Back catalogue: Blues

Review: Neo-soul chanteuse Bette Smith is an upcoming talent who lends her tones to the blistering blues guitar work of Kirk Flecther here. The pair take on a cover of The Rolling Stones' classic tune 'Brown Sugar' and do it with real gusto. The drums smash hard, the guitar riffs are big and angular and the vocals re delivered in sleazy fashion. The Tone's quirky pop dance hit 'Dance Monkey' then gets covered don the flip and turned into a psyched out bluesy guitar number with big vocals. It's a unique rework that makes this a collectible 7".

Review: Dynamite Cuts have got another red hot bit of funk on their hands here with Brian Auger's Oblivion Express the subject of this reissue of two of his most blissed out sounds. The first is a magic cover of Marvin Gaye's timeless 'Inner City Blues' from his most iconic album, What's Going On. In this outfit's hands the groove becomes a little more deep and languid, with funky guitars and steamy vocals sinking you into a real romantic vibe. The second is an original tune, 'Voices Of Other Times,' that explores more uplifting soul vibes.

Review: This project stems from the mutual admiration between Daru Jones and Devonne "DJ" Harrison who, upon discovering their collaborations with Jack White, had the idea of blending rock with jazz. DJ Harrison's vintage keyboard skills and Daru's versatility made them perfect for such a rock-influenced project. Legendary guitarist Doyle Bramhall II, a longtime friend of Mr. Mandel, was ideal for the guitar role and after several years they finally got together to record this album in 2022. The result is a first 12" single, mastered at 45 rpm for exceptional sound. Here's hoping there will be more to come.

Review: Celebrating the 75th Anniversary of Atlantic Records, Analogue Productions presents the definitive pressing of Bad Company's second studio album, Straight Shooter, on 180-gram 45 RPM double LP. This reissue, featuring 'Good Lovin' Gone Bad,' is pressed at Quality Record Pressings and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing. Recorded just three months after their 1974 debut, Straight Shooter is a tight collection of eight strong, steady rockers. From the moment 'Good Lovin' Gone Bad' kicks off, it's clear Bad Company expanded their sonic palette. The album showcases vibrant colors: acoustic guitars for light and shade, guitars channeled through chorus pedals, and alternating pianos and organs with the occasional wash of strings. The album reached No. 3 on both the U.K. Albums Chart and the U.S. Billboard 200, and was certified gold by the RIAA a month after its release. Hits like 'Feel Like Makin' Love' and 'Shooting Star' became classic rock staples, and even rockers like 'Deal with the Preacher' benefit from this added muscle. The soulful grooves on 'Anna' and 'Call on Me' highlight the band's dexterity. Michael Ludwigs of 45 RPM Audiophile pressing captures the essence of guitar-driven, blues rock. This reissue of Straight Shooter promises a great listening experience.

Review: Every album bands and artists release usually results in a tour, but not every album bands and artists release is really worthy of all that noise. Not so with British singer-songwriter Elles Bailey, whose first LP for the Cooking Vinyl imprint, Beneath The Glow, explored love and its various forms and guises. The unwavering adoration of two good friends. The rare flames of passion that burn long, not just bright. The heartbreak that follows a love that didn't last all time. You get the point - hyper emotional stuff which resonates universally. Backed by her critically acclaimed band, the record led many to once again position Bailey as a blues, Americana, rock artiste extraordinaire. While we're sure she didn't mind the praise, it's worth noting her view that none of those boxes really suit someone who purposefully plays with, bends and twists genres so freely.

Review: This calls LP from The Big Three Trio is a lively showcase of pre-rock & roll rhythm and blues, swinging boogie-woogie and rich vocal harmonies. Led by Willie Dixon whose bass playing and songwriting would later shape Chicago blues, the trio delivers plenty of direct energy and storytelling charm. Not least with the title track, a playful take on a classic folk tale that highlights their wit and musicianship. With vibrant piano work and smooth guitar licks, the tight vocal arrangements are allowed to soar and help to capture the spirit of 1940s r&b. A great trip back in time.

Review: This is one of a couple of The Big Three Trio albums that are being reissued right now. The threesome in question was a pioneering blues group led by Willie Dixon whose influence shaped Chicago blues in the early years. I Feel Like Steppin' Out captures the trio's smooth harmonies and neat rhythms as well as being united by Dixon's signature bass playing. Blending jump blues, boogie-woogie and early r&b, this one has a lively, feel-good energy and tracks like the title cut are a fine example of the trio's polished yet raw sound which laid the foundation for modern blues and rock. Their sophisticated style and rich vocal harmonies paired with top songwriting would stand them apart today as much as they did back in the 50s.

Review: Black Country Communion's fifth studio album, V, marks the return of the powerhouse supergroup after seven years, showcasing the unparalleled talents of Glenn Hughes, Joe Bonamassa, Jason Bonham, and Derek Sherinian. Fusing the best of British and American classic hard-rock and blues-rock, the album delivers a tour de force of earth-shattering rock music. 'Enlighten,' the latest single from the album, exemplifies the band's evolution both lyrically and musically. Penned by Hughes and Bonamassa, the song delves into themes of self-awareness and spiritual awakening, with Hughes' emotive vocals and Bonamassa's intricate guitar work driving the message home. Produced by Kevin Shirley, the track captures the essence of Black Country Communion's dynamic sound, showcasing their growth and mutual admiration as artists. As a band deeply rooted in rock and blues traditions, Black Country Communion has earned a formidable reputation for their songwriting and electrifying live performances. Enlighten serves as a tantalising preview of the album's full potential, promising a vibrant new chapter for the band and their fans worldwide.

Review: The Black Crowes have never been ones to hide their inspirations. The classically-styled US blues rockers have turned their hands to plenty of covers over the years, and this time they're offering up a short album's worth of renditions under the banner of 1972. The year doesn't so much nod to the songs specifically as the feeling, and a particular era of sound they were aiming for. Given their skin in the game, it's no surprise to hear them nail the likes of 'Rocks Off' and 'Papa Was A Rolling Stone', paying homage and doing their own thing in equal measure.

Review: ***B-STOCK: Box damaged, product in perfect working order***


American blues-slanted rock band the Black Crowes put out their second album The Southern Harmony and Musical Companion back in May 1992. It was the first time Marc Ford had featured on lead guitar in place of Jeff Cease who was sacked the year before. It also marked the first time Eddie Harsch joined on keys and set a record at the time for being the first album to feature four rock number ones, and the album itself also climbed to the top spot in the Billboard 200 album chart. Its mix of blues and Southern styles often sees the album being included in lists of the best rock albums of all time.

Review: The southern rock back from Georgia, The Black Crowes saw huge success in the early 90s with multi-platinum success and even a number one album in America in mid-1992. They've been through a few ups and down since, and here comes their first album in over 15 years. It's their tenth overall, with this vinyl version coming on 180gram from Silver Arrows records, and with a world tour also pending, Black Crowes fans will be filling their proverbial boots in 2024.

Review: There are moments in the spellbinding and often criminally overlooked Blue Cheer anthem, 'Summertime Blues', when it feels like we've descended into the depths of industrial guitar chaos. A cacophony of feedback, growls, and low, rumbling refrains. A pithy reinterpretation of Eddie Cochran's 1958 hit single, here rendered obtuse for the second, decidedly less-radio and commercial-friendly rock 'n' roll generation.

The whole version plays out in a way that's much like we can imagine Jimi Hendrix might have made happen. Grizzled, gritty, fraught and, ultimately, very loud indeed. It's a standout on this triple-A-side of 1967 Blue Cheer demos, three tracks committed to the pantheons when the psychedelic blues and acid rockers were first beginning to focus their energies. But while the aforementioned is the main event, everything here shows why there was so much excitement around them in the first place.

Review: Joe Bonamassa's Live At The Hollywood Bowl With Orchestra is a momentous release capturing his historic debut at the iconic venue in August 2023. With an ensemble of 40 orchestra members, Bonamassa delivers a breathtaking performance that merges blues and rock with grand orchestral arrangements. Led by orchestrators David Campbell, Trevor Rabin, and Jeff Bova, the live album and film showcase Bonamassa's virtuosity and elevate fan-favorite tracks to new heights. The lead single, a live rendition of Bobby "Blue" Bland's 'Twenty-Four Hour Blues,' exemplifies the magic of Bonamassa's guitar work and the seamless fusion of studio elements with live performance. Producer Kevin Shirley praises the cinematic celebration of Bonamassa's music, underscoring his unparalleled standing in the blues-rock realm. The Hollywood Bowl performance marks a "bucket list" event for Bonamassa who is arguably the leading figure in modern blues-rock. Collaborating with a full orchestra adds depth and scale to his music, offering fans a fresh perspective on his wide ranging catalogue.

Review: Boz Scaggs' 1969 album, blending Southern rock, blues and r&b, wasn't a commercial success but it set the stage for his future successes. Recorded at Muscle Shoals with co-producer Jann Wenner, the album captures the raw energy and magic of a remarkable collaboration. Scaggs' smooth, mellow vocals blend seamlessly with the legendary Muscle Shoals rhythm section, led by Duane Allman's iconic guitar work. The album spans multiple genresifrom country-tinged 'Waiting for a Train' to the sultry blues of 'Loan Me a Dime'. The latter, in particular, became a standout, with its extended, fiery guitar solos and a signature groove that captured the imagination of FM rock stations. The album's charm lies in its organic, unpretentious feel, as Scaggs and the musicians create something truly magical over six days of spontaneous recording. It's a celebration of Southern soul with a West Coast twist and it remains a fascinating glimpse into an artist finding his voice in the heart of Muscle Shoals.

Review: Muireann Bradley is a startling new talent in country and bluegrass from County Donegal in Ireland. I Kept These Old Blues absolutely calls back to a golden age of Americana, but Bradley’s Irish lilt comes through and entwines with her faithful Southern twang to make for an endlessly charming end result. Her playing is pitch-perfect, stripped to the bone finger-picking all the better to savour the songs and the way they’re sung. This is the cassette edition of the 2023 album, which is an ideal format to enjoy these charmingly olde worlde yarns sung the way they ought to be.

Review: Jackpot US reissue the 1967 Impulse! standout and instrumental masterpiece from Mel Brown, Chicken Fat. Initially working as a guitar player for such greats as Sonny Boy Williamson & Etta James, Impulse! eventually offered Mel Brown the chance to record his own material. Recorded in 1967 in Hollywood, CA, Brown amassed a group of session musicians who had previously played with Charles Mingus, Marvin Gaye, and Dizzy Gillespie. Much of the album was arranged by Oliver Nelson, who worked with Thelonious Monk, Sonny Rollins, Jimmy Smith and more. His touch is felt all over the record and helps solidify the journey; these sessions reflect the Sunset Strip and the energy of late 60s Los Angeles so accurately that you can almost hear the go-go boots hit the floor.

Review: Pete Brown's The Shadow Club is a journey into the depths of jazz-infused storytelling and one that puts Brown's remarkable talent as a songwriter and performer front and centre. With its rich melodies and evocative lyrics, tracks exude great mystery and intrigue from smoky jazz clubs to moonlit alleyways. The album paints a vivid portrait of urban life as the distinctive vocals and soulful delivery imbue each song with a sense of authenticity and emotion that really makes a lasting impression and blends of jazz, blues, and musical narrative into something utterly absorbing.

Review: The Tone Poet series from Blue Note recently reissued legendary American guitarist Kenny Burrell's self-titled album, which was recorded in 1956 across several of New York's finest venues. Now it looks to his KB Blues album which came a year later and was his third session as a Blue Note label leader in the studio of legendary producer Rudy Van Gelder in New Jersey. His signature playing style comes to the fore with Horace Silver on piano, Hank Mobley on tenor saxophone, Doug Watkins on bass, and Louis Hayes on drums. The album features their take on Silver's 'Nica's Dream' and Burrell's 'Out for Blood' plus two different takes of Burrell's easy-going 'K.B Blues.' A really swinging set.

Review: Kenny Burrell's Guitar Forms stands as a cornerstone of the jazz guitar genre, offering a masterful display of various styles, from the engaging Latin combo performance of 'Moon and Sand' with the Gil Evans Orchestra to the bluesy tones of 'Downstairs' and 'Terrace Theme'. Other highlights include the luxurious treatment of Harold Arlen's 'Last Night When We Were Young.' Burrell's thoughtful and concise solos, along with his switch to acoustic classical guitar on tracks like 'Prelude #2' and 'Loie,' further demonstrating his musical talent. Mastered by Ryan K. Smith at Sterling Sound from the original analogue tapes and pressed onto 180-gram LPs at Quality Record Pressings, this audiophile reissue offers a definitive listening experience. Supervised by Chad Kassem, CEO of Acoustic Sounds, the album is packaged in high-quality gatefold sleeves with tip-on jackets by Stoughton Printing Co. With its rich repertoire and impeccable production, Guitar Forms is a easy purchase for any jazz enthusiast's collection, representing the timeless artistry of Kenny Burrell and his abilities in the jazz guitar genre.