Blues Vinyl 171 Items

“Super Super Blues Band” started out merely as “Super Blues”, a conglomerate of blues pillars Bo Diddley, Muddy Waters and Little Walter. When Little Walter bowed out and was replaced by Howlin’ Wolf, they rightfully threw another Super on the name, and went on to release this burning, irreverent and even sometimes hilarious set of drunken, wild-eyed electric blues. Long form jams roll on in a trance as the trio of blues legends flex egos, talking shit to each other, trading off leads and ducking blasts of unexpected wah-wah guitar lines. Songs are peppered with an incredible level of banter between the trio of bandleaders that predicts the call and response sing- talking of early hip hop, laced with random screams in the background that teeter between celebration and danger. That these three ever got into the same room together is a miracle, and that they produced something so intense, energetic and weird is another almost unbelievable feat. The record is special enough as a stand-alone document of this meeting/melting of the minds before you find out the backing band consists of Hubert Sumlin, Otis Spann and freaking Buddy Guy. Lordy. Might have needed one more “super” in there. The record is pressed on limited colored 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.

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.

The 45rpm Analogue Productions reissue of Stevie Ray Vaughan's "Couldn't Stand The Weather" is so good, as are its 45rpm companions — "Texas Flood" and "Soul To Soul" — that they truly represent what Gregg Geller, producer and A&R representative described as »the best replication of the master tapes to date«"
We've already brought you the 33 1/3rpm box set "Texas Hurricane" featuring the greatest Stevie Ray Vaughan tribute ever reissued — six of Vaughan's most classic album titles remastered for ultimate blues and guitar fanatics. We've now taken the extra step and done 45rpm versions of these three standout LPs.
We've used the original 30 inches-per-second, half-inch analog master tapes for all of these albums. Ryan K. Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at our Quality Record Pressings, maker of the world's finest-sounding LPs.
"Couldn’t Stand The Weather" is the remarkable sophomore album by Stevie Ray Vaughan and Double Trouble. It follows their critically acclaimed debut, "Texas Flood". Incorporating the same winning formula of musicianship and songwriting, "Couldn’t Stand The Weather" cemented Vaughan’s place as one of music’s greatest. It is their first to earn gold certification and their first platinum-seller. It includes breathtaking renditions of Clark’s “Cold Shot” and Hendrix’s “Voodoo Child”. A staple on the Billboard charts, this definitive masterpiece received praise from Entertainment Weekly, Q, Down Beat and many others.
There's not a link in this production chain that wasn't absolute first-rate. The absolute best that money can buy.
But beyond that we've poured our passion into this project. Acoustic Sounds is a big fan of the blues and Stevie Ray Vaughan. It's a big dream come true to work on this project and to make these records sound and look the best they ever have.

The 45rpm Analogue Productions reissue of Stevie Ray Vaughan's "Texas Flood" is so good, as are its 45rpm companions — "Couldn't Stand The Weather" and "Soul To Soul" — that they truly represent what Gregg Geller, producer and A&R representative described as »the best replication of the master tapes to date«.
We've already brought you the 33 1/3rpm box set "Texas Hurricane" featuring the greatest Stevie Ray Vaughan tribute ever reissued — six of Vaughan's most classic album titles remastered for ultimate blues and guitar fanatics. We've now taken the extra step and done 45rpm versions of these three standout LPs.
We've used the original 30 inches-per-second, half-inch analog master tapes for all of these albums. Ryan K. Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at our Quality Record Pressings, maker of the world's finest-sounding LPs.
Stevie Ray Vaughan's 1983 debut album, "Texas Flood", was a phenomenal success, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. The record plays like a dynamite club show, filled with crowd-pleasing originals and covers, all performed with unbridled enthusiasm. "Texas Flood" was certified gold on August 13, 1990, and certified platinum on January 22, 1992.
There's not a link in this production chain that wasn't absolute first-rate. The absolute best that money can buy.
But beyond that we've poured our passion into this project. Acoustic Sounds is a big fan of the blues and Stevie Ray Vaughan. It's a big dream come true to work on this project and to make these records sound and look the best they ever have.

The album was mostly recorded at Dan Auerbach's (The Black Keys) Easy Eye studio in Nashville, as well as L.A. and Budapest, and was produced by both Dan Auerbach and Kevin Augunas (Edward Sharpe & The Magnetic Zeros, Florence & The Machine).

Bassekou Kouyaté is a musician from Mali. His new album is about love, friendship, family and true values in times of crisis. Miri means dream or contemplation in bamana. Miri is a very personal album. It talks about his mother Yakare that passed away. The album also pays hommage to two great Malian singers that have blessed quite a number of Bassekous albums: the one and only Zoumana Tereta & the golden voice of Mali Kassemady Diabate. May they rest in peace. They live on in their music.

Over 50 years since his discovery by ethnomusicologists Dr. Harry Oster and Richard Allen in the prison farm of Angola, Louisiana, what is it that makes the blues as sung and picked by Robert Pete Williams such a singular listening experience, unequaled elsewhere in that musical form? As Peter Guralnick, in his Feel Like Going Home book writes: “It’s difficult to approve the banalities of most blues singers after listening to Robert Pete Williams. More than anyone else he shatters the conventions of the form and refuses to rely upon any of the clichés, either of music or of lyric, which bluesman after bluesman will invoke. Instead he sings blues which reflect a unique and personal vision; he makes each song unmistakably his own.” Unfamiliar keys, cliché-free lyricism, spontaneity, an individualistic style in invoking his particular blues, all make Robert Pete Williams an idiosyncratic entry into the canon. It’s impossible to listen to blues artists before him and hear strains of his particular style. None have matched it since. Louisiana Blues contains 10 songs recorded in the month of July 1966 out in Berkeley, California for John Fahey’s Takoma imprint. Comes with a 8 page booklet. Limited edition of 600 on bottleneck brown vinyl.

I Be Trying might be the title of the new record from two-time Grammy nominee Cedric Burnside, but it's also a mission statement in an era when plenty of us have discovered what "the blues" really means. Recorded over three days at Royal Studios in Memphis (the home studio of Al Green and Hi Records in the 60s and 70s), this album is the ultimate statement of purpose for a critically acclaimed artist who has proudly carried the mantle of Mississippi Hill Country blues around the world. Over thirteen tracks, Burnside delivers his bruised but unfettered truth over blistering guitar and deep pocket drums-a sound birthed in his soul but developed and perfected on the road. But no matter how far he travels, the righteous sound he makes could only come from one place. I Be Trying is the sound of modern Mississippi. Produced by second-generation Memphis soul trailblazer Boo Mitchell ("Uptown Funk") and featuring guest appearances from Luther Dickinson (North Mississippi Allstars) and Zac Cockrell (Brittany Howard), I Be Trying takes the sound that Burnside learned from his grandfather, blues legend R.L. Burnside, and reinterprets it into a modern, bold Black American sound that expands the sonic landscape while respecting and honoring its roots.

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.

180g vinyl.

Pride of St. Louis Pokey LaFarge pays homage to his home city on this first single!

Two Blues legends Keb' Mo' & Taj Mahal get together and combine forces on the album "TajMo"!!

As part of their 20th Anniversary celebrations, Strut present the first new volume in their pioneering ‘Nigeria 70’ series for over 8 years, bringing together rare highlife, Afro-funk and juju from the ‘70s and early ‘80s. Compiled by collector and DJ Duncan Brooker, this new selection of tracks is receiving its first international release outside of Nigeria.

The compilation returns to a fertile heyday in Nigerian music when established styles like highlife and juju became infused with elements of Western jazz, soul and funk and musicians brought a proud new message post-independence. Brooker places the spotlight particularly on some of the incredible Ukwuani musicians from the Delta State region as guitarist Rogana Ottah and Steady Arobby’s International Brothers Band forged their own fluid brand of highlife and soulman Don Bruce drew on the US R&B greats for a series of great albums and explosive stage shows at his residency at Hilton Hotel in Abuja.

Elsewhere, the album explores the close connection between Nigeria and Benin’s music, most famously through Sir Victor Uwaifo, appearing here with a killer mid‘80s ekassa jam, as well as highlife hitmaker Osayamore Joseph on ‘Obonogbozu’ (Joseph made headlines in Nigeria for very different reasons in 2017, surviving a one month kidnapping ordeal).

Other tracks include ‘Sickness’ a 1979 lament on how all countries share troubles by Prince Nico Mbarga, the Nigerian / Camerounian star behind the smash hit ‘Sweet Mother’; reggae singer Felixson Ngasia switches to funk and disco for a heavy workout with potent lyrics around black identity; another major highlife great Etubom Rex Williams unleashes a punchy psych funk gem with ‘Psychedelic Shoes’ and Africa 70 member Pax Nicholas vocals a simmering Afrobeat groove from Jacob Lee’s Saxon Lee & The Shadows International Band.

This release of Lightnin' Hopkins "Soul Blues" completes the series of 25 Prestige label stereo reissues from Analogue Productions. Of the 50 titles (25 stereo, 25 mono) in this reissue series, 49 of them were mastered by Kevin Gray at Cohearent Audio from the original analog tape. For "Soul Blues" Ryan Smith at Sterling Sound created a 24/192K hi-res file from a needle drop on a clean original LP.
This was done because the tape supplied for mastering proved to be from a needle drop itself, not the original, which has been lost since the early 1970s. Smith took the original LP, did a new needle drop and meticulously worked to eliminate the minimal tics and pops that remained. Then he mastered the album for LP and SACD from the hi-res file.

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.

Vintage Sound is the collection presenting the greatest artists with their best songs in every musical genre. This new volume is dedicated to Soul Genius. Rediscover 16 masterpieces that made the music history of Soul, including James Brown, Marvin Gaye, The Supremes with Diana Ross...

Limited edition for Record Store Day 2015!

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.

Mississippi's Son House was already legendary for a small collection of live field recordings made by folklorist Alan Lomax in 1941 and 1942, and for having taught some important licks to both Robert Johnson and Muddy Waters before he was rediscovered by a new generation of college-age fans in 1964.
The 'Father of the Delta Blues' recorded this namesake LP for Columbia Records a year later in 1965. It's become, in the words of Living Blues magazine — »Essential recordings by one of the greatest bluesmen ever.« And now, Analogue Productions presents a reissue unmatched in sonic quality and luxury presentation. For our version we turned to Ryan Smith at Sterling Sound to remaster the recording from the original master tapes. The freshly cut lacquers were then plated and pressed on 200-gram vinyl by our own Quality Record Pressings.
Son was born Eddie James House, Jr., on March 21, 1902, in Riverton, Miss. By the age of 15, he was preaching the gospel in various Baptist churches as the family seemingly wandered from one plantation to the next. He didn't even bother picking up a guitar until he turned 25; to quote House, »I didn't like no guitar when I first heard it; oh gee, I couldn't stand a guy playin' a guitar. I didn't like none of it.« But if his ambivalence to the instrument was obvious, even more obvious was the simple fact that Son hated plantation labor even more and had developed a taste for corn whiskey. After drunkenly launching into a blues at a house frolic in Lyon, Miss., one night and picking up some coin for doing it, the die seemed to be cast; Son House may have been a preacher, but he was part of the blues world now.

High Quality pressing in vintage silk screen sleeve. Surfing on the shores of Java and Casablanca! 2 un-expected tales from the Beat generation.Tony Turpijn and his Evergreens fulfill the dream of every pantropical music lover with a silky instrumental rhythm ’n blues take on the Sundanese love song “Es Lilin” (Ice Lolly). Link Wray meets Mulatu Astatke meets Oslan Husein in Rotterdam, 1965.

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.

2021 repress / comes in Planet Rhythm label sleeve The Portugese VIL makes his vinyl debut on Planet Rhythm. Strong percussive elements are alternated with hypnotic melodies to complement the powerful drive of the bottom end.

Back in 2015, P-vine pressed a special edition of the Fire/Enjoy singles by Elmore James as a series of 7” discs that was quickly buried by the quick turnover of new releases and were not presented to our overseas clients. As part of a recent drive to clean up the stock-room, our dusters managed to work their magic and uncover a number of copies of this release previously unknown to the overseas marketing division. Towards the end of a career cut tragically short, Elmore James recorded a string of singles between 1959 and 1963 with renowned producer Bobby Robinson under his Fire and Enjoy record labels that would eventually lend their name to this collection. Together they would capture James’s iconic take on the blues with his effortless intersections of slide guitar complementing the marching calls from his pained Blues vocals. This feast for the eyes box-set includes nine 7” discs and a Fire Records tote bag sized perfectly for carrying your favourite 7” record and not much else. A great addition for collectors of rare blues and DJs.

This is Eric Clapton's 23rd Studio album for which he teamed up with star-producer Glyn Johns once more.

One of the earliest blues performers of the pre-war era, and an offspring of a family of freed slaves, Henry "Ragtime Texas" Thomas was one of the most influential, but also one of the most enigmatic practitioners of the blues genre. Much of Thomas' life was un-chronicled by historians (The exact date of his death is still a point of contention) except to say that much of his life he lived as a drifter, making his living by performing on street corners and for railway employees. Though his personal life is still shrouded in mystery, his music remains significant, so many decades later. Thomas stood out from his peers primarily by the way he strummed his guitar; as one would strum a banjo. His songs emphasized dance rhythm over complex picking, and often utilized instruments unorthodox to blues music, such as the Deep South folk instrument the quills. This sound proved to be instrumental in the development of the Texas blues sound, and would be his trademark across the 24 sides that he recorded for Vocalion Records, of which only 23 would be released commercially.

Songwriter. Guitarist. Singer. Bandleader. At only 20 years of age, Marcus King’s dazzling musical ability is evident throughout The Marcus King Band, the young phenom’s 2nd full-length LP. Raised in Greenville, South Carolina, King was brought up on the blues, playing shows as a pre-teen sideman with his father—bluesman Marvin King, who himself was the son of a regionally-known guitarist—before striking out on his own. Operating within the fiery brand of American roots music that King calls "soul-influenced psychedelic southern rock," the album highlights King’s gorgeous, rough-hewn vocals, soaring guitar work and heartfelt songwriting all amidst a group of masterful musicians who, together, are quickly becoming one of the country’s most sought after live acts.

Ike & Tina TurnerRediscover the most magnificent Soul, R&B duo of all time according to the Rolling Stones. This vinyl shocases 16 key tracks including the hits with their early recordings that created their popularity "A Fool In Love", "It's Gonna Work Out Fine", "I Idolize You", "Poor Fool", and "Tra La La La La".