Blues Vinyl 399 Items

One of the most unique albums to ever come out of the Miami soul scene of the 70s. Milton Wright has a really jazzy groove to his music - and he mixes his own acoustic guitar lines with warm keyboards and a bit of synth or moog. Milton's vocals have the chops to live up to the heady batch of soul artists. This record feels like nothing else you've ever heard, but which you can't live without once you've heard it!

Japanese pressing with OBI!

One-off electronic disco project of 1984 for the unmistakable sounds of the Yamaha DX7 - especially the notorious "tubular bells" during the verses - introduced at the end of '83, but which didn't catch on in Italo-Disco until the following year. "Dancing Dode" has the strangest spelling ever. Whoever created this truly amazing super theme barely knew English as the word "dode" does not exist in English. This explains why some Italo-Disco songs have obvious grammatical errors even on the original records. The artist or the authors thought that [du:d] would be written "dode" in English, but in reality it's "dude"... which means a meticulous and elegant man, potentially homosexual, in short a gay type, "King /Queen" of disco dancing like in that film with J.T.. The role of disco in the 80s was a ground for negotiating rights throughout history, so most people didn't care too much about choosing and hating someone's sexual orientation, but dancing, listening to music and this song with a beautiful melody is perhaps the rarest Italo Disco song ever made.

"Stop the World" is another captivating song released in 1984 by Eyes Records, written by three names who certainly need no introduction. Ivana Spagna, Larry Pignagnoli and Ottavio Bacciocchi. However, their artistic depth and their fundamental contribution to Italo-Disco (and not only) in their respective roles should be remembered: Ivana, an excellent lyricist and singer (also for third parties) who became the great pop star still today considered the most graceful in circulation; Larry, who deserves a handful of Grammy Awards for his countless arrangements (but it is enough to mention "Easy Lady" and "Call Me") and finally the modest and precious Ottavio with his excellent Studio Master 33 from Cremona, among the first to find the right sound of Italo-Disco already in the early 80s. Their contribution then married perfectly with the artistic direction curated by Salvy Lauria and Giacomo Danesi. It's worth highlighting the approximately 6 minute instrumental track of "Stop The World", it's a dance floor killer. Giuliano Saglia and Silvio Trisolino are right in wanting to re-propose only and exclusively the two original songs which after 40 years have been perfectly remastered by Dom Scuteri. Best Record is right to carry out all the work of this wonderful jewel, after having already reissued Blue Gas. Future State and Lily Ann, the other praiseworthy productions of the reborn Milanese label. Aficionados do well not to miss this other reissue of an Italo Disco classic from the 80s!!

English blues outfit Tramp had a fleeting existence in the late 60s and early 70s—here today, gone tomorrow. Based around former John Dummer Blues Band vocalist/ guitarist Dave Kelly and sister Jo Ann on harmonies and occasional lead, the group got a boost from Fleetwood Mac mainstays Mick Fleetwood, Danny Kirwan, and Bob Brunning, as well as former Savoy Blues keyboardist, Bob Hall. If not quite as compelling as their 1969 debut, this 1974 LP has the hallmark touches that made the Mac leaders of the British blues scene. Fleetwood Mac devotees and British blues lover, get stuck in!

Japanese pressing without OBI, with insert

Briefcase Full Of Blues is the debut album by The Blues Brothers, originally released in 1978. Belushi (lead vocalist "Joliet Jake" Blues) and Aykroyd (harmonica player/backing vocalist Elwood Blues) fronted a band which was composed of well-known and respected musicians. The track listing of Briefcase Full of Blues boasts infectious covers of songs by Otis Redding, Junior Wells, King Floyd, Sam & Dave and Big Joe Turner, amongst others.

First press on white vinyl limited to 1500 copies.

Muddy Waters needs no introduction. The Chicago-based blues singer has been in the business since the 1940's, influencing the 60's blues rock movement spearheaded by the Rolling Stones. Recorded eight years after his last album 'After The Rain', 'Hard Again' is Muddy Water's massive comeback album of 1977, opening up with the one song that cemented Muddy's place in Rock & Roll heaven: 'Mannish Boy'. Produced by Johnny Winter (whose ecstatic 'Yeah!'s can be heard on 'Mannish Boy'), 'Hard Again' features Muddy's trademark blues sound: rugged, raw and full of energy. The rest of the album has similar qualities: blues harps, slide guitars and wailing vocals, it's all there. Music On Vinyl's 180 grams reissue LP is a must for any record collection

The blues is perhaps one of the most private things from which a human being can suffer. However, to play the blues, and thus to express a man’s innermost feelings and state of mind, is probably the most important task of black music. With Buddy Guy and Junior Wells, we have two disciples from the world of the blues who express their highly personal blues with profound instrumental proficiency. The enormously talented, self-taught guitarist Buddy Guy was ranked 23rd in Rolling Stones magazine’s list “100 Greatest Guitarists of All Time”, and several times he was awarded one of the coveted Grammy awards. Junior Wells entered Muddy Waters’ 'academy' at the tender age of 18 and played the blues harp with enormous passion and virtuosity. In this recording, the musicians condense their rock playing over a bone-dry bass line to create a mantra-like funky style ("A Man Of Many Words"), passing on with fleet-footed steps to a slender chirping sound on the mandolin with a 12-bar blues construction and creating an earthy groove ("T-Bone Shuffle"). Then the duo works perseveringly on an unrelenting chord ("A Poor Man’s Plea"), only to return to two numbers that pulsate forcefully with a snappy and jagged offbeat ("This Old Fool"). The handpicked band, among them being co-producer Eric Clapton who is eternalized on the rhythm and bottleneck guitar, and the voodoo rocker Dr. John who occasionally contributes his magic on the keyboard, make this album a truly collectible sound experience.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.

Recording: October 1970 at Criteria Studios, Miami (fl), by Ron Albert and April 1972 at Intermedia Studios, Boston (ma), by Richard Oulleppe Production: Ahmet Ertegun, Eric Clapton, Michael Cuscuna, Tom Dowd

Japanese pressing with obi.

Rescued from relative obscurity by DJ Amir’s 180 Proof Records, BBE is delighted to present a gem from the tiny yet highly influential catalogue of Strata Records, Bert Myrick’s ‘Live ‘n Well’. This is the first in a long line of reissues focusing on the Strata catalog details attached.

US original!

180 GRAM AUDIOPHILE VINYL J.J. Cale's signature laid back, bluesy style of Country Rock has distinguished him from contemporary early '70s singers.

His unique sound shows on his third album Okie (1974), where he merges these influences with Gospel.

His influence on other artists lead to multiple cover versions of "Got The Same Old Blues" with Freddie King, Eric Clapton, Captain Beefheart, Bobby Bland, Lynyrd Skynyrd and Bryan Ferry all tipping their hats to JJ.

Further excellent tracks include "Rock And Roll Records", "Okie", "Everlovin' Woman" and of course "Cajun Moon".

Trying to define what it is that makes Dr. John special is much like trying to define the word "soul'—you can surround it. But nailing it down is a whole ‘nother smoke. You can point to his sense of history, how he's never forgotten from whence he came, how his music always returns to his roots, even honoring the proud heritage of his native New Orleans. You can dissect his technique, marveling at the adroitness of the hands right and left; admiring the strong second line; respecting the tributes to his inspiration, Professor Longhair, apparent at every turn. And you can note how his peers consider his presence at a session as lending instant credibility to that particular project.

"Upon the release of The Brightest Smile in Town, the reviews were effusive. Chicago critic Bill Knight’s comparisons to Fats Waller and James P. Johnson were high compliments indeed. Downbeat’s Jim Roberts called the playing 'graceful'; noting that the LP had a broader scope than its predecessor. Jazz Times’ Rhodes Spedale summarized: 'He’s never been in better form than here.'

We kept in touch over the years. Mac was always generous and encouraging. Little did we know when The Brightest Smile in Town was released, what accolades lay ahead for Mac Rebennack and Dr. John. From the innovative guitar triumph 'Storm Warning' on the Rex label in 1959, to his 2012 Grammy-winning Locked Down album, Mac’s musical light shone brightly for seven decades. We were fortunate he chose to play for us. I’m sure he’d say that he was lucky too." - Jack Heyrman, Clean Cuts Producer

Japanese pressing, no Obi.

Why you'll love it...
In 1974, Hound Dog Taylor recorded his last studio album; Natural Boogie, appearing here in VMP Classics. The release nearly derailed Alligator Records, its creation was a disaster and Hound Dog himself died of lung cancer less than two years after its release. It’s a record that could have sunk multiple ships; that it sounds so raucous, wild, mercurial and is a downright blast feels incongruous in retrospect.

Bruce Iglauer, the founder of Alligator Records — who produced Natural Boogie, and worked closely with VMP on this reissue — said of the album: “This reissue is important to me because I hope that this is going to reach some people who have no idea who Hound Dog was. He’d be so tickled that people still wanted to hear his music that much later. He just thought of himself as a happy barroom entertainer. He never thought of a legacy, as such. If he had, he might have left a will and then it would’ve been easier to pay the royalties, too (laughs).”

mono pressing

A deep, funk-fuelled Smithstonian double sider, straight outta Memphis. An eerie spiritual soul track ‘Mississippi Mud’ on the A side, paired with an equally low-slung funk number ‘Just Sitting’ on the B. The original changes hands for £250+…so buy or cry! Black label version original black sleeve.

Looking Back is an instrumental album demonstrating Russell’s virtuosity on the harpsichord. Much of the material arose from recording sessions in the mid sixties. The album has remained a ‘must have’ component of every Russell fans’ record collection. By the time this album was released, he was considered to be the biggest concert draw of 1973 by Billboard magazine. Pressed on heavyweight purple vinyl in special edition orange sleeve.

Otis Rush, a giant of modern blues! Capturing the explosive blues of Otis Rush in the 1950’s, this LP compiles the 16 songs he released as singles from Cobra Records!

Rush’s stirring baritone. His slow-burning left-handed guitar playing. The backing band, in lockstep with Rush. It’s almost too much to handle! One listen is all you need to know why Rush is considered a master of low and slow blues! Songs such as “Double Trouble” and “All Your Love (I Miss Loving)”, composed by Rush and recorded for Cobra, are now considered blues standards, and listening to these recordings, it’s clear why. “Laid off and I’m having double trouble”, Rush belts after a slow burning guitar solo intro; and in that moment, you’ll be washed over by every ounce of feeling that he pours into his singing. It’s almost too much!

If you’re not gonna listen to this, what are you gonna listen to? The definitive compilation of Otis Rush’s Cobra singles, now with an obi-strip, Groaning The Blues will have you moaning and groaning!

Cover with golden promo stamp on the front