Blues 334 Items

New West Records is proud to announce the revival of Antone's Records and the renaissance begins with Angela Strehli, one of the most legendary and iconic members of the Antone’s blues family. Mrs. Strehli is back with Ace Of Blues, her first solo release in 17 years and her first record with Antone’s since 1987’s Soul Shake. On Ace Of Blues, Strehli offers 12 rolling & funky tracks that celebrate and honor the classic influences that inspired her 50+ year career. Presented with extensive liner notes and never-before-seen historical photos, Ace Of Blues cements Angela’s legacy as one of America’s premiere blues singers.

Grammy-nominated blues, soul and Americana singer is beloved and honored worldwide for her joyful, defiant music and thrillingly soulful performances. Blame It On Eve is another exhilarating Shemekia Copeland showcase, as her rousing vocals bring the heat to an infectious array of muscular rockers, stomping blues, swampy soul, and heartbreaking ballads. Intense, topical new originals make up most of the tracks and soul-soaked versions of songs by Stevie Wonder and her father, Johnny Copeland, fit right into the mix.

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.

Ealz! Records & brand new label A.D.S team up to pay tribute to the mysterious bluesman and producer : Cleo Page. Born in Louisiana, this L.A.-based musician worked with the great Johnny Otis, hang out on Central Avenue’s clubs and possibly jammed with top West Coast bluesmen like Jessie Allen, Pete “guitar” Lewis, Jimmy Nolen, Lafayette Thomas. Curley Page for some, Sly Williams for others, difficult to follow his career and in definitive, little is known about him despite his “big deal” recently approved by blues specialists : Cleo Page IS the man who wrote and recorded the original Boot Hill, a blues classic covered many times up until now. Cleo Page who lived in California since 14 years-old has been crossing Blues, Rhythm & Blues and protoRock'n'Roll in a personal way. He will run his own labels in the heart of Watts just after the 1965 riots. Those tragic events deeply influenced his laid-back groovy sounds, powerful guitar playing, organ-driven garage Blues with strong political and social messages. Somewhere between the first electric recordings of Howlin' Wolf and… Black Diamond Heavies! You're about to discover 12 rare tracks probably recorded between late ‘60s and early ‘70s. This brand new release includes the ultra-rare track "Black Man part. 1 & 2". Material reissued here for the first time in an arty/artisanal trifold Vinyl LP and a bonus Vinyl 7inch

The earliest days of blues music has its roots in the deep South region of the United States. It was there that the likes of Robert Johnson, Charley Patton, Big Bill Broonzy, and innumerable other performers cut their teeth, performing and recording largely across the states of Tennessee, Mississippi, and various other deep Southern states, gradually spreading to its most famed hometown of Chicago, Illinois. Oft forgotten in these stories is that of the Carolinas, and the surrounding Atlantic Coast. Frequently overshadowed by their Memphis, Chicago, and Mississippi contemporaries, it's an area that contains some of the blues' oldest traditions. This region was home to major traditional blues players like Blind Blake, Tampa Red, and Sam Butler, among many others, and are collected here in the tracks of Guitar Wizards: 1926-1935.

Mighty Sam is a rhythm and blues legend who shook up the blues world with this 1993 release. The great torch bearer of deep soul is caught in top form on this classic album. And now, this gatefold 45rpm edition presented by Analogue Productions makes the album even greater! The four sides of wider-spaced grooves make for reduced distortion and better high frequency reproduction. It's a 200-gram masterpiece from our own Quality Record Pressings, our state-of-the-art LP pressing plant. And the gatefold jacket is hard-core, old-school style - thick cardboard, tip-on, with additional photos and liner notes inside. Sweet. McClain sings soul with incredible power - he knows when to pull the punches and when to cool it down. "Give It Up to Love", the title track, acknowledges his gospel roots; he performs it as a vocal prayer to God asking for wisdom, love, and strength. Bruce Katz's contributions on B-3 Hammond organ expands McClain's sound, particularly on the "Green Onions" - influenced "What You Want Me to Do". The sparsely effective arrangement on "Here I Go Falling in Love Again" brings McClain up front as he cries of being a soul stripped to the bare bones. Kevin Barry's funky bass blows while McClain declares himself as a child of God in "Child of the Mighty Mighty".

The Blues is a unique sound that comes from particular times, places, and people. However, that sound is universal in that it can be used to articulate every human emotion. In this album, I invite listeners from all walks of life to the world of The Blues as it is in 2024. I invite people to engage with the ups and downs we all experience, through this music.

The blues was a black-American innovation in our history that had many facets to it. There are technical components to the blues - standards and vocal phrasing. There are also components to the blues that are more abstract, such as history, geography, even intellectual movements. In this album, I endeavored to use those building blocks to articulate the humanity I see around me - past, present, and future - without compromising the quality, the foundation that the blues provides.

These fifteen original songs are my invitation to everyone out there - whether you’re a blues aficionado or just passing through the genre, I hope you find plenty to engage with.

Celebrating the 75th anniversary of three top 10 R&B singles - “Hobo Blues”, “Hoogie Boogie” and “Crawlin’ King Snake.” This 4-track EP includes the bonus track, “Hastings Street Boogie,” which is also celebrating its 75th anniversary.

It was sixty years ago, in June 1964, when John Lee Hooker entered the British singles charts for the first time with “Dimples,” peaking at #23. The track had been cut for the Vee-Jay label in America some eight years prior in Chicago. “Boom Boom,” issued in the UK in 1963, had already caught the ears and feet of the nascent mod movement. Both songs became live staples on the British blues scene, with The Animals covering both on their debut UK LP issued later in 1964.

But in 1952, way before the sharp-suited mods were attracted to John Lee Hooker’s equally well-cut look and infectious music, the British Vogue label had issued “Hoogie Boogie,” recorded in 1949, on a 78rpm disc. Blues music was for the aficionado back then, and the four tracks on this EP hark back to those earliest recordings by John Lee Hooker. “Hobo Blues,” “Hoogie Boogie,” and “Crawlin’ King Snake” all went Top 10 in the US R&B chart in 1949.

This is unadorned John Lee Hooker, getting to the heart of his blues and boogie, just guitar, vocal, and tapping foot, 15 years before his music caught the ears of a wider and enthusiastic British audience. Decades may have passed, but the music remains fresh and vital.

This EP is housed in a beautiful period-era sleeve drawn and designed by Niall McCormack.

The Blues is a unique sound that comes from particular times, places, and people. However, that sound is universal in that it can be used to articulate every human emotion. In this album, I invite listeners from all walks of life to the world of The Blues as it is in 2024. I invite people to engage with the ups and downs we all experience, through this music.

The blues was a black-American innovation in our history that had many facets to it. There are technical components to the blues - standards and vocal phrasing. There are also components to the blues that are more abstract, such as history, geography, even intellectual movements. In this album, I endeavored to use those building blocks to articulate the humanity I see around me - past, present, and future - without compromising the quality, the foundation that the blues provides.

These fifteen original songs are my invitation to everyone out there - whether you’re a blues aficionado or just passing through the genre, I hope you find plenty to engage with.

"Hoodoo Man Blues" is not only Junior Wells' initial LP appearance, it is damn near the first LP by a Chicago blues band. This is the album that started the collector blues label trend of the late '60s. Chess and a few other labels had reissued 45's by Muddy Waters, Sonny Boy Williamson, Howlin' Wolf, Jimmy Reed, Elmore James, etc., but virtually no one had tried to capture the Chicago blues sound, free of the juke-box/airplay promotional mediums limitations of the 45. This album features the smoking guitar of the legendary Buddy Guy along with a crack rhythm section.

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.

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.

Still shrink wrapped but opened.
Cover as new with slightly dented corners.
Includes original inner sleeve.

Being back in the prairies after decades away opened up boxes of tightly wrapped insanity, delicate stuff, and bizarre things. The joy and sorrow of the place drives me into the Blues studio to make more art for you. It's made with big heart from way out West, to keep you alive and virile.”

Welcome back. Where's the party at? Son Of Dave's 11th album kicks off with homecoming outbursts. After 26 years in London UK he's back in the Canadian Prairies demanding as much attention as always. Themes of flat Midwest cities, classic-rock lovin' truckers, and a weird call for More Mayonnaise will keep his multitude of international fans chuckling. The usual Son Of Dave bag of tricks colours the album: Blues-harmonica, beat-box, cheap electric guitar, and that voice that shouts and croons his own brand of Blues infused old-school R&B.

As always, he messes with different rhythms: Funk, Boogaloo, Rock-Steady, or Techno, always doing it his own way. How do you categorize a Son of Dave album? He's become his own style, loved and shared by millions of fans worldwide. That's why you'll find his music in the Breaking Bad soundtrack and many more. You'll hear it on college radio or boomer generation blues radio programs from Switzerland to Argentina. A true maverick Bluesman.

Most of the record is done completely himself. All writing, instruments, editing, recording, mixing and artwork. You're welcome. Three exceptions are “Where's The Party At” , produced by long-time collaborator Tim Gordine in London, and two recorded on Vancouver Island by Zac Cohen at lovely Woodshop Studios, “Yahoos” and “I Told You All I Know”. The album will be released on July 12th. Four singles will lead up. Plenty of videos and fun coming. Shows and tours forthcoming.