Tarjoukset - Sale Items

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  • Johnson Wilko - I Keep It To Myself / The Best Of Wilko Johnson (2LP) (LP)

    33,00 23,00

    2017 release. Continuing his association with the reactivated Chess imprint, the label that issued so many of the tunes that inspired him in his youth, I Keep It To Myself – The Best Of Wilko Johnson draws together 25 tracks recorded between 2008 and 2012 by the legendary guitarist and songwriter with backing largely provided by Norman Watt-Roy (bass) and Dylan Howe (drums), the same rhythm section that performed on Wilko’s enormously successful Going Back Home album with Roger Daltrey.

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  • Dixie Fried - New Deal (LP)

    13,00 3,00

    Jyväskylän lahja maailmalle. Hienoa tex-mex-rockabillyä.

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  • White Knuckles Trio - Got It Bad LP+CD (LP)

    20,00 5,00

    Vuonna 2011 perustetun trion muodostavat monessa liemessä uinut, viimeistään kokopitkän Knucklebonehead – elokuvan myötä Suomen riiviörokkariksi julistettu, 20-vuotistaiteilijavuotta viettävä Knucklebone Oscar, häiriintyneen persoonallinen solisti-rumpali Yukka White sekä Pianisti Hillside Kumpulainen. “Got it bad” on omaleimainen yhdistelmä yhtyeen omia biisejä sekä vanhoja blues- & gospelkappaleita.

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  • Crayton Pee Wee - 1960 Debut Album (Ltd) (LP)

    20,00 15,00
    Bonus Tracks, High Quality, Limited Edition!

    Originally issued in 1960, the album includes previous Modern sides, some of them dating back to 1948. Featured here is a magnificent mix of emotional blues, jump tunes, electrifying boogies, and soulful ballads. Among the highlights you can find the opener “Texas Hop” – a jumpin’ instrumental with a rockin’ guitar solo and wailing sax, and the instrumental smash “Blues After Hours,” as well as great vocal numbers such as “California Women,” “Tired of Travelin’” and “My Everything,” among others. In addition to the original album, this limited collector’s edition includes 2 bonus tracks from the same period: the sumptuous ”I Love You So,” one of Crayton’s biggest hits, and the electrifying “Poppa Stoppa,” a guitar instrumental with exhilarating staccato picks on the high end of the neck.

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  • Jay Willie Blues Band - Hell On Wheels (CD)

    18,00 9,99


    I love this record and the musicians who support the Jay Willie Blues Band. The band has been performing together for over a decade and includes some of New England’s most impressive performers. Vocalist Malorie Leogrande is a performing five-octave range vocalist who holds a MALS degree in Arts and Humanities from Wesleyan University. Drummer Bobby T Torello has been the driving force of bands featuring Michael Bolton, Jefferson Starship’s Grace Slick and the iconic bluesman Johnny Winter. He’s toured the globe sharing the stage with Aerosmith, Foreigner and Stevie Ray Vaughan. Recently I had the honor of performing with Bobby and former Winter bassist Jon Paris at BB Kings Club in New York City to pay a special tribute to the late Johnny Winter’s 72th birthday celebration. Bassist Steve Clarke has performed with two-time Grammy nominee Sherry Winston, The Coasters, The Drifters, Mary Wells, Sam & Dave, toured Europe with trumpeter Laco Deczi’s & Celula New York band and the Chris Tofield Blues Band. Vocalist and Guitarist Bob Callahan has shared the stage with prominent musicians including James Cotton, Matt Murphy, Colin Tilton, Andy Powell, and James Montgomery. Saxophonist Teddy Yakush can be seen regularly with many local bands performing varied genres of music. This is the fourth consecutive Jay Willie Blues Band album which features blues harmonica ace Jason Ricci. Jason has had some great career successes since our ZOHO previous release ”Johnny’s’ Juke Joint” (ZOHO ZM 201510). Most notably, Jason contributed to the Johnny Winter 2015 Grammy-winning Best Blues Album ”Step Back”. Jason also performed at the 2015 Rock and Roll Hall of Fame Induction of The Paul Butterfield Blues Band where he gave a slaying performance of ”Born In Chicago” along with Tom Morello on guitar and Zac Brown on vocals.

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  • Wilson Kim - Take Me Back – The Bigtone Sessions (CD)

    20,00 17,00

    Kim Wilson’s first solo recording in since 2017.

    After 17 years, Kim Wilson (leader singer of the Fabulous Thunderbirds) has rejoined M.C. Records for his upcoming and 7th solo release, ”Take Me Back.” The recording is Kim’s first solo release in three years. In 2001 and 2003, M.C. Records released ”Smokin’ Joint” & ”Lookin’ For Trouble”, both were nominated for Grammy Awards.

    ”For the last 17 years, I have had fond memories of working with Mark Carpentieri at M. C. Records. When we met before the award-winning, Big Jack Johnson BBQ sessions I was very impressed with his positive productivity. He runs a tight ship and is always working very hard on your behalf. I’m looking forward to our journey on this next record and thanks for welcoming me back aboard!”
    Kim Wilson

    ”Take Me Back” is deep, authentic, and filled with the gut-wrenching blues sounds Kim has made famous for over 40 years. Recorded live in the studio and mono at Bigtone studios, Kim delivers the blues as his heroes did in the golden age of the genre in the 1950s. Kim and his all-star band muscle through 16 tracks with some new Wilson songs and a mix of some great blues and R&B nuggets by the likes of Jimmy Rogers, Guitar Gabriel, Jimmy Nolan, Larry Williams and more.

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  • Cash Johnny - And The Philharmonic Orchestra (LP)

    27,00 17,50

    Nyt Johnny Cash uusinta käsittelyssä. Toimiihan tämäkin hienosti.

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  • Jones Tom - Tom Jones Duets (DVD)

    18,00 7,50

    Recorded in 1981 from Tom Jones ’Coast to Coast’ TV Specials

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  • Johnson Wilko - Blow Your Mind (LP)

    29,00 15,00

    ‘Blow Your Mind’ is Wilko’s first album of new material in 30 years, and is the sound of a man feeling very much alive.

    Joining Wilko on the album are his long-standing band; Norman Watt Roy on bass and Dylan Howe on drums along with producer Dave Eringa who worked with them on the gold-selling album ‘Going Back Home’ with Roger Daltrey. Describing the record as ‘The album I never thought I’d get to write’ it deals with the trials and tribulations that he faced in the last five years, songs such as Marijuana and Take It Easy deal very directly with the terminal diagnosis he was given.

    Speaking about the first sets of lyrics that he’d written in three decades Wilko says “It’s tricky when you get to seventy years old, because what am I supposed to be singing? “I love you, baby, but you done me wrong?” Come on! That’s kind of a problem. But I never thought that I’d be the sort of person to write songs about different sorts of real-life experiences until I got sick”.

    Anyone expecting that Wilko’s particular brand of R&B to be softened by such heartfelt lyrics is in for a surprise, if anything his guitar style of ‘the chop’ as he calls it, is even more aggressive. The introspection of some of the tracks on the album is more than balanced out by the good time upbeat party feel of the title track, Beauty and I Love The Way You Do that have the urgency of Wilko’s earliest work with Dr Feelgood.

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  • Chatham County Line - Speed of the Whippoorwill (LP)

    27,00 15,00

    On their third album in four years, Chatham County Line enlisted producer Brian Paulson to help them bring their raw & ready vision to digital. Featuring ten new Dave Wilson originals, a co-write between him and mandonlinist John Teer, a Teer original, and one by banjoist Chandler Holt, along with a cover of Don Robertson, the formula isn’t all that different — most of this is contemporary bluegrass that could have been recorded in the heyday of the Stanley Brothers or Bill Monroe’s Bluegrass Boys. Speed of the Whippoorwill is more sophisticated, however, mostly in the lyrics of Wilson, who employs humor along with heartbreak in his songs. There is a more Mark Twain-like view of the world, even if it is obvious in places. Check the lyrics to By the Riverside”: ”Skipped out of work, just to ease my thoughts/Went down to the riverside, just to get lost/Got some fishing line and a hickory limb/Sat there thinking about Huck & Jim.” The bluegrass stomp is plentiful here and it always works: ”Company Blues,” ”Rock Pile,” the breakdown ”Savoy Special,” and ”Coming Home.” Less successful are the ballads, such as the Louvin Brothers-inspired ”They Were Just Children” and ”Waiting Paradise.” They’re too long, even as story-songs, and they are wordy and overly redundant of their forbears. However, the swinging bluegrass of ”Day I Die” is tight, melodic, full of killer harmonies, and punchy as all get out. ”Confederate Soldier” is a straight-up country tune with Greg Reading playing pedal steel, and lyrically it works, but again, it takes too long for the story to reveal itself. For those who enjoyed the first pair of Chatham County Line records, this one will not come as a surprise, but will appear more adventurous. For those just coming to the band, either the band’s self-titled debut or Route 23 would be better places to begin. ~ Thom Jurek, All Music Guide”

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  • Brown James - Love Power Peace 3LP (LP)

    65,00 45,00

    2014 first release of the triple vinyl LP set as envisioned by James Brown.Includes deluxe jacket with rare photos & liner notes by Alan Leeds.

    Mastered from Brown’s 1971 mixdown reels, unused until now James Brown’s magnum opus! Love Power Peace is the sound of the Godfather with his youngblood J.B.’s (including Bootsy and Catfish Collins) electrifying a crazed Parisian audience on March 8, 1971.

    Sequenced & mixed by Brown himself for a planned triple album, the set was shelved when key band members departed before it could be issued.

    Here, for the first time, are the sides as intended, exactly as delivered by James Brown Productions to his label in 1971. Brown & the J.B.’s rip through recent singles like ”Sex Machine, ” ”Super Bad, ” ”Give It Up or Turnit a Loose” and ”Get Up, Get Into It, Get Involved” with a metronomic precision laid down by bassist Bootsy Collins and drummer Jabo Starks. ”Ain’t It Funky Now” – formerly a slow, simmering groove – is transformed into a fast, funky tour de force in which newbie Catfish Collins unleashes one of the most badass guitar solos ever, while a medley of three other Brown standards (”Papa’s Got a Brand New Bag”/”I Got You (I Feel Good)”/”I Got the Feelin’ ”) blazes by faster than the Godfather of Soul’s personal Learjet. Interspersed with just the right amount of slow numbers like ”Georgia on My Mind, ”

    it also includes tracks from the show’s supporting acts that were not included on the 1992 CD (which was a remixed, incomplete show).

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  • Neil Fred - Same (Ltd, Coloured) (LP)

    27,00 22,00

    Clear colored vinyl LP pressing.

    A moody NYC masterpiece from The Village circa ’66! New York folk artist Fred Neil’s eponymous second album may not have been a sales smash, but it inspired countless contemporaries, from Jefferson Airplane to Crosby, Stills & Nash, to Harry Nilsson. It was the latter’s cover of ”Everybody’s Talkin’,” featured in the Midnight Cowboy soundtrack, that garnered Neil his greatest notoriety, but the album is full of shimmering, surreal gems, like ”The Dolphins” and the stunning ”Faretheewell.” Neil disappeared into reclusiveness not long after, but his legacy as a thoughtful, complex songwriter lives on. With a deeply resonant voice that exudes a hundred different things at once – pain, joy, weariness, and decades of experience – Fred Neil created an influential body of work that far outweighs it’s modest size. Few artists from the vibrant early ’60s Greenwich Village folk scene had more staying power than this legendary recluse, a figure who inspired the likes of Bob Dylan, Jefferson Airplane, and countless others.

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  • Reed Lulu - Blue and Moody (LP)

    29,00 22,00

    Rare 1958 KING albumi uusintapainoksena!

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  • NRBQ - Workshop (Colored Vinyl, Blue) (LP)

    27,00 22,00

    Limited blue colored vinyl LP pressing. The wildly eclectic New Rhythm & Blues Quintet, better known to it’s worldwide legion of adoring fans as NRBQ (or just the Q!), is the only band on the planet that can play rockabilly, bar-band blooze, Beatles sound-alikes and Sun Ra-style free jazz in the same set and remain standing. By the time keyboardist Terry Adams, vocalist Frank Gadler, bassist Joey Spampinato, drummer Tom Staley and fabulous new guitarist Al Anderson released Scraps, their wonderful second album in 1972, they had relocated from Florida to New Jersey-and, like their name says, they were actually a quintet for the only time in their career. From the infectious ”Howard Johnston’s Got His Ho-Jo Working” to the lovably understated ”Magnet,” Scraps is loaded with NRBQ classics that lived up to the eye-popping press garnered by their self-titled 1969 debut. The Q immediately followed Scraps with 1973?s equally terrific Workshop. Gadler had departed, reducing the Quintet to it’s customary foursome (natch!), but the band never missed a beat with an album that featured the hypnotically chugging ”Come On If You’re Coming,” the mouth-watering ”RC Cola and a Moon Pie” and the ultra-prophetic ”Get That Gasoline Blues.”

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  • Kessel Barney - Live At The Jazz Mill 1954, Vol 2 (LP)

    29,00 22,00

    This is another album of relaxed, swingin’ jazz from Kessel and the Jazz Millers–Pete Jolly-piano, Art Kile-drums, and Gene Stoffel-bass. Like the first volume, these tapes come from a young audiophile who brought his tape machine into the club to record various performers playing there. The sound is warm and actually pretty clean sounding, with a feel of the ’50s. Both volumes are issued on the Modern Harmonic label which is part of the Sundazed label. The disc slips into a pocket in the wallet style cardboard package. There’s a nice two page essay on the inside panels and a track list, photo of the group, and recording info on the back cover.

    This is a good chance for Kessel and/or jazz guitar fans in general to hear a true master of jazz guitar, playing with a small sympathetic group. The ’50s is when Kessel was either near or at the top of jazz polls, and these live tapes will show why that was. Jolly’s piano is also a great feature here. His playing accents Kessel’s lyrical style–listen to ”Tea For Two” as just one example of how well they play together.

    Like the first volume, this album is filled with standards like ”Indian Summer”, ”Blue Moon” (with a nice bass solo), ”I Can’t Get Started” (a beautiful version), ”Godchild” (Kessel’s playing is especially lyrical), and a couple of other tunes. The small club ambience helps define this music–a good example of jazz in a small club that didn’t last a year before closing it’s doors. That fact makes these tapes not only rare, but historic as well. And Kessel’s and the group’s relaxed familiarity with these tunes makes for a good listening experience.

    Kessel fans should check out both volumes. Both are full of Kessel in his prime, backed by a fine pianist and a rhythm section that is never intrusive yet pushed the music along nicely. For swinging, fluid, ’50s jazz guitar, both volumes deserve attention from fans. Both are good examples of what small gigs were like during this era. Can you imagine what it would be like to walk into a small club like the Jazz Mill and hear Kessel during his best years? Both volumes can sit next to other Kessel albums from this prime era.

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  • Cochran Wayne - Same (180 gram, Gatefold) (LP)

    29,00 22,00

    Signed by Chess, Cochran and the Riders released their first LP in 1967. Produced by Abner Spector with sessions at Miami’s Criteria Studios and Muscle Shoals’ Fame Studios, the cleverly-titled ”Wayne Cochran” offered up a mix of popular R&B and soul songs which apparently served as a reflection of the group’s live act. To be honest, if you were looking for something original and ground breaking, this wasn’t the place to start. While Cochran’s performances were quite energetic (having one of the era’s tightest backing bands certainly didn’t hurt), none of the twelve arrangements strayed far from the originals. I’m guessing that most of the things that supposedly made these guys such a killer live act simply couldn’t be replicated on vinyl – not to imply that the collection was bad. It wasn’t. Individually most of the songs were quite good, but it you were familiar with the originals, stripped of Cochran’s in-concert craziness, they simply couldn’t compete.

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