Blues 285 Items

Unissued gritty & grindin\' blues! Formed in the summer of 1965 by brothers Michael and Dan Erlewine, The Prime Movers Blues Band's dedication was the stuff of legend. Refusing to adopt a faux British Invasion look and turning down an offer from Motown, they played their style of Chicago-inspired blues relentlessly around the Detroit area. Featuring the 'raw power' of a young James Osterberg on drums (who also lends vocals on their sizzling styling of 'I'm A Man'), this first-ever collection of The Prime Movers Blues Band's recordings is fittingly pressed at Third Man in Detroit and includes liner notes from bandleader Michael Erlewine!

180 gram audiophile vinyl
Gatefold sleeve
High quality PVC Protective Sleeve
Includes liner notes

Selected songs from the American rock singer, songwriter, guitarist featuring next to his solo hits “Rainy Night In Georgia”, “Polk Salad Annie” duets with Shelby Lynne, Eric Clapton and many more

Soul-Innovator und Popmusik-Titan: Evergreens des berühmten Sängers und Pianisten.Ray Charles ist Mitglied der Rock and Roll Hall of Fame, Blues Hall of Fame, Songwriters Hall of Fame, Grammy Hall of Fame, Jazz Hall of Fame, Georgia Music Hall of Fame und Florida Artists Hall of Fame. 1998 erhielt er den begehrten Polar Music Prize. Nach seinem Tod wurde ihm 2005 die Grammy Award Show gewidmet. Seine Version von "Georgia On My Mind" wurde 1979 zur offiziellen Hymne des US-Staates Georgia. Ray Charles starb am 10. Juni 2004 im Alter von 73 Jahren an Leberkrebs. Das Label Wagram ehrt den Musiker mit dieser 3-LP-Box inkl Poster.

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.

Original inner sleeve

After years mentoring under Muddy Waters, Howlin' Wolf & Sonny Boy Williamson,
James Cotton developed a reputation as one of the greatest blues players to pick
up a harmonica. By 1967 Cotton was primed to make it on his own. Featuring
fleet-fingered guitarist Luther Tucker and hard-hitting drummer Sam Lay,
Late Night Blues – Live at The New Penelope Cafe showcases a now legendary blues
band at the beginning of their artistic prime.

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.

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.

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.

The main ingredient to a good duet is that of
mutual respect, professional admiration, even
love, which often shines through a particular
performance, and the pairings of Louis
Armstrong with Bing Crosby on the relaxed
“Gone Fishing”, or with Velma Middleton on
“Honeysuckle Rose” or with “The Voice” Frank
Sinatra on “Ad-Lib Blues”, or Ella Fitzgerald
on “Summertime”, the great Louis “Satchmo”
Armstrong significantly being the common
denominator in each duo. Also included are two
rare duets with Billie Holiday on “My Sweet
Hunk O’ Trash” and “You Can’t Lose A Broken
Heart,” while Armstrong and bandleader Louis
Jordan perform an entertaining version of the
classic “You Rascal You”.

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.

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.

Limited edition for Record Store Day 2018!

Her voice was all Saturday night, delivered on a Sunday morning. Patsy on Jesus. Elvis without the pelvis. Fern Jones' only album, released by Dot Records in 1959, captured 36-year-old Sister Fern as she anointed church music with the same untamed energy that younger white Southerners were bringing to their rock 'n' roll. Produced by Mac Wiseman and showcasing crack Nashville session players Hank "Sugarfoot" Garland, Floyd Cramer, Joe Zinkan, and Buddy Harman fresh off their June 1958 session with The Pelvis, Singing A Happy Song should've taken Jones from dusty canvas big tops to the Opry's storied stage. But with no 45 to flog, Jones instead sold nary a record and never did hear herself on the radio. Her fiery rockabilly gospel was a few shades too radical for the conservative, traditional, near puritanical public she played to anyway. Fern Jones: The Glory Road collects her Singing A Happy Song LP and cuts including "Didn't It Rain," from her The Joneses Sing album, into one rousing package, rich with the details and imagery of a brief career spent tethered to the hard ground and gazing skyward. The Glory Road's sound gnaws at the bit and stands in reverence, a runaway rockabilly tent show without a single drop of rain on the horizon.