Blues / Rhythm & Blues
Result of your query: 2224 products
| Knucklebone Oscar - Songs From My Heart |
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Bluelight Records 2001 | CD | 17.00 € |
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| LABELOGRAPHY - The Major U.K. Record Labels - Jan Pettersson A First Pressing Identification Guide for CBS, Columbia, Decca, Fontana by Jan Pettersson 592 pages, format 169x239 mm HMV, Parlophone and Pye Singles, EPs and LPs 1953-1975 |
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Premium Publishing 2008 | Kirjat | 48.00 € |
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| Lamplighters - Loving, Rocking, Thrilling: The Complete Federal Recordings Of the many, many groups who recorded for the King/Federal/DeLuxe group of labels during the 1950s, few are as deserving of their own legally-licensed compact disc as the Lamplighters. Although just about all their recordings have been reissued in years gone by (with inferior sound and presentation) on bootlegs, "Loving, Rocking, Thrilling" marks the first time that their entire discography has been reissued from pristine transfers that have been made directly from the original master tapes. They have not sounded this good - well, probably ever. Like so many of their LA-based vocal group contemporaries, the Lamplighters were a wild bunch, given to the kind of drinking, doping, fighting and womanizing that would become de rigeur later in the Led Zeppelin era of rock'n'roll. However, they always managed to leave their rock'n'roll excesses at the studio door and to restrict any recorded uproar to their superlative, gospel-charged performances - which were mostly led by one of the greatest voices in the entire history of rock'n'roll music, Thurston Harris. Signed to Federal in 1953 by the label's then-A&R chief Ralph Bass, the group cut enough material to release a dozen sublime 45s (and/or 78s) between then and 1956. It says much for their quality that, although not one of these great records was a hit, the company kept calling them back for session after session in the hope that something they cut would eventually chart. The commercial failure of the Lamplighters' Federal records is difficult to comprehend. Certainly, Thurston Harris's soulful delivery can't be faulted. Like his hero Johnny Tanner of the '5' Royales, his vocal style was way ahead of its time, and looking forward to the soul era rather than to doo wop pioneers like the Ravens and the Brown Dots. Whatever the reasons for the continuous lack of chart success, Federal certainly gave them ample opportunity in the studio to prove their mettle. Sometimes it just comes down to that old saying, "You can have the right stuff, you can make the right moves, but you still have to get lucky." The Lamplighters didn't get lucky. While nothing they cut for Federal DID chart, the Lamplighters eventually found themselves on many other hit records in the second half of the 1950s when - as the Sharps - they did vocal backup for Duane Eddy (Rebel Rouser) and for Thurston Harris when went solo (Little Bitty Pretty One). Eventually, in the early 60s, the Sharps evolved into the Rivingtons and had big hits of their own with the original versions of those rock'n'roll perennials Papa Oom Mow Mow and The Bird's The Word. These Federal sides, though, are where it all began for Thurston Harris, Al Frazier, Leon Hughes, Willie Ray Rockwell and Matthew Nelson. And as you will hear, they stand the test of time most admirably. Whether "loving" or "rocking", the Lamplighters are never less than "thrilling"!! By BILLY VERA & TONY ROUNCE (ACE RECORDS) |
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Ace Records 2005 | CD | 17.00 € |
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| Larry Darnell - I'll Get Along Somehow 15 tracks |
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Route 66 | LP | 15.00 € |
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| Larry Verne / Hollywood Argyles - Mr Custer / Alley Oop re-issue |
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Ripete | Single/EP | 5.00 € |
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| Laura Lee - The Chess Collection 21 tracks |
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Universal Music 2006 | CD | 12.00 € |
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| Laura Lee - Women's Love Rights + I Can't Make It Alone + Two Sides 2CD three LPs from 1971-1974 on this double CD set. 32 tracks |
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Edsel Records 2010 | CD | 15.00 € |
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| Laurel Aitken - Boogie My Bones Early steps of the Godfather of Ska. All songs recorded between 1958-1960 |
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Rumble Records 2011 | LP | 17.00 € |
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| Laurel Aitken - The Pama Years Vol. 1 1969-1971 the legendary godfather of ska. tracks from 1969-1971 |
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Grover Records 1989 | LP | 18.00 € |
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| Laurel Aitken - You Got Me Rockin' / The Blue Beat Years (1960 to 1964) Immediately after landing on British soil in the summer of 1960, Jamaican singing sensation Laurel Aitken was signed by leading independent record company, Melodisc, and over the next few years he provided the ambitious concern with a slew of popular proto-Ska singles that were instrumental in establishing its newly launched Blue Beat subsidiary as the UK’s most recognisable West Indian music imprint. The very best of these historic and hugely influential recordings are gathered on this compilation - most being made available on CD for the very first time - and with original copies of these highly collectable sides almost impossible to obtain at any price, ‘You Got Me Rockin’’ provides an opportunity to enjoy almost all of Laurel’s Melodisc output for a fraction of the price of an old scratched Blue Beat single. Quite simply, this is the most essential original Ska collection of 2010! (from Pressure Drop Records website) |
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Pressure Drop 2010 | CD | 17.00 € |
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| Lavern Baker - Bop Ting A Ling |
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Snaper Music 2009 | CD | 8.00 € |
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| Lavern Baker - I Waited Too Long / You're Teasing Me orig USA pressing. VG |
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Atlantic | Single/EP | 8.00 € Käytetty |
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| Lavern Baker - It's So Fine 2CD - The Compete Singles As & Bs 1953-1959 LaVern Baker was one of the true divas of the mid '50s rock and roll circuit, with her statuesque figure and charismatic persona plus her brashly seductive vocal delivery made LaVern a true star. This wonderful 2CD set includes all of her singles from 1953 to 1959 and features the classic hits 'Jim Dandy', 'Tweedle Dee' and 'I Cried A Tear' along with many other memorable numbers. Her unique vocals were a major influence over the next generation of Soul performers, making this another essential addition to the Jasmine catalogue. With full sleevenotes and chart history to complete the package. |
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Jasmine Records 2010 | CD | 12.00 € |
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| Lavern Baker - Jim Dandy priceless collection- sarjaa.. |
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Collectables 2006 | CD | 10.00 € |
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| Lavern Baker - Lavern |
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Rumble Records 2012 | LP | 17.00 € |
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| Lavern Baker - Lavern / Lavern Baker 2LPs = 1CD. 26 tracks |
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Collectables 1998 | CD | 18.00 € |
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| Lavern Baker - Lavern Baker One of the greatest masterpieces of R&B + R&R !! 140 gram LP. Dolores Lavern Baker, responsible for a couple of dozen hits both on the R&B and Pop Charts of the late 50's, proved capable of melding blues, jazz and R&B styles in a way that made possible the emergence of a new idiom: rock and roll. She was also the first black artist to file a legal grievance against a white artist when she sued competing label Mercury recording artist Georgia Gibbs for covering one of her hits. Although she lost that battle, it set an important precedent! She was also one of the first R&B acts to bring rock and roll to the Ed Sullivan Show, opening the genre to a much wider audience. Lavern Baker is still considered one of the most remarkable female vocalists of her era, creating a sultry yet hard image that inspires female R&B singers to this day. |
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Rumble Records 2012 | LP | 17.00 € |
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| Lavern Baker - Platinum Collection 20 tracks |
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Warner Music 2007 | CD | 8.00 € |
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| Lavern Baker - Precious Memories / Lavern Baker Sings Bessie Smith 24 tracks |
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Collectables 2000 | CD | 19.00 € |
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| Lavern Baker - See See Rider / Blues Ballads 2LPs on one CD. 24 tracks |
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Collectables 1998 | CD | 17.00 € |
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| Lavern Baker - Sings Bessie Smith 12 biisiä |
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Sequel Records | CD | 15.00 € |
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| Lazy Lester - Direct To Disc |
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Blue Heaven Studios 2000 | LP | 23.00 € |
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| Lazy Lester - I'm A Lover Not A Fighter Unlike many of the minor figures in post-war blues who passed on before they gained any recognition, Lazy Lester's music is enjoying something of a renaissance. Since 1987, he has toured the USA and Europe and, as Kim Wilson of the Fabulous Thunderbirds says of him, he continues to be "a great human being, and he plays his ass off!" Born Leslie Johnson in Torras, Louisiana, on June 20th, 1933, Lazy Lester learned to play both harmonica and guitar and, by the age of 19, built up a local reputation on both instruments. He played with Guitar Gable and later began a long recording relationship (on harmonica) with Lightnin' Slim. Three months after his first session with Lightnin', Lester made his own first recordings - I'm Gonna Leave You Baby and Lester's Stomp - for Jay Miller in Crowley, Louisiana. Lester was to become Miller's right hand man in the studio and cut some of his best material there, including the influential I'm A Lover Not A Fighter (a staple cover for '60s white R&B bands). Lester's own favourite songs - Take Me In Your Arms, Sugar Coated Love, The Same Thing Could Happen To You and Lester's Stomp - are all on this great CD collection, a tribute to the Louisiana blues sound of the 1960s, when downhome music wasn't just 'in the alley', it was well and truly 'in the swamp'. Ace Records |
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Ace Records 2009 | CD | 17.00 € |
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| Lazy Lester - Rides Again - Expanded Edition I have been a huge fan of Lazy Lester’s brand of Louisiana swamp blues ever since that fateful day, many years ago now, when John Broven and Mike Leadbitter, of Blues Unlimited fame, introduced me to the Excello label and the production work of J.D. Miller, the label’s owner. I was hooked on Lester’s loping vocal and harmonica styling; the former owing a certain debt to one of the most influential bluesmen of that time, Jimmy Reed, while his harmonica work often appeared to emulate the phrasing and lilt of the accordion, an instrument much maligned, but which has been an all important part of Louisiana’s Cajun and Zydeco cultures. With the use of a pared-down rhythm section, utilising two guitars and assorted percussion to support his vocal and harmonica work, Lester created a sound that was truly unique – and almost irresistible. It had always been part of the master plan for the burgeoning Blue Horizon label – if indeed there had actually been a master plan – to record Lazy Lester, Lightnin’ Slim and Slim Harpo at some future date. It was not until 1987 that I finally succeeded in getting Lazy Lester into a recording studio. Many years of working in the studio in Crowley alongside J.D. Miller made Lester very singular of mind and perceptive as to what was required to get the best results. Those attributes stood him in good stead during these sessions. Musicians to be involved on the planned four-day sessions would be members of the Junkyard Angels, Blues’n’Trouble and special guests Bob Hall, Dave Bronze and John “Big Figure” Martin. The scene was set. I had requested that we should cut no more than three titles that Lester had recorded previously for Excello – and that’s exactly what we got. The others would be chosen from new song demos that had been especially written for the occasion, although only one of those actually made it to the studio and then was never completed – at least, not at that time. Lester had other material that he was anxious to commit to tape and we made the collective decision to also try and jam a couple of items and see what would happen. Now, you will have to take it from me that some US blues musicians can be tricky to work with. Not so with our man Leslie Johnson. He would prove to be open to almost any suggestion but also full of his own ideas – most of them pretty cool too. In an attempt to be as faithful to my good memories of those days back in May 1987, I got in touch with all the musicians that had participated to see if they might have had a different point of view. Everyone was of the same mind: Tim Elliott stating that his abiding memory was of “just how relaxed the sessions were and how everything just flowed – fabulous times”. On the 13 November 1988 “Rides Again” became the recipient of the W.C. Handy 1987-88 Blues Award For Contemporary Blues Album Of The Year (Foreign) presented by the Blues Foundation of Memphis. You could say, that although we might not have expected nor needed that, it was most welcome. By Mike Vernon (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Lazy Lester - You Better Listen recorded in Norway with local group. |
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Bluestown Records 2011 | CD | 18.00 € |
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| Lazy Lester with Jimmie Vaughan - Blues Stop Knockin' |
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Texas Music Group 2009 | CD | 13.00 € |
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| Lead Belly - Black Betty 2LP A Collection of Classic Songs from the Highly Influential Blues & Folk Legend on 2LP Gatefold 180g Vinyl. |
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Not Now Music 2011 | LP | 22.00 € |
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| Lee Allen - Walkin' With Mr Lee loistava R&B / R&R fonisti |
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Collectables | CD | 15.00 € |
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| Lee Maye - Honey Honey / Will You Be Mine re-issue |
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Cash | Single/EP | 5.00 € |
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| Lenny Welch - A Taste Of Honey 20 tracks |
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Ace Records 2007 | CD | 17.00 € |
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| Leo's Five - Direct From The Blue Note Club, East St. Louis Thunderous Hammond grooves complemented by Albert King's blues guitar licks from East St. Louis' favourite house band |
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Ace Records 2008 | CD | 17.00 € |
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| Leroy Carr - How Long How Long Blues |
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Wolf Records 2008 | CD | 17.00 € |
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| Leroy Carr - When The Sun Goes Down 1934-1941 CD Box with Scrapper Blackwell |
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JSP Records 2011 | CD-Box | 28.00 € |
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| Lightnin' Hopkins - All The Classics 1946-1951 5CD 5CDs = 120 magnificent tracks from a blues master |
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JSP Records | CD-Box | 20.00 € |
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| Lightnin' Hopkins - Blue Lightnin' |
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Jewel Records | LP | 13.00 € |
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| Lightnin' Hopkins - Drinkin' In The Blues - Anthology Part 1 16 biisiä |
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Collectables | CD | 15.00 € |
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| Lightnin' Hopkins - His Blues 2CD Sam “Lightnin’” Hopkins’ career stretched across five decades and some 40 plus labels, not counting subsidiaries, though he seemed to settle for long periods with particular producers, burning out many along the way. When the 34 year-old Sam Hopkins entered Radio Recorders Studio in November of 1946 he probably had no idea of that it would lead to a new identity that would stay with him throughout his life. He had been paired with pianist Wilson Smith and the duo were dubbed Thunder & Lightning by producer Eddie Mesner and the soubriquet stuck to Hopkins . Thunder’s recording career clapped out in around 1948. For a couple of years he flipped from Los Angeles’ Aladdin label to Bill Quinn’s Gold Star Records out of Houston before producer Bob Shad took over cutting sides for his own Sittin’ In With and his employers Mercury and Decca. Sessions for Bob Tanner’s Houston-based TNT and a spell at Herald Records in new York drew a continuous eight-year run of recording to an end in the mid-50s. After a brief hiatus, the folk/revival scene of the late 50s and early 60s took Lightnin’ on board and put an acoustic guitar in his hands. At 47 Lightnin’ was “authentic” and was soon hanging with the folk glitterati and earning well off his live performances. The jazz label Prestige picked him up for their Bluesville imprint and cut 10 LPs with him, with the odd side trip to other outlets, including Bobby Robinson’s Fire label for some raucous rockin’ blues. At the same time he found a second home with producer Chris Strachwitz at Arhoolie, producing some of his finest 60s sides there. He was a highlight of the American Folk Blues Festival in 1964 making some of his best live recordings around this time. His useful recording career ended with the 60s and for the rest of his working life he toured comprehensively from New York’s Carnegie Hall to Rotterdam to Tokyo and back to Houston, Texas, his adopted home. Lightnin’ Hopkins had a mixture of styles and much of his work, even later in his career, harked back to a down home blues style from the pre-war era that he had lived through (although he didn’t record at the time). Apart from the more usual lost love and wig wearing subject matter, he also wrote movingly about the time of slavery and the wrongs committed by both white and black people. At times he also acted like a calypsonian, recording bulletins on the news of the day, sometimes literally. He could also boogie with the best if them. Well, you might say, that’s all very well but does the world need another Lightnin’ Hopkins record? Obviously we think it does, when it is the first proper career overview, and acts as a companion piece to Alan Govenar’s inestimable biography His Life and Blues. Also gone are the Aladdin and Sittin’ in With sides swamped in reverb for later LP release and used by the ooc merchants. But then what do you expect from them. Read the book, enjoy the record. By Roger Armstrong (Ace Records) |
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Ace Records 2010 | CD | 23.00 € |
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| Lightnin' Hopkins - Houston Bound |
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Relic Records | CD | 17.00 € |
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| Lightnin' Hopkins - Mama & Papa Hopkins 12 biisiä |
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Blues Journey | CD | 12.00 € |
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| Lightnin' Hopkins - Nothin' But The Blues - Anthology Part 4 15 biisiä |
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Collectables | CD | 15.00 € |
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| Lightnin' Hopkins - Texas Blues Giant 3CD |
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Fantastic Voyage 2010 | 2-CD | 17.00 € |
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| Lightnin' Hopkins - Texas Thunderbolt 4CD 4CDs = 110 tracks + 48 page booklet |
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Proper 2007 | CD-Box | 22.00 € |
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| Lightnin' Hopkins - The Very Best Of 16 biisiä |
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Rhino Records 2000 | CD | 17.00 € |
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| Lightnin' Hopkins - Walkin' This Road By Myself reissue of 1962 Fantasy LP |
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Ace Records | LP | 17.00 € |
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| Lightnin' Moe - Undercover Lover "Undercover Lover" contains 12 originals written by the frontman Morten Stenbaek. This high-energy Danish blues band has the habit of becoming the audiences' favourite act on every festival they choose to play |
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Last Buzz Records 2004 | CD | 15.00 € |
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| Lightnin' Slim / Whispering Smith - High & Low Down/Over Easy For a (some would say thankfully) short period at the beginning of the 1970s, there was a vogue for dressing up the blues with the trappings of the progressive rock and soul of the day. The down-home qualitities of singers like Muddy Waters were swamped by wah-wah guitars, electric pianos, busy rock drumming and overblown horn sections. Muddy's Electric Mud remains a disastrous episode, but other projects often produced more interesting results. The final Excello albums by Lightnin' Slim and Whispering Smith featured additional horn sections (more for the former, less for the latter) but the sheer grit and down-home bluesiness of the singers' vocals, more than compensated for the more adventurous instrumental stylings. Slim's album was produced by Jerry 'Swamp Dogg' Williams and comes with the usual quota of Swamp Dogg quirkiness. Smith's album is far more rootsy, a Louisiana blues affair, with only minor intrusions from the horns. Slim and Smith toured together frequently in their final years and these two 'contemporary' albums fit together as well as the two artists did on stage. (Ace Records) |
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Ace Records 1994 | CD | 17.00 € |
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| Lightnin' Hopkins - Good Rockin' Tonight 16 biisiä |
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Blue Moon | CD | 15.00 € |
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| Lightnin' Hopkins - Houston Town Blues 22 biisiä vuosilta 1946-1952. digipack kansi |
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Saga Blues 2004 | CD | 10.00 € |
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| Lil Green - The Chronological 1947-51 16 biisiä |
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Classics 2005 | CD | 15.00 € |
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| Lil Greenwood - Walking And Singing The Blues Rightly best known for her time as one the main singers for the Duke Ellington Orchestra in the late 50s and early 60s, Lil Greenwood's polished performances in those times always gave more than a hint of her blues and R&B background. The Duke remarked of her "I don't know but what, whether she's better on spirituals or when she's walking and singing the blues." It's that blues background that is the focus of CDCHD 874 - LIL GREENWOOD / Walking And Singing The Blues. This compilation presents her full output for both the Modern label in Los Angeles and the Federal label recorded between 1950 and 1953. Born 18 November 1924 in Pritchard, Alabama, north of Mobile, Lil went to Alabama State College, but always wanted to be a singer. In 1949, after an early failed marriage, she moved to the Bay Area in California to start her professional singing career during which she would be variously billed as Lil, Lilli or Lillie Greenwood. Lil spent three happy years in the early 50s with Roy Milton's & His Solid Senders and the Modern sessions were cut with his band. The first release, in July 1950, was a blues belter Heart Full Of Pain, that was coupled with the up-tempo Boogie All Night Long, featuring Jackie Kelso on alto sax and Camille Howard on piano. The blues ballad and boogie combination was repeated on her next release with the melancholy Ain't Gonna Cry as the ballad and Come Back Baby as the up-tempo side. The later Modern releases kept up this pattern except for the rare Modern 803, released in the spring of 1951, which spotlighted two live performances by Lil with Frank Bull and Gene Norman's "Blues Jubilee". From both the vocal and the guitar performances, these must have been quite some shows! As well as Lil's 8 released Modern sides there are a further four which are released here for the first time commercially. We're treated to Lil's interpretations of Jimmy Witherspoon's Along About Midnite, a lively boogie treatment of Larry Darnell's For You My Love, a reading of the Dinning Sisters' arrangement to Once In A While, and her version of the Orioles' hit It's Too Soon To Know. Although in contrast to Modern, the headquarters of King and Federal Records were based in Cincinnati, Ohio, the label conducted substantial recording sessions on the West Coast. Lil's two sessions for the label were recorded in Los Angeles under the direction of A&R man Ralph Bass, the first in April 1952 and the second in October 1953. The eight Federal recordings tended to have vocal group backing behind the R&B quartet or quintet that accompanied her and thus have a rather different feel from the Modern sides. On the first session, for example, the Four Jacks are in attendance to give a nice group feel to My Last Hour and to Little Willie Littlefield's duet with Lil on Monday Morning Blues. Similar combinations followed, and from the second session Thurston Harris and The Lamplighters are to be heard in good form on I'm Crying' and I'll Go. After her time with Federal Records, Lil returned to the San Francisco area to play the local club scene. Her manager Gloria Gundry managed to interest Duke Ellington into watching Lil sing when his band was in town. Impressed by her performance, he offered Lil a soloist's job with his Orchestra in late '56 and she worked with the Duke and then latterly with his Mercer Ellington, his son, until the early 60s. Lil is still working today and appears at the Jazz Street Club in Mobile, where she recently recorded a CD. By Peter Gibbon (Ace Records) |
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Ace Records 2002 | CD | 17.00 € |
