Blues 74 Items

Vinyl with a couple of light scuffs. Cover with creasing

Original UK Mono pressing.
Writing on label.
Small light scuff on side 2.
Record is close to VG+.
Yellowed cover with faint ring wear on the back.

taped spines. original mono pressing

Record has some hairlines and a few superficial scratches.
Sticker on label.

"Polk Salad Annie" was the song and cadence for delivering White's unmistakable swamp rock sound, which called to mind the sound John Fogerty whipped up on Creedence Clearwater Revival's "Bayou Country" and "Green River". Released in 1969, White's album debut "Black And White" contains some of the best swamp-folk-soul-funk of the era. White grew up in the soggy marshlands of Louisiana, his real-deal deep voice sounding like it's dredged from the bottom of the Delta. Rural life in the dirty south provided the inspiration for witty, sometimes funny, and sometimes poignant lyrics (later Tony Joe would pen the smash "Rainy Night In Georgia"). This Analogue Productions edition is the highest-quality reissue of "Black And White" released to date. It was mastered from the original analog tape by Kevin Gray at Cohearent Audio, and features unsurpassed plating and pressing on 200-gram heavyweight vinyl by Quality Record Pressings, makers of the finest-sounding LPs in the world. The dead-silent LP playing surface captures White's voice and his strong and funky backing band in true analog majesty. Besides "Annie", side one of "Black And White" includes several other White originals. AllMusic judges the best of these to be "Willie And Laura Mae Jones", a song about race relations with an arrangement similar to "Ballad Of Billie Joe", and "Soul Francisco", a short piece of funky fluff that had been a big hit in Europe in 1968. "Aspen, Colorado" presages the later "Rainy Night in Georgia," a White composition popularized by Brook Benton. The second side of Black and White consists of covers of hits of the era, with the funky "Who's Making Love" and "Scratch My Back" faring better than the slow stuff. Dusty Springfield had a minor hit with "Willie And Laura Mae Jones", and White's songs were recorded by other performers through the years, but "Polk Salad Annie" and the gators that got her granny provided his only march in the American hit parade. Highly recommended for fans of Creedence Clearwater Revival, J.J. Cale, and 1960s soul!

"Lightnin'" is among the rewarding acoustic dates Lightnin' Hopkins delivered in the early '60s. The session has an informal, relaxed quality, and this approach serves a 48-year-old Hopkins impressively well on both originals like "Thinkin' 'Bout An Old Friend" and the familiar "Katie Mae" and enjoyable interpretations of Sonny Terry & Brownie McGhee's "Back To New Orleans" and Arthur 'Big Boy' Crudup's "Mean Old Frisco". Hopkins' only accompaniment consists of bassist Leonard Gaskin and drummer Belton Evans, both of whom play in an understated fashion and do their part to make this intimate setting successful. From the remorseful "Come Back Baby" to more lighthearted, fun numbers like "You Better Watch Yourself" and "Automobile Blues", "Lightnin'" is a lot like being in a small club with Hopkins as he shares his experiences, insights and humor with you.

Why you'll love it...
The late '60s were a mixed bag for Muddy Waters. In 1969, Waters needed to pivot, and away from the longhairs. He made ‘Fathers and Sons’.

Ike Turner, a guitarist, pianist, band leader, producer, talent scout... With his diverse talents, he excelled in many fields. In a recent announcement from Rolling Stone magazine, he was ranked 148th in the "250 Greatest Guitarists of All Time," highlighting his undeniable talent as a guitarist. His 1st album "Rock The Blues," recorded in the 1950s and released on Crown Records in 1963, serves as proof of his exceptional skills and originality as a guitarist. P-vine is delightfully reissuing the important album on Japanese edition vinyl with Obi-strip for the first time.

Cover has corner and edge wear but artwork looks great. Clean labels. Quite a few superficial marks and signs of use, however plays without skiping and with only low crackling noise audible in quiet parts.

Why you'll love it...
Tennessee Woman is an undervalued Chicago blues masterpiece, a flawlessly executed showcase for Charlie Musselwhite’s unique blues harp sound, an album that perfectly meshed the urban, raucous sounds of Chicago electric blues of Musselwhite’s adult life and the down-home sound of the Memphis blues of his youth. Musselwhite never set out to be a musician; he just wanted to find a job in Chicago that would allow him some spending money to see the blues musicians he loved. When it came time to make his own records, all of Charlie Musselwhite went into Tennessee Woman, and you can hear it from the first notes.

Jeff Beck's second album, originally released in 1969 and featuring Rod Stewart on vocals and Ronnie Wood on guitar.

Track Listing:

Side A: 1. All Shook Up 2. Spanish Boots 3. Girl From Mill Valley 4. Jailhouse Rock Side B: 5. Plynth (Water Down The Drain) 6. The Hangman's Knee 7. Rice Pudding

Copy close to VG+

Gatefold cover.

Son House was one of the most influential delta blues
singers and was famous for his emotional style of signing
and slide guitar playing. Father of Folk Blues presented
him to the public during the 60s folk revival. The roughness
of his voice and intensity of the metal sounds from his
guitar are prominent on the album. Nine tracks which can
be considered as gems and all telling the story of a hard
working man and the intrigues of life. The blues comes
alive in subjects as women, religion, war and crime. The
album features guitarist and harmonica player Al Wilson,
a founding member of Canned Heat. This release is an
original 1965 re-issue.
During his early 20s Son House turned to the blues after
working as a preacher and pastor. He developed his own
unique playing style, full of emotional layers and rhythmic
melodies. During the American folk music revival he began
performing for young audiences and became known as
the Father of Folk Blues.

Original US pressing.

Still in shrink but opened with hype sticker. 1984 reissue.

US original. Vinyl with many scuffs and hairlines. Cover with shelf wear

2018 reissue. Tiny wear. Original inner sleeve.

Terre Haute pressing. US repress.

Fully licensed ! Ltd to 500 copies. Singer and guitarist Ram John Holder was born in. 1939 in Georgetown, British Guiana, then moved to Cincinnati in 1954, and to the East Coast to work as folk blues singer in the early 1960s. In 1963, he took residency in England where he recorded several albums. Released in 1969 Black London Blues is surely is masterpiece. A socio-political manifesto the album chronicles the trials and tribulations that were the result of being a black-immigrant in London, and it contains all the pathos and pain one can imagine. Self-conscious, as concept albums often are, the record is almost like an audio A-Z or pub guide. It’s funky and represents his own black experience. It is a must have for all the blues revivalist out there, a record to rank along the lines of early Mike Cooper and american stalwarts like Eugene McDaniels or Sixto Rodriguez !

US original mono pressing. Vinyl with scuffs and a couple of small scratches.

Born Booker T. Washington White, Bukka’s trajectory as a blues performer follows a familiar template for his
time. Born in Mississippi, maybe in Houston, MS – maybe in Aberdeen, MS – maybe in 1902, maybe in 1909
or even 1906 he recorded throughout the 1930s. Bukka even recorded while incarcerated in the Mississippi
State Penitentiary aka Parchman Farm. Asked about his time at Parchman White commented “Well, I mostly
played guitar.”
During the 1940s and 50s as Blues moved from the Delta to Chicago, from rural to urban, Bukka’s career went
dormant. And then, like many of his time, his talent was “rediscovered” in the early 60s, in no small part thanks
to a brilliant guitarist in his own right, John Fahey. Performances and all new recordings happened throughout
the 60s, building interest in Bukka White’s Delta roots. This compilation of White’s best early material was first
issued in 1969 (1970 in the US), collecting Bukka’s 78s recorded for Vocalion and Okeh. His influence on rock
performers of that day cannot be understated. He opened for rock bands he’d inspired at venues like The
Fillmore, played his instrument in such a fashion that some said it’s like he was trying to destroy that guitar, his
most famous guitar, a 1933 National Duolian, was even known as “Hard Rock.” And then there’s the fact that
his song “Shake‘em On Down” was so influential on Led Zeppelin that they, “borrowed” from the song for both
“Hats Off To Roy Harper” and “Custard Pie.”
Bukka White was many things, a strong influence on his cousin B.B. King, a cotton picker, a mule driver, a hobo,
a player in the old Negro Leagues, a boxer, a preacher, a convict, a factory laborer and, as celebrated here,
one of America’s blues pioneers.

Bottom spine is torn. Original inner sleeve.

US original, club edition.

Texan country blues kingpin Lightnin’ Hopkins was rated one of the top 100 guitarists of all time by Billboard, and was a notable influence on Stevie Ray Vaughan, among others. Recordings for Aladdin and Gold Star cemented his reputation, and after performing at Carnegie Hall with Pete Seeger and Joan Baez, ‘Mojo Hand’ was a breakthrough hit. The superb 1961 LP Lightnin’ (The Blues of Lightnin’ Hopkins) benefits from the understated presence of King Curtis’ drummer, Belton Evans, and jazz bassist Leonard Gaskin, placing Hopkins’ guitar licks and raspy voice at centre stage, playfully relating heartbreak and woe.

EU reissue.

The son of a slave and of part-Native American heritage, Texan blues songster Mance Lipscomb began recording albums in 1960 after the Arhoolie label became aware of his talents, the work coming at the start of the country blues revival, which he became a key part of. The excellent follow-up Trouble In Mind, released by Reprise in 1961, has top-notch renditions of favourites such as ‘Alabama Bound,’ ‘Ballad of the Boll Weevil’ and ‘Motherless Children,’ the latter with great slide guitar work, yet somehow the LP sold poorly, rendering it a sought-after rarity. Definitely one of Mance Lipscomb’s best!

Santa Maria Pressing.
Ships in a brand new plain sleeve.

Original US mono pressing. Top spine is torn.

Cover with ring, shelf wear. Vinyl with scuffs and hairlines

taped seam split

Original US mono pressing. Tear in top spine.

Still shrink wrapped but opened.
Record is slightly warped but still enjoyable.

Vinyl with scuffs and hairlines. Cover with shelf wear

Promo copy with stamp. tear in spine

Cover has slight wear, seam split in bottom spine,Vinyl has some scuffs and light scratches. Original US mono pressing.

Cover is missing. 1982 reissue.

Seam split.

Japanese pressing with OBI!

Record is close to VG.