Blues Vinyl 45 Items

Alexis Korner's third album, originally released on the Transatlantic Label in 1964, after two live albums recorded at the Cavern at the Marquee, featuring his all-time hits 'Stormy Monday ' and Chicken Shack'. A true masterpiece from one of the godfathers of the white blues movement from the 60's.

Copy closer to VG+

Howlin' Wolf was a true bluesman who stuck to his own style. This LP reissue of an album compiled from his recordings in 1951-1952 for RPM label, sub-label of Modern Records and released in1962 on Crown Records, also a substance of Modern.

The album features Willie Johnston on guitar, a rule-breaking mix of primitive delta blues and fancy jazz chords; Willie Steele on drums and unidentified musicians providing unparalleled backing; and Ike Turner on vibrant piano, Wolf barked out wild and tough blues in West Memphis.

Although the piano, the guitar and the harmonica were clearly out of tune, the sounds were outstandingly thumping and beautiful - there was no greater shock. This is a classic in blues history that captured the rampaging blues wolf of the blues at the beginning of his career, when he made his recording debut after the age of 40. The reissue LP will be available with iconic OBI strip.

Promo copy with stamp. tear in spine

EU reissue.

"Lightnin'" is among the rewarding acoustic dates Lightnin' Hopkins delivered in the early '60s. The session has an informal, relaxed quality, and this approach serves a 48-year-old Hopkins impressively well on both originals like "Thinkin' 'Bout An Old Friend" and the familiar "Katie Mae" and enjoyable interpretations of Sonny Terry & Brownie McGhee's "Back To New Orleans" and Arthur 'Big Boy' Crudup's "Mean Old Frisco". Hopkins' only accompaniment consists of bassist Leonard Gaskin and drummer Belton Evans, both of whom play in an understated fashion and do their part to make this intimate setting successful. From the remorseful "Come Back Baby" to more lighthearted, fun numbers like "You Better Watch Yourself" and "Automobile Blues", "Lightnin'" is a lot like being in a small club with Hopkins as he shares his experiences, insights and humor with you.

Cover is missing. 1982 reissue.

Forget lightning in a bottle, we have Lightnin' on a vinyl! Recorded in New York in 1960 with famed producer Bobby Robinson, Mojo Hand is considered by many to be one of the finest blues records of all time. Since P-vine reissued it for the first time ever in 1983, word of the record’s quality quickly spread, with original copies now selling for thousands of dollars on the second hand market! Whether it’s the boogie of title song “Mojo Hand”, or the low and slow blues of “Have You Ever Loved a Woman”, the Lightnin’s acoustic blues is soulful. Don’t miss Mojo Hand, available for the first time ever on limited edition red vinyl with an obi-strip, only from P-vine Records.

An exact repro vinyl reissue of this magnificent 1962 vintage blues delivery.

Sleeve has handwriting.

The son of a slave and of part-Native American heritage, Texan blues songster Mance Lipscomb began recording albums in 1960 after the Arhoolie label became aware of his talents, the work coming at the start of the country blues revival, which he became a key part of. The excellent follow-up Trouble In Mind, released by Reprise in 1961, has top-notch renditions of favourites such as ‘Alabama Bound,’ ‘Ballad of the Boll Weevil’ and ‘Motherless Children,’ the latter with great slide guitar work, yet somehow the LP sold poorly, rendering it a sought-after rarity. Definitely one of Mance Lipscomb’s best!

Why you'll love it...
The songs that populate Odetta and the Blues are 1920s blues and jazz standards sung by the likes of Bessie Smith, Gertrude “Ma” Rainey, Mississippi John Hurt, Leroy Carr and other titans of the time and genre. Most are traditional, unattributable to any one songwriter — but all are linked to Black musicians. In this way, the album feels like an important (and understandable) aspect of Odetta’s quest to show America the myriad ways this country’s music wouldn’t be what it is without Black Americans.

Odetta makes each track sound timeless and true, but also utterly, entirely her own. I think that’s the hallmark of a true and truly unique talent — and a sign that the artist in question understands the assignment, as it were: to find the throughlines between their perspective and the art itself; to preserve the original message and add one of your own, like a constructive game of Telephone. There’s an art to being a cover artist and an art to being an archivist.

Cover has slight wear, seam split in bottom spine,Vinyl has some scuffs and light scratches. Original US mono pressing.

US mono pressing. Vinyl with many scuffs and hairlines

Vinyl with many scuffs and marks

Cover with seam split on top spine. Vinyl with scuffs and hairlines

Record is close to VG+. Cover has small seam splits.

Vinyl with many scuffs and hairlines. Cover with heavy shelf wear and writing on the back.

US original mono pressing. Vinyl with scuffs and a couple of small scratches.

Original US mono pressing. Top spine is torn.

Vinyl with scuffs and hairlines. Cover with shelf wear on the back, close to VG+

label variation

Japanese pressing with OBI!

tear in top spine. Mono Research Craft Press.