emotion. In this album, I invite listeners from all walks of life to the world of The Blues as it is in 2024. I invite people to engage with the ups and downs we all experience, through this music.

The blues was a black-American innovation in our history that had many facets to it. There are technical components to the blues - standards and vocal phrasing. There are also components to the blues that are more abstract, such as history, geography, even intellectual movements. In this album, I endeavored to use those building blocks to articulate the humanity I see around me - past, present, and future - without compromising the quality, the foundation that the blues provides.

These fifteen original songs are my invitation to everyone out there - whether you’re a blues aficionado or just passing through the genre, I hope you find plenty to engage with.