Blues Vinyl 270 Items

Limited edition for Record Store Day 2018!

Vinyl with a couple of light scuffs

Sealed copy.
Cover corners slightly dented.

Cover with seam split top spine.

In the middle of the punks vs Teds battles, Whirlwind became the go-to support act for the Clash, Blondie, Ian Dury and many others. With charismatic frontman Nigel Dixon’s pop star good looks and vocally channelling Billy Fury, this debut LP grabbed the sound of Whirlwind in the raw.

The look was encapsulated in the spectacular cover design by Barney Bubbles, which brought the 50s into the 70s. The sight of punks doing the Rock-A-Billy heel and toe skip dance in bondage trousers never ceased to amuse.

This all predated the amalgamation of the two into psychobilly and “Blowing Up A Storm” is now regarded as a quintessential album for every discerning punk hepcat…

Daptone Records is honored to announce the release of Innov Gnawa's forthcoming full length, Lila. Hailing from Morocco, but based in NYC, Innov Gnawa have been making waves locally and abroad with their hypnotic live shows - which is why producer, Bosco Mann invited the group to come record at the Legendary Daptone House of Soul. Gnawa is a music and spiritual tradition rooted in Morocco and dates back many centuries. Over the years, the liberated slaves of Northern and Western Africa integrated their musical rhythms and religious beliefs into the culture of Morocco creating a unique style of music and dance called Gnawa. It's not religious music, but rather music and rhythms that promote healing through trance and spirituality. The infectious rhythms of Gnawa songs are invocations for saints and spirits of freedom and liberation.

Gnawa groups consist of a Ma'Alem, or master, who plays the Guembri(or Sintir) - an ancient three stringed bass that later evolved into the modern day banjo, accompanied by a brotherhood of musicians playing the karkabas, which are metal castanets, representing the shackles and chains of slaves. The title of this album, Lila, literally means Night, and is a traditional Gnawa ceremony in which the Ma'Alem and his karkaba ensemble dedicate an evening of healing through music. A traditional Lila has many parts with a very extensive repertoire, and can last anywhere from a few hours to few days, and even weeks in some cases. The hypnotic poly-rhythms, along with incense and ceremonial ambiance induces states of trance in the musicians and guests. This all night rhythm fest is a spiritual ritual that cleanses the body, mind and spirit. It would be impossible to capture an entire Lila on on LP, but what Innov Gnawa delivers is a concise glimpse into this ancient Moroccan tradition. We invite you to immerse yourself into Lila. Experience freedom, liberation and the power of healing through music. You are not alive if this music doesn't move you.

a spontanious outburst of energy after the first lockdown resulted in this 6th album from Tiny Legs Timrepress on black vinyl

Harmonica Frank recorded these tracks for Sun Records in the early '50s! It's definitely blues at the core, but which also has links to Appalachian music.

Peter Green's FM's classic line up, caught live at the BBC in 1968. A superb performance, finally on vinyl.

Sealed copy with a stuffed corner!

Still in shrink but opened with hype sticker. close to NM. With 7".

Ivory Coast isn’t known for country music. But Jess Sah Bi & Peter One’s 1985 recording Our Garden Needs Its Flowers, a massive-selling regional hit, brought a burgeoning interest in folk and Americana into the mainstream and carried two young men to international prominence, culminating in stadium-filling concerts and performances for the first lady of Cote d’Ivoire and dignitaries.

The album was made following a chance introduction via Jess’s nephew, who heard Peter playing for fun around his university dormitory. At the time, Jess Sah Bi (Die Sah Bi) was Ivory Coast’s first political cartoonist, having already published in dozens of magazines and newspapers across West Africa and France. Meanwhile Peter One (Pierre-Evrard Tra) was a university student and soon-to-be high school history teacher. Both musicians had spent time singing and playing guitar and composing songs on their own until they came together to record their independently-released opus.

The music contrasted starkly with the popular sounds of the time, ranging from fast-paced regional dance music genres to ziglibithy to soukous to straight-up funk played by Abidjan’s plethora of bands. Country music and folk-rock weren’t very popular with the general public. But interest was bubbling up within the growing student population, who connected with the protest sentiments expressed by many English and American artists of the era. “It’s very nice music, with very nice harmonies, and it’s different from what you hear every day,” Peter says. “The language was a big barrier though. You had to learn English to understand the songs, and the students were the ones learning English.” Having access to education along with their awareness of social and political inequality and injustice made students the perfect audience for folk music in Ivory Coast.

Kenny Rogers, Dolly Parton and Don Williams’ music could be heard on some radio programs around Ivory Coast’s major cities, and some younger people were getting hip to Simon & Garfunkel, Creedence Clearwater Revival, Cat Stevens and Crosby Stills & Nash. The stage was set for Jess Sah Bi & Peter One’s homegrown country music to make a mark on Ivorians’ consciousness. Complete with slide guitar, soaring vocals and anthemic, politically-conscious lyrics in three languages, the recording became ubiquitous across French-speaking West Africa. “We expected the album to be a big success, but we could not have imagined how far it would go,” Peter says.

After Our Garden Needs Its Flowers release, Jess and Peter’s profile lifted rapidly, leading to stadium performances in Togo, Burkina Faso and elsewhere. Their ascent was accompanied by critical acclaim from the local press and television programs, appearances at galas organized by Marie-Thérèse Houphouët-Boigny, the wife of the late Félix Houphouët-Boigny, the first president of the Ivory Coast and even a performance during the 1988 ECOWAS (Economic Coalition of West African States) summit in Yamoussoukro at President Houphouët-Boigny’s request. Jess and Peter’s run lasted until the early 1990s, capped off with the BBC using their song African Chant as theme music the day Nelson Mandela was released from prison.

Jess and Peter now live in San Francisco and Nashville, respectively, and continue to make music on their own. Plans for shows reuniting the duo are in the works for later this year.

180g vinyl!

“Keeping a Record of It” is the follow-up to Lonnie Holley’s debut album, “Just Before Music.” Guest performers include Cole Alexander from the Black Lips, Bradford Cox from Deerhunter, and visual artist Lillian Blades. “Lonnie Holley sings with an intense, emotional voice and unleashes lyrics without consistent meter or rhyme over gossamer keyboard lines that hang in the ether. His music is a blues nebula, splotched with riffy word jazz that shares in some rappers’ collagist aesthetics as well as the runaway passion of a gospel preacher enlivened by the Spirit.”

Blue vinyl version! Cover with ring wear!

White vinyl. Limited edition. 2021 reissue. Numbered. Cover is close to NM.

2013 reissue. With insert. 180gr vinyl.

Still in shrink, but opened, with hype sticker

Green vinyl seems unplayed. Still in shrink but opened with hype sticker. Numbered Limited edition. With insert