Mahal, Taj

Vinyl Records and Rare LPs:

	An Evening Of Acoustic Music Used - LP - T&M 1004 Mint 2009 2LP 180gm HQ Import Housed In A Gatefold Jacket. The First Vinyl Edition Of Taj Mahal's Legendary Bremen Concert From October 1993 Is A True Piece Of Art. Not Only Did The Renowned Berlin Visual Artist Henning Wagenbreth Again Design The Cover, He Decided To Come Up With A New Picture For Each Song, The Combination Of Which Constitutes The Album Sleeve. This Wonderful German Visual Artist Proves How Much His Work Is Sparked By His Love For African-American Culture. With These New Paintings, The Classic Mahal Solo/Duo Performances - Howard Johnson Guests On Five Tracks - Is Enriched In A Vibrant And Meaningful Kind Of Way, Adding To A New Listening Experience. more
	Anthology Volume 1 Used - LP - PC 34466 1977 White Label Promo. more
	Everybody Is Somebody Used - 12 - 18 1211 Rare Radio Only White Label Promo 12" Single Housed In A Generic Die Cut White Sleeve With Custom Promotional Sticker. Features "Everybody Is Somebody" B/W "Deed I Do." more
	Giant Step New - LP - GP 18 Factory Sealed 2LP Gatefold Demo Sticker On Back Cover. Probably A 2nd Label. more
	Giant Step / De Ole Folks At Home New - LP - CG 18 Sealed 2LP Gatefold Stereo. Label Variation Unknown. more
	Giant Step / De Ole Folks At Home Used - LP - GP 18 Stunning 1969 360 Stereo Label 2LP Gatefold Original. 1C/1C/1G/1D Stampers. Both LPs Appear Unplayed. “In Less Than 24 Months, Taj Mahal (Guitars/Vocals/Banjo/Harmonica) Had Issued The Equivalent Of Four Respective Long Players. The Electric Giant Step (1968) Was Released Alongside The Acoustic And Decidedly Rural De Ole Folks At Home (1968). The Nine Cuts On Giant Step Feature Support From The Instrumental Trio Of Jessie Ed Davis (Guitar/Keyboards), Gary Gilmore (Bass) And Chuck Blackwell (Drums). They Back Taj Mahal On A Wide Selection Of Covers Ranging From Carole King And Gerry Goffin's "Take A Giant Step" To The Upbeat And Soulful Reading Of The Huddie Ledbetter Blues Staple "Keep Your Hands Off Her"." The Arrangements Are Unique And Offer The Artist's Distinctive Approach. Nowhere Is This More Evident Than The Practically Jovial Mid-Tempo "Good Morning Little Schoolgirl" Or The Freewheeling Abandon That Is Brought To The 18-Wheeler Anthem "Six Days On The Road," Recalling The Version Of "Ain't That A Lot Of Love" From Taj Mahal's Preceding Effort Natch'l Blues (1968). Additionally, Blind Willie Johnson's "You're Gonna Need Somebody On Your Bond" Stands Out With A Strong And Soaring Gospel-Flavoured Score. Giant Step Concludes With "Bacon Fat," A Number Attributed Here Via Garth Hudson And Robbie Robertson Of The Band. Parties Searching For An Apt Introduction When Discovering Taj Mahal's Voluminous Catalogue Are Encouraged To Consider Giant Step As A Highly Recommended Reference Point.” Lindsay Planer, AMG. more
	Giant Step / De Ole Folks At Home Used - LP - CG 00018 70's Era 2LP Gatefold Reissue. Appears Unplayed. more
	Giant Step / De Ole Folks At Home Used - LP - GP 18 1971 2LP Gatefold Reissue On The Red & Gold "1-Eye" Label. With Custom Printed Newspaper Style Inners. Strong VG+ Vinyl With Nice. Cover Shows Ring Wear, With Clean Spine & Light Top And Bottom Seam Rubbing. "In Less Than 24 Months, Taj Mahal (Guitars/Vocals/Banjo/Harmonica) Had Issued The Equivalent Of Four Respective Long-Players. The Electric Giant Step (1968) Was Released Alongside The Acoustic And Decidedly Rural De Ole Folks At Home (1968). The Nine Cuts On Giant Step Feature Support From The Instrumental Trio Of Jesse Ed Davis (Guitar/Keyboards), Gary Gilmore (Bass), And Chuck Blackwell (Drums). They Back Taj Mahal On A Wide Selection Of Covers Ranging From Carole King And Gerry Goffin's "Take A Giant Step" To The Upbeat And Soulful Reading Of The Huddie Ledbetter Blues Staple "Keep Your Hands Off Her." The Arrangements Are Unique And Offer The Artist's Distinctive Approach. Nowhere Is This More Evident Than The Practically Jovial Midtempo "Good Morning Little Schoolgirl" Or The Freewheeling Abandon Brought To The 18-wheeler Anthem "Six Days On The Road"." Similarly, It Recalls The Version Of "Ain't That A Lot Of Love" From Taj Mahal's Preceding Lp Natch'l Blues (1968). Additionally, Blind Willie Johnson's "You're Gonna Need Somebody On Your Bond" Stands Out With A Strong And Soaring Gospel-Flavored Arrangement. The Project Concludes With "Bacon Fat," A Number Attributed Here Via Garth Hudson And Robbie Robertson Of The Band. That Said, It May Be Better-Known From The Man They Called Mr. Rhythm, Andre Williams, Whose Scattered Down-Home Spoken Interludes Punctuate His February 1957 Top Ten R&b Hit -- Which Incidentally Was Created Under The Working Title "Diddle, Diddle Womp, Womp." Parties Searching For An Apt Introduction When Discovering Taj Mahal's Voluminous Catalog Are Encouraged To Consider Giant Step As A Highly Recommended Reference Point." AMG Review By Lindsay Planer. more
	Happy Just To Be Like I Am New - LP - C 30767 First Sealed Copy Of This 1971 Gatefold Original We Have Ever Had In Stock. “Taj Mahal Had Mapped Out A Unique Vision Of Country Blues And Its Ethnographic Sources On His First Three Albums, And His Fourth LP, Happy Just To Be Like I Am, Continued In A Similar Vein While Broadening His Scope At The Same Time. Anyone Who Delivers An Arrangement Of "Oh Susanna" That Marries A Hard-Boogeying Rhythm Section With A Fife As Lead Instrument Is Clearly Not Aiming For A Purist's Approach To The Blues, And Mahal Was Willing To Bring A Bit More Contemporary Rhythm & Blues Into His Formula Here, With The Title Track Boasting The Kind Of Groove And Melodic Lift That Should Have Earned It A Place On The Radio (Through The Fact A Tuba Accompanies An Electric Bass In The Bottom End Might Have Puzzled A Few Programmers), And "Chevrolet" Bubbling With Potent, Organic Funk. But Mahal Was (And Is) Far Too Enamored Of Eclecticism To Make An Entire Album That Follows A Single Direction, And The Steel Drum Reverie Of "West Indian Revelation," The Mixture Of African Percussion And Steel Guitar On "Black Spirit Boogie," And The Acoustic Blues With Tuned Cowbells On "Eighteen Hammers" Are All The Work Of A Man Eager To Twist His Music Into A Variety Of Different Forms. The Best Songs Are Impressive, Mahal's Collaborators Are Stellar (Including Jesse Ed Davis, John Simon, And Kwasi "Rocky" Dzidzornu), And Every Track Is Filled With A Palpable Joy; It's A Fine Collection From One The Most Cheerful Iconoclasts Of The Blues. “ Mark Deming, AMG. more
	Happy Just To Be Like I Am Used - LP - C 30767 1971 Gatefold, Stereo Original. Vinyl Appears Unplayed. "Complimentary Not For Sale" Sticker On Back Jacket. “Taj Mahal Had Mapped Out A Unique Vision Of Country Blues And Its Ethnographic Sources On His First Three Albums, And His Fourth LP, Happy Just To Be Like I Am, Continued In A Similar Vein While Broadening His Scope At The Same Time. Anyone Who Delivers An Arrangement Of "Oh Susanna" That Marries A Hard-Boogeying Rhythm Section With A Fife As Lead Instrument Is Clearly Not Aiming For A Purist's Approach To The Blues, And Mahal Was Willing To Bring A Bit More Contemporary Rhythm & Blues Into His Formula Here, With The Title Track Boasting The Kind Of Groove And Melodic Lift That Should Have Earned It A Place On The Radio (Through The Fact A Tuba Accompanies An Electric Bass In The Bottom End Might Have Puzzled A Few Programmers), And "Chevrolet" Bubbling With Potent, Organic Funk. But Mahal Was (And Is) Far Too Enamored Of Eclecticism To Make An Entire Album That Follows A Single Direction, And The Steel Drum Reverie Of "West Indian Revelation," The Mixture Of African Percussion And Steel Guitar On "Black Spirit Boogie," And The Acoustic Blues With Tuned Cowbells On "Eighteen Hammers" Are All The Work Of A Man Eager To Twist His Music Into A Variety Of Different Forms. The Best Songs Are Impressive, Mahal's Collaborators Are Stellar (Including Jesse Ed Davis, John Simon, And Kwasi "Rocky" Dzidzornu), And Every Track Is Filled With A Palpable Joy; It's A Fine Collection From One The Most Cheerful Iconoclasts Of The Blues. “ - Mark Deming, AMG. more
	Happy Just To Be Like I Am New - CD - MFCD 765 Sealed 1991 Original Master Recording Aluminum CD Housed In Original Lift-Lock Jewel Case. "Taj Mahal Had Mapped Out A Unique Vision Of Country Blues And Its Ethnographic Sources On His First Three Albums, And His Fourth, Happy Just To Be Like I Am, Continued In A Similar Vein While Broadening His Scope At The Same Time. Anyone Who Delivers An Arrangement Of "Oh Susanna" That Marries A Hard-Boogeying Rhythm Section With A Fife As Lead Instrument Is Clearly Not Aiming For A Purist's Approach To The Blues, And Mahal Was Willing To Bring A Bit More Contemporary Rhythm & Blues Into His Formula Here, With The Title Track Boasting The Kind Of Groove And Melodic Lift That Should Have Earned It A Place On The Radio (Through The Fact A Tuba Accompanies An Electric Bass In The Bottom End Might Have Puzzled A Few Programmers), And "Chevrolet" Bubbling With Potent, Organic Funk. But Mahal Was (And Is) Far Too Enamored Of Eclecticism To Make An Entire Album That Follows A Single Direction, And The Steel Drum Reverie Of "West Indian Revelation," The Mixture Of African Percussion And Steel Guitar On "Black Spirit Boogie," And The Acoustic Blues With Tuned Cowbells On "Eighteen Hammers" Are All The Work Of A Man Eager To Twist His Music Into A Variety Of Different Forms. The Best Songs Are Impressive, Mahal's Collaborators Are Stellar (Including Jesse Ed Davis, John Simon, And Kwasi "Rocky" Dzidzornu), And Every Track Is Filled With A Palpable Joy; It's A Fine Collection From One The Most Cheerful Iconoclasts Of The Blues.“ Mark Deming, AMG. more
	Live & Direct Audiophile - LP - CCX 5011 Beautiful 1979 Limited Edition Direct-To-Disc. CC. Unplayed Condition. more
	Live & Direct Audiophile - LP - CCX 5011 Factory Sealed, Limited Edition Direct-To-Disk Recording. 1st Sealed Copy We Have Seen In Ages. Crisp Corners, No Seam Splits. more
	Mo' Roots Used - LP - KC 33051 Mint 1974 Original In Shrink Wrap. 1A/1B Matrixes. more
	Mo' Roots New - LP - KC 33051 Sealed 1974 Original. “Mo' Roots Finds Mahal Stepping Away From The Blues, Choosing Instead To Focus On Reggae. While He Can Often Be Faulted For His All-Too-Academic Approach, With Mo' Roots He Turns In An Album That Truly Expresses His Appreciation And Connection With The Music.” AMG. more
	Music Fuh Ya Used - LP - BS 2994 1976 Test Pressing In White Jacket. more
	Music Fuh Ya' New - LP - BS 2994 Factory Sealed 1977 Original. more
	Music Fuh Ya' Used - LP - BS 2994 1977 Original. Promo Sticker On Jacket. Appears Unplayed. more
	Music Keeps Me Together New - LP - PC 33801 Sealed And Pristine 1975 Original. more
	Natch'l Blues Used - LP - CS 9698 1968 360 Stereo Original, 1B/1B Stampers. Vinyl Appears Glossy. Very Light Ring Wear On Back Cover. “Recorded In The Spring And Fall Of 1968, This Album Opens With More Stripped-Down Delta-Style Blues In The Manner Of His Debut, But Adds A Little More Amplification (Partly Courtesy Of Al Kooper On Organ) Before Moving Into Wholly Bigger Sound On Numbers Like "She Caught The Katy And Left Me A Mule To Ride" And "The Cuckoo" — The Latter, In Particular, Features Crunchy Electric And Acoustic Guitars And Gary Gilmore Playing His Bass Almost Like A Lead Instrument, Like A Bluesman's Answer To John Entwistle. Most Notable, However, May Be The Two Original Closing Numbers, "You Don't Miss Your Water ('Til Your Well Runs Dry)" And "Ain't That A Lot Of Love," Which Offer Taj Mahal Working In The Realm Of Soul And Treading Onto Otis Redding Territory. This Is Particularly Notable On "You Don't Miss Your Water," Which Achieves The Intensity Of A Gospel Performance And Comes Complete With A Stax/Volt-Style Horn Arrangement By Jesse Ed Davis That Sounds More Like The Real Thing Than The Real Thing. "Ain't That A Lot Of Love," By Contrast, Is Driven By A Hard Electric Guitar Sound And A Relentless Bass Part That Sounds Like A More Urgent Version Of The Bassline From The Spencer Davis Group's "Gimme Some Lovin'." Bruce Eder, AMG. Top Recommendation. more
	Natch'l Blues New - LP - CS 9698 Factory Sealed Stereo (Label Variation Unknown, But Likely A 2nd Label). “Recorded In The Spring And Fall Of 1968, This Album Opens With More Stripped-Down Delta-Style Blues In The Manner Of His Debut, But Adds A Little More Amplification (Partly Courtesy Of Al Kooper On Organ) Before Moving Into Wholly Bigger Sound On Numbers Like "She Caught The Katy And Left Me A Mule To Ride" And "The Cuckoo" — The Latter, In Particular, Features Crunchy Electric And Acoustic Guitars And Gary Gilmore Playing His Bass Almost Like A Lead Instrument, Like A Bluesman's Answer To John Entwistle. Most Notable, However, May Be The Two Original Closing Numbers, "You Don't Miss Your Water ('Til Your Well Runs Dry)" And "Ain't That A Lot Of Love," Which Offer Taj Mahal Working In The Realm Of Soul And Treading Onto Otis Redding Territory. This Is Particularly Notable On "You Don't Miss Your Water," Which Achieves The Intensity Of A Gospel Performance And Comes Complete With A Stax/Volt-Style Horn Arrangement By Jesse Ed Davis That Sounds More Like The Real Thing Than The Real Thing. "Ain't That A Lot Of Love," By Contrast, Is Driven By A Hard Electric Guitar Sound And A Relentless Bass Part That Sounds Like A More Urgent Version Of The Bassline From The Spencer Davis Group's "Gimme Some Lovin'." Bruce Eder, AMG. Top Recommendation. more
	Natch'l Blues Used - LP - CS 9698 Beautiful 2nd Label (Originally Released As A 360 Stereo). Appears Unplayed. “Recorded In The Spring And Fall Of 1968, This Album Opens With More Stripped-Down Delta-Style Blues In The Manner Of His Debut, But Adds A Little More Amplification (Partly Courtesy Of Al Kooper On Organ) Before Moving Into Wholly Bigger Sound On Numbers Like "She Caught The Katy And Left Me A Mule To Ride" And "The Cuckoo" — The Latter, In Particular, Features Crunchy Electric And Acoustic Guitars And Gary Gilmore Playing His Bass Almost Like A Lead Instrument, Like A Bluesman's Answer To John Entwistle. Most Notable, However, May Be The Two Original Closing Numbers, "You Don't Miss Your Water ('Til Your Well Runs Dry)" And "Ain't That A Lot Of Love," Which Offer Taj Mahal Working In The Realm Of Soul And Treading Onto Otis Redding Territory. This Is Particularly Notable On "You Don't Miss Your Water," Which Achieves The Intensity Of A Gospel Performance And Comes Complete With A Stax/Volt-Style Horn Arrangement By Jesse Ed Davis That Sounds More Like The Real Thing Than The Real Thing. "Ain't That A Lot Of Love," By Contrast, Is Driven By A Hard Electric Guitar Sound And A Relentless Bass Part That Sounds Like A More Urgent Version Of The Bassline From The Spencer Davis Group's "Gimme Some Lovin'." Bruce Eder, AMG. Top Recommendation. more
	Oooh So Good 'N Blues Used - LP - C 32600 1973 Original With Custom Inner Sleeve. 1B/1A Stampers. Unplayed Condition. more
	Oooh So Good 'N Blues Used - LP - KC 32600 1973 Original Still In Shrink. more
	Recycling The Blues & Other Related Stuff New - LP - PC 31605 Sealed 1972 Textured Cover Original Featuring The Pointer Sisters. more
	Recycling The Blues & Other Related Stuff Used - CD - MFCD 764 1991 Original Master Recording Aluminum CD Housed In Original Lift-Lock Jewel Case. Features The Pointer Sisters. CD And Insert In Excellent Condition. Light Shelf Wear To Case. more
	Satisfied 'N' Tickled Too Used - LP - PC 34103 1976 White Label Promo. LP Looks Unplayed. Radio Station Timing Strip On Front Cover. more
	Sounder Used - LP - S 31944 Mint 1972 Original Soundtrack. Features Lightnin' Hopkins. more
	Sounder New - LP - S 31944 Sealed 1972 Original. NM- Jacket, Aside From Cut Corner. His First Score For A Film, Mixing Tunes With Incidental And And Sfx Tracks. Worth Exploring! more
	Taj Used - LP - 18-8611-1 1986 Original. Features Babatunde Olatunji, Jesse 'Ed' Davis, Garnett Brown, Joyce Wilson And Others. Clean Copy! more
	Taj New - LP - 8611 1 Sealed 1986 Original. Features Babatunde Olatunji, Jesse 'Ed' Davis, Garnett Brown, Joyce Wilson And Others. Custom Song Hype Sticker On The Shrink Wrap. more
	Taj New - LP - 8611 Sealed 1986 Original. Features Babatunde Olatunji, Jesse 'Ed' Davis, Garnett Brown, Joyce Wilson And Others. more
	Taj Mahal Used - LP - CS 9579 Very Hard To Find 1968 360 Stereo Original. Features Ry Cooder. 1C/1C Stampers. Appears Glossy, Unplayed. "Taj Mahal's Debut Album Was A Startling Statement In Its Time And Has Held Up Remarkably Well. Recorded In August Of 1967, It Was As Hard And Exciting A Mix Of Old And New Blues Sounds As Surfaced On Record In A Year When Even A Lot Of Veteran Blues Artists (Mostly At The Insistence Of Their Record Labels) Started Turning Toward Psychedelia. The Guitar Virtuosity, Embodied In Taj Mahal's Slide Work (Which Had The Subtlety Of A Classical Performance), Jesse Ed Davis's Lead Playing, And Rhythm Work By Ry Cooder And Bill Boatman, Is Of The Neatly Stripped-Down Variety That Was Alien To Most Records Aiming For Popular Appeal, And The Singer Himself Approached The Music With A Startling Mix Of Authenticity And Youthful Enthusiasm. The Whole Record Is A Strange And Compelling Amalgam Of Stylistic And Technical Achievements — Filled With Blues Influences Of The 1930s And 1940s, But Also Making Use Of Stereo Sound Separation And The Best Recording Technology. The Result Was Numbers Like Sleepy John Estes' "Diving Duck Blues," With Textures Resembling The Mix On The Early Cream Albums, While "The Celebrated Walkin' Blues" (Even With Cooder’s Animated Mandolin Weaving Its Spell On One Side Of The Stereo Mix) Has The Sound Of A Late '40s Chess Release By Muddy Waters. Blind Willie Mctell ("Statesboro Blues") And Robert Johnson ("Dust My Broom") Are Also Represented, In What Had To Be One Of The Most Quietly, Defiantly Iconoclastic Records Of 1968." Bruce Eder, AMG. more
	Taj Mahal New - LP - CS 9579 Factory Sealed 360 Stereo Original. Features Ry Cooder. "Taj Mahal's Debut Album Was A Startling Statement In Its Time And Has Held Up Remarkably Well. Recorded In August Of 1967, It Was As Hard And Exciting A Mix Of Old And New Blues Sounds As Surfaced On Record In A Year When Even A Lot Of Veteran Blues Artists (Mostly At The Insistence Of Their Record Labels) Started Turning Toward Psychedelia. The Guitar Virtuosity, Embodied In Taj Mahal's Slide Work (Which Had The Subtlety Of A Classical Performance), Jesse Ed Davis's Lead Playing, And Rhythm Work By Ry Cooder And Bill Boatman, Is Of The Neatly Stripped-Down Variety That Was Alien To Most Records Aiming For Popular Appeal, And The Singer Himself Approached The Music With A Startling Mix Of Authenticity And Youthful Enthusiasm. The Whole Record Is A Strange And Compelling Amalgam Of Stylistic And Technical Achievements — Filled With Blues Influences Of The 1930s And 1940s, But Also Making Use Of Stereo Sound Separation And The Best Recording Technology. The Result Was Numbers Like Sleepy John Estes' "Diving Duck Blues," With Textures Resembling The Mix On The Early Cream Albums, While "The Celebrated Walkin' Blues" (Even With Cooder’s Animated Mandolin Weaving Its Spell On One Side Of The Stereo Mix) Has The Sound Of A Late '40s Chess Release By Muddy Waters. Blind Willie Mctell ("Statesboro Blues") And Robert Johnson ("Dust My Broom") Are Also Represented, In What Had To Be One Of The Most Quietly, Defiantly Iconoclastic Records Of 1968." Bruce Eder, AMG. more
	Taj Mahal Used - LP - CS 9579 Very Hard To Find 1968 360 Stereo Original. Features Ry Cooder. 1C/1C Stampers. Appears Glossy, Unplayed. Jacket Has Slight Ring Wear, Hence Price. "Taj Mahal's Debut Album Was A Startling Statement In Its Time And Has Held Up Remarkably Well. Recorded In August Of 1967, It Was As Hard And Exciting A Mix Of Old And New Blues Sounds As Surfaced On Record In A Year When Even A Lot Of Veteran Blues Artists (Mostly At The Insistence Of Their Record Labels) Started Turning Toward Psychedelia. The Guitar Virtuosity, Embodied In Taj Mahal's Slide Work (Which Had The Subtlety Of A Classical Performance), Jesse Ed Davis's Lead Playing, And Rhythm Work By Ry Cooder And Bill Boatman, Is Of The Neatly Stripped-Down Variety That Was Alien To Most Records Aiming For Popular Appeal, And The Singer Himself Approached The Music With A Startling Mix Of Authenticity And Youthful Enthusiasm. The Whole Record Is A Strange And Compelling Amalgam Of Stylistic And Technical Achievements — Filled With Blues Influences Of The 1930s And 1940s, But Also Making Use Of Stereo Sound Separation And The Best Recording Technology. The Result Was Numbers Like Sleepy John Estes' "Diving Duck Blues," With Textures Resembling The Mix On The Early Cream Albums, While "The Celebrated Walkin' Blues" (Even With Cooder’s Animated Mandolin Weaving Its Spell On One Side Of The Stereo Mix) Has The Sound Of A Late '40s Chess Release By Muddy Waters. Blind Willie Mctell ("Statesboro Blues") And Robert Johnson ("Dust My Broom") Are Also Represented, In What Had To Be One Of The Most Quietly, Defiantly Iconoclastic Records Of 1968." Bruce Eder, AMG. more
	Take Taj Used - LP - P 19967 Rare 1987 Columbia Special Products Vinyl Featuring Previously Released Classics. 1A/1A Matrixes. Looks Unplayed And The Only Copy We Have Ever Seen! more
	The Real Thing Used - LP - G 30619 2 LP Gatefold. Recorded Live At Bill Graham's Fillmore East. 1A/1A/1A/1B Stampers. Demo Sticker On Cover. more
	The Real Thing Used - LP - G 30619 Mint 1972 2LP Gatefold Original, 1A/1C/1C/1D Stampers. Recorded Live At Fillmore East. more