Blues Vinyl 243 Items

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.

With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock 'n' roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre.
On 1989's "In Step", Vaughan found his own songwriting voice, blending blues, soul, and rock in unique ways, and writing with startling emotional honesty. Yes, there are a few covers, all well chosen, but the heart of the album rests in the songs he co-wrote with Doyle Bramhall, the man who penned the "Soul To Soul" highlight "Change It". Fueled by a desire to make up for lost time and delight in his reawakened commitment to life and sobriety, Vaughan turned in what many consider his greatest artistic statement, an album ensconced in sweat, soul, determination, and not an ounce of filler.
"Travis Walk" offers a heady rush of flat-picking, "The House is Rockin'" is full-tilt roots-boogie, "Let Me Love You Baby" and "Leave My Girl Alone" are sweet blues epiphanies, and the nine-minute instrumental "Riviera Paradise" is a truly soulful mix of blues and jazz. By now, just a year before his untimely death, Vaughan had also tamed his bawling voice into a rich instrument. In short, this 1989 session is Vaughan at his artistic peak.
As we did with our vaunted box set reissues, "Texas Hurricane", again Analogue Productions is bringing you the finest-sounding Stevie Ray Vaughan collections ever preserved on 200-gram vinyl. Ryan 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 Quality Record Pressings.
"In Step" remains one of the five greatest blues records of the past quarter century. There's not a link in this chain that wasn't absolute first-rate. The absolute best that money can buy. We're passionate about the blues AND Stevie Ray and the passion shows up here in spades.

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.

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.

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.

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.

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.

Two ecellent country-blues rockers from 1942 pressed with 78rpm labels on a solid center for that authentic feel. Nice job!

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.

“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.

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

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.

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!

At age 82, bluesman LEO “BUD” WELCH rocks on stage like a teenager—dancing and spinning as he beats out jagged chords and grimy solos on his pink, sparkle-covered guitar. That raw youthful energy and Welch’s old-school juke-joint jones blend full-throttle in the 10 songs on I Don’t Prefer No Blues, his second release for Fat Possum Records’ subsidiary Big Legal Mess. The album is a garage-blues manifesto that weds waves of prickly six-string distortion and gutbucket drums with Welch’s smoke-and-ash voice and mud-crusted guitar—and lives up to Fat Possum’s history of producing edgy but deeply rooted recordings by artists like Junior Kimbrough and R.L. Burnside.

180g vinyl.

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.”

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

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).

180 gram vinyl!