Blues 170 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.

Antibalas’ new studio album, Where The Gods Are In Peace, is an epic Afro-Western Trilogy searching for solace from American political opportunism, greed and vengeance. Through its battle cry of resistance against exploitation and displacement, ANTIBALAS’ long-form compositions investigate oppression in 1800s America that eerily mirror the current state of the country. Three explosive original arrangements cultivate an urgent call to heal a broken system. Ultimately, the sonic excursion lands on an island where love is our first instinct. A new ideology is born opening our hearts to the possibilities of living as one unified people, where all gods are equal and together we prevail.

True to traditional form, Where The Gods Are In Peace pays respect to the forefathers of Afrobeat with compositions spanning nine to 15 minutes in length. With a blessing from the Fela Kuti legacy early in the band’s career, ANTIBALAS has long been revered for re-popularizing the classic Afrobeat sound while adding their distinct New York City grit to the mix. Influences of punk rock, free jazz, and hip-hop seep into their expansive works to define a truly 21st century translation of the Afrobeat genre and beyond.

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.

Clear vinyl!

Still sealed.

Still sealed with hype sticker. Purple vinyl Limited edition.

Like so many other Delta blues musicians of the 1930s and 40s, rock music owes a debt of gratitude to the works of Blind Willie McTell. Considered one of the finest guitarists and vocalists of the era, noteworthy for his then unheard of usage of a 12-string guitar, artists and bands from The Allman Brothers to The White Stripes to Taj Mahal have listed the blind bluesman as a key influence. From the start of his career in 1927, McTell cut numerous singles for Victor Records, and maintained a noteworthy level of popularity in his home of Atlanta, but like many of his contemporaries, his career skidded to a halt during World War II. McTell left music during the 1950s and later passed of a brain hemmorage in 1959. Not long after his passing would come the British blues explosion, which would not only make household names of Eric Clapton and John Mayall, but spark a renewed interest in the material of classic bluesmen like McTell. It wasn't long before innumerable collections of such material came into being. 1927-1935 is one such collection, covering the beginning years of McTell's career, pre-World War II. Many of McTell's earliest recordings for Victor Records are present here, many of which were recorded with his future wife Ruth Day providing duet vocals. Songs such as "Cold Winter Day", "Razor Ball", and "Ticket Agent Blues", which famously would be covered by The White Stripes decades later.

"This release is my way of celebrating the memory of one of the most important figures in early blues and gospel - the great Blind Willie Johnson - who would have turned 125 this year. The recording of his masterpiece "Dark was the night, cold was the ground" (recorded in my favorite recording year, 1927) can be found on the golden records onboard Voyager I and II and was added to the National Recording Registry in 2010, which selects recordings annually that are deemed "culturally, historically, or aesthetically significant". Although his music is often very hopeful, when you look back at his life, hope is not the first word that comes to mind. Willie wasn't blind at birth but became blind at seven years old. Exactly how it happened is uncertain, but one statement is that his aunt accidentally threw lye in his eyes. In his older years a fire took his house, but him being poor and blind and black he wasn't left with much else of a choice than to stay and live in the ruins of his old home. Living in this environment gave him pneumonia which subsequently led to his death. But his beautiful music just might live forever - forever floating in space."

Not known for his acoustic work, Buddy Guy unplugs for a rare album-length excursion into folk blues. The guitarist gets down and dirty with 12 tracks that sound like they were recorded after hours in his living room or on his back porch.

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

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.

Spend any time around Doug MacLeod and the stories from his years of road time with the likes of Big Joe Turner and Pee Wee Crayton start to flow as easily as a brook tickled by a breeze. And you know you're getting to the good part, the climax if you will, when Doug's eyes start to twinkle, his grin grows broader and out of his mouth pop the words »Come to find ...«. MacLeod was a widely acknowledged electric blues guitarist for many years, and the leader of his own band, yielding a number of U.S. and European tours and several albums to his credit. Doug disbanded the group to focus all his energies on his first love, acoustic blues. "Come To Find" is the debut fruit of that effort. And now it's made even more remarkable, with this 45 RPM 200-gram reissue by Analogue Productions. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.The pressing sounds spectacular. You're holding a hefty 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. "Come To Find" is the sound of a consummate bluesman touching the core of his art in a program featuring ten originals by Doug. He is beautifully supported in this intimate setting by harmonica ace Charlie Musselwhite and the Mighty Flyer rhythm section, Jimi Bott and Bill Stuve. This is the album that deserves a place of honor in the music collections of even casual blues fans. And for those who love blues already, this is one of the best-sounding, most original works you'll ever hear.

US reissue from 2016. Black labels. Vinyl with a couple of light scuffs. Copy close to NM

Green vinyl seems unplayed. Still in shrink but opened with hype sticker. Numbered Limited edition. With insert

Ga-20 clearly is on to something big. It's a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the placewhere traditional blues, country and rock `n' roll intersect. "We make records that we would want to listen to," says guitarist Matt Stubbs. "It's our take on the song-based traditional electric blues we love." Stubbs, guitarist/vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It's no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, "Since we started the band we've focused on the story, the melody, and on creating a mood. Playing live as much as we do,we're finding more and more that people are discovering how cool it all is.Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not." With their new Colemine album, Crackdown, and an intensive tour schedule, that's all about to change. On Crackdown, Ga-20's third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019's Lonely Soul and 2021's Try It_You Might Like It! Ga-20 Does Hound Dog Taylor) Ga-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock `n' roll. The album's nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs.

Ga-20 clearly is on to something big. It's a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the placewhere traditional blues, country and rock `n' roll intersect. "We make records that we would want to listen to," says guitarist Matt Stubbs. "It's our take on the song-based traditional electric blues we love." Stubbs, guitarist/vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It's no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, "Since we started the band we've focused on the story, the melody, and on creating a mood. Playing live as much as we do,we're finding more and more that people are discovering how cool it all is.Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not." With their new Colemine album, Crackdown, and an intensive tour schedule, that's all about to change. On Crackdown, Ga-20's third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019's Lonely Soul and 2021's Try It_You Might Like It! Ga-20 Does Hound Dog Taylor) Ga-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock `n' roll. The album's nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs.

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.

Harmonica Frank recorded these tracks for Sun Records in the early '50s! It's definitely blues at the core, but which also has links to Appalachian music.

“Super Super Blues Band” started out merely as “Super Blues”, a conglomerate of blues pillars Bo Diddley, Muddy Waters and Little Walter. When Little Walter bowed out and was replaced by Howlin’ Wolf, they rightfully threw another Super on the name, and went on to release this burning, irreverent and even sometimes hilarious set of drunken, wild-eyed electric blues. Long form jams roll on in a trance as the trio of blues legends flex egos, talking shit to each other, trading off leads and ducking blasts of unexpected wah-wah guitar lines. Songs are peppered with an incredible level of banter between the trio of bandleaders that predicts the call and response sing- talking of early hip hop, laced with random screams in the background that teeter between celebration and danger. That these three ever got into the same room together is a miracle, and that they produced something so intense, energetic and weird is another almost unbelievable feat. The record is special enough as a stand-alone document of this meeting/melting of the minds before you find out the backing band consists of Hubert Sumlin, Otis Spann and freaking Buddy Guy. Lordy. Might have needed one more “super” in there. The record is pressed on limited colored vinyl.

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.

Record is close to NM.

"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.

Two Blues legends Keb' Mo' & Taj Mahal get together and combine forces on the album "TajMo"!!

This release of Lightnin' Hopkins "Soul Blues" completes the series of 25 Prestige label stereo reissues from Analogue Productions. Of the 50 titles (25 stereo, 25 mono) in this reissue series, 49 of them were mastered by Kevin Gray at Cohearent Audio from the original analog tape. For "Soul Blues" Ryan Smith at Sterling Sound created a 24/192K hi-res file from a needle drop on a clean original LP.
This was done because the tape supplied for mastering proved to be from a needle drop itself, not the original, which has been lost since the early 1970s. Smith took the original LP, did a new needle drop and meticulously worked to eliminate the minimal tics and pops that remained. Then he mastered the album for LP and SACD from the hi-res file.

Includes four bonus tracks.

Born in 1886 in Columbus (Georgia), Ma Rainey is considered by most the mother of the Blues. She did a lot to popularize this style among younger generations and will be a direct influence for countless artists. Author of the first hits of the genre (See See Rider Blues and Chain Gang Blues in the 1920s), she will take a young girl by the name of Bessie Smith under her wing and will write songs with Louis Armstrong or Coleman Hawkins.

Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical mo?ments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight" with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's re?nowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new Anti- Records release Carry Me Home-would mark a personal high watermark for both artists. Captured live in the summer of 2011, Carry Me Home showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Nei?ther Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment. "It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical mo?ments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight" with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's re?nowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new Anti- Records release Carry Me Home-would mark a personal high watermark for both artists. Captured live in the summer of 2011, Carry Me Home showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Nei?ther Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment. "It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

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".