Blues 141 Items

Still sealed with hype sticker. Stuffed corners. Limited edition Multi Coloured vinyl. US reissue from 2018.

Includes booklet.

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.

180 gram vinyl!

Vinyl with foxing. Blue vinyl

2013 reissue. With insert. 180gr vinyl.

CD comes in a soft case, instead of the original crystal case. All booklets included.

Still in shrink, but opened, with hype sticker

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.

Red vinyl in PVC sleeve. Limited edition.

GA-20 was formed by friends Pat Faherty and Matthew Stubbs in Boston, MA in 2018. The project was born out of their mutual love of heavy traditional Blues, R&B, and Rock & Roll of the late 50s and early 60s. Faherty and Stubbs bonded over legendary artists like Lazy Lester, J.B. Lenoir, Earl Hooker, Buddy Guy, Otis Rush and Junior Wells. Feeling a void in current music, the duo have set out to write, record and perform a modern version of this beloved art form. Live, GA-20 is a trio of 2 guitars, vocals and drums. Raw, passionate and honest performance, both on stage and in the studio, is the only goal. "Lonely Soul", the title track to their debut album embodies their sound: raw, cutting, and authentic.

Mexican Singer/Songwriter Graciela Maria has been singing since she was a little kid. Having livied in Mexico City for many years, she was part of the mexican electronic music scene and made music with local producers signal deluxe.

In 2009 she met berlin based producer Robot Koch in New York at his show at Coco66 in Brooklyn.
They started making music together and Grace was featured on Robot's album “Death Star Droid” as well as on the Ep “Listen To Them Fade”. 2009 marked the beginning of a journey both musically and geographically for Graciela, as she moved from Mexico City to Berlin and started playing shows wolrdwide with Robot Koch.
They played everywhere from the Sonar Festival in Barcelona to some obscure art festivals in Bulgaria and Tunesia.

With Many Places, Graciela Maria's stunning debut album, she steps into the light as more than just a featured vocalist on Koch's electronica and dubstep driven compositions: Her own music breathes the vibe of classic singer/songwriters like Tim Buckley and Elliot Smith, with the music and the production being even more organic and live sounding than on the previous Koch tracks. The songwriting took place all over the world, as Graciela traveled and lived in many places recently, accompanied by her little notebook and her digital camera, which she uses to record song ideas on all the time. The topics she deals with are both surreal and personal and leave it up to the listener to be interpretated.

Producer Robot Koch teamed up with friend and fellow musician Sneaky (Fingathing / Ninja Tune) to create this organic and retro futuristic sounding album, that incorporates Double Bass, Live Drums, Cello and other String instruments and well as a subtle touch of cutting edge electronic production which Robot Koch is know for. The track "Many Places" features a string arrangement by Fiora Cutler.

Graciela Maria is an artist to watch out for in the future as she proves to create timeless pieces of music that are appealing to Indie/pop listeners and lover's of electronic music alike.

Mexican Singer/Songwriter Graciela Maria has been singing since she was a little kid. Having livied in Mexico City for many years, she was part of the mexican electronic music scene and made music with local producers signal deluxe.

In 2009 she met berlin based producer Robot Koch in New York at his show at Coco66 in Brooklyn.
They started making music together and Grace was featured on Robot's album “Death Star Droid” as well as on the Ep “Listen To Them Fade”. 2009 marked the beginning of a journey both musically and geographically for Graciela, as she moved from Mexico City to Berlin and started playing shows wolrdwide with Robot Koch.
They played everywhere from the Sonar Festival in Barcelona to some obscure art festivals in Bulgaria and Tunesia.

With Many Places, Graciela Maria's stunning debut album, she steps into the light as more than just a featured vocalist on Koch's electronica and dubstep driven compositions: Her own music breathes the vibe of classic singer/songwriters like Tim Buckley and Elliot Smith, with the music and the production being even more organic and live sounding than on the previous Koch tracks. The songwriting took place all over the world, as Graciela traveled and lived in many places recently, accompanied by her little notebook and her digital camera, which she uses to record song ideas on all the time. The topics she deals with are both surreal and personal and leave it up to the listener to be interpretated.

Producer Robot Koch teamed up with friend and fellow musician Sneaky (Fingathing / Ninja Tune) to create this organic and retro futuristic sounding album, that incorporates Double Bass, Live Drums, Cello and other String instruments and well as a subtle touch of cutting edge electronic production which Robot Koch is know for. The track "Many Places" features a string arrangement by Fiora Cutler.

Graciela Maria is an artist to watch out for in the future as she proves to create timeless pieces of music that are appealing to Indie/pop listeners and lover's of electronic music alike.

Vinyl with a couple of light scuffs, close to VG+

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.

Cardboard 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.

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.

digipack

Copy close to NM. Cover signed on the back.

“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.”

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”.

Original inner sleeve