Näytetään tulokset 1–24 / 4008

  • Scott H. Biram - Nothin` But Blood (Käytetty CD)


    The Dirty Old One Man Band Scott H. Biram is back with his ninth studio album titled Nothin’ But Blood. This is his first release since his blues heavy 2011 album, Bad Ingredients. This record is a bit more diverse showcasing his wide range of styles which jumps from blues to country to metal to gospel and back again. Nothin’ But Blood has something that will please any Biram fan.

    This record is all over the place when you consider the various styles of Scott H. Biram. You’ve got heavy rock tracks like ”Only Whiskey”, the punk inspired ”Church Point Girls” and even an instrumental which goes into sludge and stoner metal territory titled ”Around The Bend”. In fact, ”Around The Bend” might be the heaviest thing Biram has ever recorded and it is awesome.

    On the acoustic part of the record, there are several highlights. ”Never Comin’ Home” brings back memories of the classic ”Still Drunk, Still Crazy, Still Blue”. ”Slow & Easy” is sure to be a hit for Biram. It showcases his ability to paint a picture with words, taking you through several scenes which focus on the easy side of life. ”I’m Troubled” is a track that takes you back to the country folk sound Biram featured on the Preachin’ & Hollerin’ album. It’s a style that has been missed on his more recent records which have focused on heavier blues and hard rockers.

    Speaking of blues, there are several tracks which are sure to be crowd-pleasers. ”Alcohol Blues” is on the heavier side of the spectrum, while ”Jack Of Diamonds” brings some solid slide guitar to the table. ”Backdoor Man” is a slow, dirty blues number which could have had a spot on Bad Ingredients.

    While this album has many different themes which cover the wild side and the easy side of life, it’s the gospel tunes which give the record it’s heart and soul. There are a couple of originals here with ”Gotta Get To Heaven” and the album’s lead single ”When I Die”. These are great original gospel tunes which further prove Biram’s versatility as a great songwriter. These songs are accompanied by a couple of traditional gospel tunes with ”Amazing Grace” and ”John The Revelator”. While these songs are great, ”Amazing Grace” was a part of the bonus tracks from Bad Ingredients and it would have been nice to get a different cover this time around.

    On first listen, Nothin’ But Blood can come across as a record that doesn’t know what it wants to be. It jumps from country folk to sludge metal to blues to gospel. It has themes that range from worshiping the Lord to worshiping the bottle and easy women. It’s hard to capture an artist as diverse as Scott H. Biram in one studio record, however Nothin’ But Blood does just that. It’s an album that showcases the many talents of a great performer in his prime.

    Quick View
  • King Freddie - Freddie King (1934-1976) (Käytetty LP/12)


    Orig USA. Original innersleeve.Posthumous compilation album released after Freddie’s death in 1976.

    Quick View
  • Mallard Sam / Various - Sax Mallard In Session – The Mojo 1946 -1954 (CD)


    The latest instalment of Jasmine’s blues and R&B musicians ’In Session’ presents the great Chicago saxophonist Oett ’Sax’ Mallard. Of the hundreds of recordings he made just 26 have been chosen covering an 8 year period from 1946. As a session man he played with some of RCA Victor’s top blues singers. We start with a few of them, playing alto sax with Roosevelt Sykes and Tampa Red from 1946 then a year later clarinet with Washboard Sam, each memorable performances.

    A move to the Chess Brothers’ Aristocrat label saw sessions under his own name including the instrumental ’The Mojo’ and Artie Shaw’s ’Summit Ridge Drive’. The Aristocrat label became Chess in 1950 and another release by Mallard this time with Andrew Tibbs as vocalist. Two tracks from United with Roosevelt Sykes Honey Drippers then a session with Mercury, first with Big Bill Broonzy and on his own with ’The Bunny Hop’. Another Mercury session produced two more instrumentals including ’Accent on Youth’ where his overdubbed alto & tenor creating what has been described as ’an impossible sonic perspective’.

    Back to Chess for two instrumentals with his own orchestra and a couple with the popular Chicago club singer Mitzi Mars. Then with one of the many Chess doo wop groups The Coronets. For the final track he joined Guitar Slim’s New Orleans road band for a session that produced ’Later for You Baby’ and was released on the Los Angeles label Specialty.

    These 26 tracks just scratch the surface of his Chicago recording career but give an insight to what a great artist he was as a session man or in his own right.

    Quick View
  • Kolax King / Various - Those Rhythm and Blues 1948-1960 (CD)



    King Kolax, born William Little in 1912 is the subject of the next instalment in Jasmine’s series of ’backroom boys of jazz, blues and R&B’. From early days he built himself a reputation as a trumpet player but was able to handle a vocal or two. This collection starts with both sides of a very rare 78 on Joe’s Brown’s short lived Opera label showing Kolax’s ability as a blues singer. He & his orchestra stayed with Brown for two more releases this time on J.O.B. before they backed Joe Williams with his self overdubbed version of ’Everyday I Have the Blues’ the Chess Brothers issued on their Checker label. Still on Checker Danny Overbea ’pops’ up with his original version of ’40 Cups of Coffee’ before Bill Haley & the Comets got their hands on it.

    Mabel Scott’s latin-themed ’Fool Burro’ follows featuring Kolax on trumpet & Red Saunders on percussion before Rudy Green’s given a couple of Chances. Then there’s four more Overbea Checker titles including his Italian version of ’Sorrento’.

    Kolax next appears on VeeJay and of the eight titles recorded two were not issued at the time and four appeared later on a French Top Rank LP, all eight are issued together on CD for the first time and includes ’Those Rhythm & Blues’ with Calvin Carter, the A&R head & brother of label owner Vivian Carter, who impersonates a female fan who wants to hear ”those crazy rhythm ’n’ blues.” The misterioso latin instrumental ’Vivian’ was probably named after Vivian Carter. The disc ends with four rare tracks from the late 50s all with a more modern feeling.

    King Kolax is presented here as leader and supporting bandleader showing his musical diversity from the years 1948 until 1960.

    Quick View
  • Kari Sax and His Orchestra - Swinging The Blues 1947-1957 (CD)


    Another edition to the ’backroom boys of soul, blues & R&B’ to go along with Howard Biggs, Red Saunders, Leroy Kirkland and King Kolax. Sax Kari was a major artist in this field and spent most of his life in music, recording for a multitude of labels some of which can be heard here and when not singing he can be heard on guitar or piano.

    Our selection starts with two titles recorded under his own name in 1947 with the Carolina Cotton Pickers, a long established jazz band with Anita Patterson handling the vocal on one, Kari the other, the original version of ’Signifying Monkey’ later recorded by Johnny Otis & many others. Gloria Irving follows with her recording in 1953 of ’Daughter (That’s Your Red Wagon)’ a follow up to Ruth Brown’s ’Mama He Treats Your Daughter Mean’ & it made the Billboard R&B charts at No.8.There’s a selection with Gloria, then Bob ’Detroit Count’ White before a move to Chess with Lena Gordon’s only two recordings.

    At this stage in his career Kari switched to the popular vocal group format with the Senators, La Fets & Kitty and The Quailtones before reverting back to the blues with Katie Watkins, a much sort after Checker 45 with Kari as Texas Red, one of his many name changes. He’s also Texas Red with the Contours for the next two titles. Then back to Kari with The Alley Kats & Kitty and Little Sammy Ward before the crazy finish with his orchestra on ’Goldie The Green Eyed Octopus’ a spoof title similar to ’Flying Purple People Eater’ complete with sound effects!

    Here we have brief snapshot of the versatility of Sax Kari, more a major force in the soul, blues & R&R field than a backroom boy.

    Quick View
  • Ace Johnny - The Complete Duke Recordings and More – 1952-1958 (CD)


    An overview of a legendary R&B performer who was one of the biggest R&B performers of the 1950s.

    Contains his entire output for Duke Records including 3 R&B number ones and 5 more Top 10 R&B hits including ’Pledging My Love’ which spent ten weeks in the top spot.

    The perfect way to ’discover’ an artist who only ever had one 7′ single released in the U.K. and that was 7 years AFTER his death!

    The CD also includes two recordings made by other artists in tribute to the singer / songwriter after his accidental death at Christmas 1954.

    The booklet contains a detailed look at Johnny Ace’s life, his death at his own hands along with scans of reviews, labels and press ads.

    Quick View
  • Gray Henry / Various - Henry Gray In Session – 1952-1961 – I’m A Lucky, Lucky Man (CD)


    Where would the Chicago blues scene have been without Henry Gray as mainstay on piano for most of the big stars, names such as Jimmy Rogers, Howlin’ Wolf, Jimmy Reed and Billy Boy Arnold. This CD presents Henry Gray in another of our ’In Session’ series not only with some of these big names but sessions recorded under his own name but never issued at the time.

    His first session was in 1952 with Jimmy Rogers and later that year with Morris Pejoe, both sessions for Chess. In the studio in 1955 with Howlin’ Wolf produced the minor hit ’Who Will Be Next’. Jimmy Reed rarely used piano on his Vee Jay recordings but three from one session has Gray pounding away in the back ground. Henry ’pops’ up in the middle of Billy Boy’s ’Here’s My Picture’ to take an amazing solo.

    A switch to Parrot records with Dusty Brown then a session on Blue Lake under his own name before the classic G. ’Davy’ Crockett track ’Look out Mable’ revered by rock & rollers to this day.

    Finally we have three more from 1961 with Howlin’ Wolf including the iconic ’Going Down Slow’ enhanced with vocal interjections from Willie Dixon.

    This release presents the best of Chicago blues in its heyday with the one of the most talented pianists around at that time; we give you ’HENRY GRAY’.

    Quick View
  • Watson Johnny Guitar - Essential Works 1953-1962 (2LP) (LP)


    A singer/guitarist known for two essential albums in the funk sphere – Ain’t That a Bitch and A Real Mother For You – Johnny Watson was first of all a highly respected bluesman with close ties to the R&B scene of the Fifties. When Johnny Watson’s grandfather died, he left his grandson a guitar, but Grandma insisted that Johnny shouldn’t ever play “the devil’s music” – the blues – on such a “holy” instrument that had accompanied so many gospels… Johnny at once thought about nothing else. In Los Angeles he would spend the Fifties under the influence of Amos Milburn and Chuck Higgins, with whom he played for a time before creating his own group to trawl through every club in the city. “I was doing things like Jimi Hendrix, fifteen years before [him] playing guitar with my teeth, hanging from the rafters and doing double gigs with Guitar Slim … we used to work together in clubs with 30 foot guitarleads, sit on each others shoulders and walk out into the audience”. Johnny “Guitar” Watson’s shows left an indelible mark. He gave each period in his career a personal stamp that made him an original character: he marked every style he played in, whether it was blues, R&B or funk. The first two styles appear on all four sides of this album, leaving the funk for Ain’t That a Bitch and A Real Mother For You.

    Quick View
  • Too Slim And The Taildraggers - Brace Yourself (CD)


    Brace Yourself, the new live album from blues rockers Too Slim and the Taildraggers, is a blistering, high energy live set. Recorded at Ohme Gardens in Wenatchee WA, BRACE YOURSELF shows the band’s true power and versatility as they incorporate many influences into their all-original compositions: Songs like ”Mississippi Moon”, ”Fortune Teller”, ”Cowboy Boots” and ”Devil in a Doublewide” display a mix of Classic Rock, Blues Rock and Americana influences. ”Blood Moon” and ”Twisted Rail” conjure up images of Robin Trower and Jimi Hendrix. ”When Whiskey Was My Friend” could easily have been a track on a ZZ Top album circa 1976. ”Letter” and ”Good Guys Win” are modern nods to Chuck Berry with a hint of Psychobilly. ”Free Your Mind” has a feel of early electric Bob Dylan, and ”My Body” and ”Givers and Takers” have an ethereal quality of late 60’s rock. All the songs also have an obvious tip of the hat to early electric Blues and Blues Rock. Brace Yourself for a hell of a ride!!!!!

    Quick View
  • Morrison Van - Moving On Skiffle (2CD) (CD)


    It should come as no surprise that Van Morrison has made an album inspired by skiffle. Van Morrison’s love of skiffle dates back to his childhood. He would hang out at the famed Belfast record store Atlantic Records, where he’d hear early 20th century folk, blues and jazz from the likes of Lead Belly and Jelly Roll Morton. So when he heard Lonnie Donegan’s take on ‘Rock Island Line’ he intuitively understood the music he was creating. Before long, Van Morrison was playing with a skiffle band in school. Several decades on, Van Morrison now revisits his love of the genre with his new album ‘Moving On Skiffle’.

    Quick View
  • Various - Sin On Saturday, Pray On Sunday Vol. 3 – Shake That Thing (CD)



    Sin On Saturday, Pray On Sunday 03, Shake That Thing, is a double-hitting music anthology that is jam-packed with R&B intensity combining pounding blues and stirring up-tempo gospel. The people get wild and raucous on Saturday evening listening to Jump Blues. On Sunday they pray, and repent their sins, at church while singing along to inspirational upbeat Gospel songs. The compelling twenty-eight songs anthology from the years 1948 through to 1963 features wild blues titles from; Boo Breeding, Country Woman, Little Richard, She Knows How To Rock, Jerry McCain and His Upstarts, Run, Uncle John! Run, Leroy Foster and Muddy Waters, Locked Out Boogie which set the scene for the sinful evening. The sophisticated R&B rompers include; Memphis Slim, Big City Girl, Charles Epps, Shake That Thing, Billy Boy Arnold, Here’s My Picture, Little Milton, I’m A Lonely Man and many more. The inspiring Gospel stompers include; Mahalia Jackson, Said He Would, Charles White, Didn’t It Rain, The Sensational Nightingales, To The End, The Colemanaires, This May Be The Last Time, and there are more Gospel stompers to enchant you. The album is perfect for dancing! The pulsating sounds are ideal for Dee Jays, small cellar clubs, the home listener, and those who wish to own albums that are not full of overly reissued titles.

    Quick View
  • Various - More Boss Black Rockers Vol. 7 – Bim Bam Boom (CD)


    Maailman parhaan sarjan jatko!

    As y’all already know, so many similar projects were devoted through the years to white rock and rollers (even the most obscure and unknown) and very little to the people that not only ”originated” this music and played it long before white musicians started to fool around with it. They also continued to play it when black Rhythm and Blues music was suddenly re-named ”Rock and Roll” to appeal to a wider white audience in segregated America and became a multi-racial genre in the mid-1950s. Once again, some tunes are pretty well-known, but the vast majority are not. Chances are that you never-ever heard a lot of the tracks included here – even if a lot of them were pretty popular in the 1950s among both black and white Rock and Roll fans. Most of the artists in this new series (just like the first one) were actually household names in the ”Rock and Roll World” of the ’50s and early ’60s. When Rock & Roll history was re-written from a strictly white rock standpoint only a few black rockers were included (maybe less than a dozen) when actually back in the day almost every African-American R&B act (maybe a MILLION or more) was actually Rock & Roll and white artists were actually a minority for a long time. So ”BLACK” by popular demand here’s to you ”MORE Boss Black Rockers.” DIG IT!

    Quick View
  • Various - More Boss Black Rockers Vol 2 – Hokus Pokus (+ bonus CD) (LP)


    Toka 10 osan sarjaa. ENNAKKOON LOPPUUNMYYTY levy-yhtiöltä. Joten saa tilata heti.

    More Boss Black Rockers Vol. 2: Hokus Pokus serves as a reminder, not to mention introduction of the originators of this wonderful genre of music, who had the creativity and vision to bring these wild and dangerous sounds to life, included within the very grooves of this magnificent artefact which, if you are reading this, you are now the proud recipient of. By containing a thoroughly compelling line-up of rock ‘n’ roll, and one that also serves as a history lesson, the final words on this chapter are quite simply, “Hail, hail More Boss Black Rockers Vol. 2: Hokus Pokus!”. Contains a 28 track CD!

    Quick View
  • Kirkland Leroy - Thrill-La-Dill (CD)


    Leroy Edward Kirkland aka Claude Cloud was primarily a jazz and rhythm & blues guitarist, who also worked behind the scenes as; a composer, conductor, session leader, and arranger. He is largely unknown to the general public and media-wise he is mainly confined to the annals of musical history, and his importance is not overtly acknowledged. The intention of this tribute to Leroy Edward Kirkland’s songwriting skills is to focus on his up-tempo titles which will entertain you at home, please the couples who enjoy dancing and bring his name into vernacular speech.

    Quick View
  • Various - Boss Black Rockers Vol 9 – Crackerjack (LP)


    Dear Cats and Kittens, dig this cool array of killer black rock and roll from the ”Golden Age” of American music. So many similar projects were devoted through the years to white rock and rollers (even the most obscure and unknown) and very little to the people that not only ”originated” this music and played it long before white musicians started to fool around with it. They also continued to play it when black ”Rhythm and Blues” music was suddenly re-named ”Rock and Roll” to appeal to a wider white audience in segregated America and became a multi-racial genre in the mid-1950s. Some tunes on ”Boss Black Rockers” are pretty well-known and some are pretty obscure – even if a lot of those were actually pretty popular in the 1950s among both black and white Rock and Roll fans. Most of the artists in this series were actually household names in the ”Rock and Roll World” of the ’50s and early ’60s. I sure hope with this great series to finally set things straight. After the massive success of this series on CD, we finally decided to release ”Boss Black Rockers” on vinyl LPs, cherry-picking the best songs ( a very hard task) from each and every volume. Dig it!

    Quick View
  • GA-20 - Live In Loveland (Pink Swirl) (LP)



    As the momentum continues to build for old-school blues rock trio GA-20, the band takes their expanding fanbase by storm with the release it’s first full-length live LP, Live In Loveland!. Featuring 11 rowdy, blistering performances (including five songs from 2022’s Crackdown, three from their 2019 debut Lonely Soul and three previously unrecorded tracks), Live In Loveland! Captures GA-20 feeding off the energy of the wall-to-wall crowd and delivering each song with raw emotion and body-shaking force.

    Live In Loveland! #mixes band originals and vintage covers, from early electric blues and honky-tonk country to proto rock ’n’ roll, all performed live with deep feeling and punk energy. The album was recorded direct-to-tape on a vintage Tascam 388 at Plaid Room Records in Loveland, Ohio, home of the famous Colemine record label. Produced by Stubbs and engineered by Colemine owner Terry Cole, the band blasts out of the gate playing Harold Burrages’ I Cry For You, before tearing into Little Walter’s obscure gem My Baby’s Sweeter. The previously unrecorded original Hold It One More Time proves to be an instant classic, sitting seamlessly next to the vintage covers on the album. According to guitarist Matthew Stubbs (whose resume includes playing with blues legends Charlie Musselwhite and James Cotton, among others), ”There is a special type of energy that is exchanged when we play in front of a live audience, and we definitely feed off of that and wanted to capture that. I love the power and energy of the best live blues albums. Historically, some of the most iconic blues and jazz records have been live ones. B.B. King’s Live At The Regal changed my life. So did Hound Dog Taylor’s Beware Of The Dog!, and Albert King’s Live Wire/Blues Power. We really wanted to continue that tradition and do one of our own.” Since they first hit the scene in 2018, GA-20 have quickly become the trailblazers of the nascent traditional blues revival. It’s a movement GA-20 kicked into gear with their debut album Lonely Soul on Colemine/Karma Chief Records. Two more full length releases – including 2022’s critically and popularly acclaimed Crackdown – and years of nonstop national and international touring has firmly cemented the band as one of the blues’ most significant young acts, bursting at the seams with talent. In December 2022 and January 2023 respectively, legendary magazines Vintage Guitar and Guitar Player selected GA-20 for cover features. They also appear on the cover of the December/January issue of the UK’s famed Blues Matters! #magazine. GA-20, according to Rolling Stone, are ”a pure marvel and delight” who play ”100% blues.” The UK’s Guardian says, ”GA-20 keeps things simple and fierce… scything, growling riffs, driving grooves, blistering boogies and defiant vocals.” Living Blues magazine declares, ”GA-20’s loose, raw, high-energy approach to the blues [is] guaranteed to get anyone with a pulse on to the dance floor. Riotously happy house rockers… they deliver sweaty, raucous grooves all night long.” But it’s not just the critics talking, as the band receives regular radio airplay from coast to coast and all around the world, from SiriusXM’s Bluesville to the BBC. Most importantly, the fanbase continues to swell, anxiously awaiting the band’s next move. Amazingly, GA-20’s full-length albums – 2022’s groundbreaking Crackdown, 2021’s tribute album GA-20 Does Hound Dog Taylor: Try It… You Might Like It!, and the 2019 EP LIVE: Vol. 1 – debuted at the #1 position on the Billboard Blues Chart. 2019’s Lonely Soul debuted at the #2 position. According to Stubbs, ”GA-20 is a band meant to be heard live, and we are most in our element in front of an audience.” Now, with Live In Loveland!, the band is thrilled to document the power and passion of their live performances. ”We love making records but performing live is even more important to us. Playing live as much as we do, we’re finding more and more that people are discovering how cool it all is.”

    Quick View
  • Smith "Primitime" Jimi & Corritore Bob - The World In A Jug (CD)


    These Chicago veterans deliver a collaboration of hard-hitting, real-deal blues. Jimi Primetime Smith is son of blues woman Johnnie Mae Dunson and learned guitar from Jimmy Reed as a teenager. Blues harmonica ace Bob Corritore has been teaming with Jimi for the last 7 years and this album documents their musical adventures so far! Lots of good, rowdy blues fun contained in the 10 songs! Two modern day Chicago blues masters!

    Quick View
  • Waters Muddy - Electric Mud (Gatefold Sleeve) (LP)


    ”In an attempt to make Muddy more sellable to his newly found white audience, Chess lumbered him with Hendrix-influenced psychedelic blues arrangements for Electric Mud. Commercially, actually, the results weren’t bad; Marshall Chess claims it sold between 150,000 and 200,000 copies. Musically, it was as ill-advised as putting Dustin Hoffman into a Star Wars epic. Guitarists Pete Cosey and Phil Upchurch are very talented players, but Muddy’s brand of down-home electric blues suffered greatly at the hands of extended fuzzy solos. Muddy and band overhaul classics like ”I Just Want to Make Love to You” and ”Hoochie Coochie Man,” and do a ludicrous cover of ”Let’s Spend the Night Together”; wah-wah guitars and occasional wailing soprano sax bounce around like loose basketballs. It’s a classically wrongheaded, crass update of the blues for a modern audience.”

    Quick View