LP  Singles  [CD]  DVD  Books  Magazines  LaserDisc  Other
 A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  VW  XYZ  [Blues/R&B]  Country  Jazz  Reggae/Ska  Soul  Soundtracks  Swedish  Vocalists  Compilations

  eBay Store

Ciotti, Roberto - Super Gasoline Blues
(Strange Days POCE-1189 Jap-07 225:-)

Roberto Ciotti (1953–2013) was an Italian bluesman, composer and professional guitarist. Born in Rome, Ciotti began playing the guitar at the age of 12. From 1970 to 1972 he was a member of the jazz band Blue Morning, then he started a solo career as a bluesman, collaborating with Chet Baker, Francesco De Gregori and Edoardo Bennato, among others. His debut album was "Supergasoline Blues", released in 1978.

Vinyl Replica Paper Sleeve
Fuller, Blind Boy - Volume 2
(JSP JSP-7772 UK-06 175:-)

In 2001, in the Hayti district of Durham, NC, a marker was set up outside a branch of the Durham Public Library, where the American Tobacco Trail wends its way. The marker's heading, 'Bull City Blues', paid tribute to a group of long-dead musicians, led by Blind Boy Fuller and Blind Gary Davis, who more than 60 years earlier played for workers gathered around a barbecue stand set up across the street. In the summer of 1939, J.B. Long drove Blind Boy Fuller, Sonny Terry and George (Oh Red) Washington to Memphis for a recording session. Fuller went first, cutting twelve titles, three solo, five with Terry's harmonica, five with Oh Red's washboard (only 'I Want Some Of Your Pie' had both Terry and Red present). Two, 'You've Got Something There' and 'Red's Got The Piccolo Blues', featured a second guitar probably played by Sonny Jones, who cut three titles of his own at the end of the session. The first song recorded, 'I Don't Care How Long', found Fuller playing with a slide; he would use it again in 'I'm A Stranger Here'. The technique matched the melancholic nature of the song but Fuller kept its use in check - leaving space for Sonny Terry to embellish the song with the sensitive interplay and the whooping falsetto flourishes for which he was known. The two takes of 'Baby Quit Your Low Down Ways' are near-identical, while 'It Doesn't Matter Baby' uses the melody of 'Sitting On Top Of The World', and 'Black Bottom Blues' is explained by the final verse's reference to Durham's Hayti district. Oh Red's syncopations and scrapes are back for 'I Crave My Pig Meat' and 'Big Leg Woman Gets My Pay', nurturing the good-time 'feel' Fuller fans expected and enjoyed. That reaches its fullest expression with 'Red's Got The Piccolo Blues', a full-throttle effort, with Fuller shouting, scatting and scraping a pick over the strings above the bridge. That's just the start. There's a feast of fine blues here - all led or inspired by one of the greats!
Healey, Jeff - Hell to Pay
(Arista ARCD-8632 US-90 200:-)

A solid follow-up to Healey's impressive debut, Hell To Pay features some of the guitarist's hottest playing to date.

Tour Edition Pack - Comes in a 7.5" x 7" x 1.5" cardboard box that is styled to look like a shipping trunk.
K-Doe, Ernie - A Real Mother-in-Law for Ya
(Westside WESA-915 UK-02 275:-)

Since his big hit was "Mother-In-Law," a funny song that could easily be perceived as a novelty, Ernest Kador Jr is often dismissed when it comes to the top rank of New Orleans R&B singers. That's an inaccurate assessment, as this delightful compilation proves. Part of the reason, of course, is that these are the Toussaint sessions, and Allen Toussaint is the king of late-'50s and -'60s New Orleans R&B, not only writing classics like "Mother-in-Law," but producing sessions that had precisely the right combination of rolling rhythms, horns, mellow funk, pianos, and warm vocals from the friendly, skilled Ernie K-Doe. He didn't have as rich a selection of material as, say, Fats Domino or Lee Dorsey, but he was at the top tier of the second tier, as this compulsively listenable 29-track collection proves.
Vaughan, Stevie Ray - Couldn't Stand the Weathe
(Epic EK-53927 US-94 175:-)

Stevie Ray Vaughan's second album pretty much did everything a second album should do: it confirmed that the acclaimed debut was no fluke, while matching, if not bettering, the sales of its predecessor, thereby cementing Vaughan's status as a giant of modern blues.

US limited edition 'Master Sound' 24kt GOLD 8-track 20-bit 'Super Bit Mapping' audiophile picture CD album, housed in a 12" x 6" book-style artwork stickered longbox with integral fold-out picture insert.