Blues Vinyl 338 Items

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

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 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).

The charm of the blues undoubtedly lies in the roaring vocals filled with emotion! And to convince anyone of that, there's the absolute masterpiece of 1970s Chicago blues, "Spider In My Stew." Under the guidance of producer Willie Dixon, featuring two prominent harmonica players, Carey Bell and Big Walter, the album crafts a rich and creative Chicago blues sound, even more intense than the 1960s. All released as singles in the early 1970s, these tracks gained acclaim in the local Chicago and Southern regions, truly embodying the blues of an era brimming with traditional beauty.

Unnoticed for a long time, the dance number "The Football," now attracting attention even from funk and rare groove fans in the contemporary scene, and the ballad "This Is The Reason," which also takes on Chicago soul elements, were rediscovered from the original master tapes by P-Vine. These tracks have been etched onto vinyl with exquisite sound quality.

In the late 1950s, Earl Hooker emerged as Chicago's premier guitarist, using his expressive playing to summon the blues more eloquently at times than many vocalists. From 1960 to 1963, he led the way for Chicago blues on independent labels such as Chief, Age, Mel-Lon Records. This compilation carefully selects works from that period, including the blues guitar instrumental masterpiece "Blue Guitar," which later became a classic covered by artists like Otis Rush. The album also features the rocking blues instrumental "Universal Rock," where the harmonica of Junior Wells, a frequent collaborator, joins in. Additionally, showcasing the prowess of A.C. Reed, who was not only a master accompanist but also a vocal talent, the collection includes "This Little Voice." This is undeniably the sound of a guitar singing the blues.

Still sealed.

Still sealed.

Still sealed with hype sticker. Purple vinyl Limited edition.

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.

No one can argue that B.B. King is the king of the blues. This is the best album selected by P-vine founder Yasufumi Higurashi from the vast amount of recordings from the Modern/Kent era from 1950 to 1965, the beginning and peak of his career!

Since his debut in 1949, B.B. King has always reigned supreme as the king of the blues until his death in 2015. His innovative guitar playing and sophisticated style revolutionized the modern blues, and he was ranked 8th in the latest edition of Rolling Stone's "250 Greatest Guitarists of All Time," and he has been named one of the greatest guitarists of all time by the magazine. His revolutionary guitar playing and sophisticated style revolutionized modern blues, and history has already shown that he had a profound influence on future guitarists such as Clapton and Ray Vaughan. Squeeze guitar that squeezes the blues from the bottom of your soul!　Melismatic and majestic vocals!　You can't talk about blues without listening to this one and only blues world = B.B. From the recordings made during B.B.'s peak Modern/Kent period, we have selected the best albums of the long-established American blues magazine, Living Blues, including "The Complete RPM/Kent Recording Box 1950-1965," which won the double award of Critics' Choice and Readers' Choice. The Complete RPM/Kent Recording Box 1950-1965", which won the Critics' Choice and Readers' Choice awards.

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"!!

These incredible blues recordings celebrate their 60th anniversary. Recorded live at the Blues Festival in Oberhausen, West Germany 1963, this is the first vinyl reissue since its
original pressing on the UK blues label Red Lightnin' in 1986. These 11 songs feature Memphis Slim and Sonny Boy Williamson backed by Matt "Guitar" Murphy (the original blues brother).
They are also joined by bassist Willie Dixon and drummer Bill Stepney. This particular show is rare, and captures some truly smoking performances, particularly Memphis Slim's
rarely-heard "I Wrote This Song", and Sonny Boy Williamson's "All My Love In Vain''. This record has been remastered and pressed on heavyweight opaque blue vinyl.

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.