After two late-'60s albums on Columbia, Johnny Winter hit his stride in 1970 working with Rick Derringer and the McCoys, now recruited as his sidemen and collaborators (and proving with just about every note here how far they'd gotten past "Hang on Sloopy"). In place of the bluesy focus on his first two albums, Winter extended himself into more of a rock-oriented mode here, in both his singing and his selection of material. This was hard rock with a blues edge, and had a certain commercial smoothness lacking in his earlier work. Derringer's presence on guitar and as a songwriter saw to it that Winter's blues virtuosity was balanced by perfectly placed guitar hooks, and the two guitarists complemented each other perfectly throughout as well.

Los Angeles, 1965: Blues enthusiasts Alan "Blind Owl" Wilson (1943-1970) and Bob "The Bear" Hite (1943-1981) together with like-minded musicians found Canned Heat. They name the band after the title of a 1928 song by bluesman Tommy Johnson about a fuel containing methyl alcohol, also referred to as "canned heat", which is misused by alcoholics as a substitute drug. In 1967 drummer Adolfo "Fito" de la Parra who is still a member today joins Canned Heat, while otherwise the band has seen a lot of personnel turnover in the course of its history. One year later Canned Heat's successful hit single "On The Road Again" makes them popular worldwide. Following this chart success they have further hits with "Going Up The Country" (1968) and "Let's Work Together" (1970). In August 1969 Canned Heat are part of the line-up of the legendary "Woodstock Music & Art Fair". Apart from band albums such as their eponymous debut LP from 1967 or "Boogie With Canned Heat" from the following year they are featured on collaborations with genre greats such as John Lee Hooker ("Hooker 'n Heat", 1971), Clarence "Gatemouth" Brown ("Gate's On The Heat", 1973) or Memphis Slim ("Memphis Heat", 1974).

ZZ Top closed out their tenure with London Records in late 1977 with The Best of ZZ Top, a basic but terrific ten-song retrospective of highlights from their first five albums (well, four, actually, since the underwhelming Tejas is ignored). There are no surprises here, just album rock favorites, which means it does draw heavily on Tres Hombres (four songs, total), adds Fandango's "Tush," "Blue Jean Blues," and "Heard It on the X" for good measure, then rounds it out with two songs from Rio Grande Mud and a selection from the debut. Yeah, there are a couple good album tracks missing, but as a ten-song summary of their early years, this can't be beat.

Lynyrd Skynyrd is an American rock band formed in Jacksonville, Florida, in 1964 by Ronnie Van Zant (vocals), Gary Rossington (guitar), Allen Collins (guitar), Larry Junstrom (bass guitar) and Bob Burns (drums). It is best known for popularizing the Southern rock genre during the 1970s. Originally called My Backyard, the band was also known by names such as The Noble Five and One Percent, before finally deciding on "Lynyrd Skynyrd" in 1969. The band gained worldwide recognition for its live performances and signature songs "Sweet Home Alabama" and "Free Bird". Van Zant, along with guitarist Steve Gaines, and backup singer Cassie Gaines, were killed in an airplane crash on October 20, 1977, putting an abrupt end to the 1970s era of the band.

South of I-10 is the fourth studio album from Sonny Landreth. The album features his first collaboration with Mark Knopfler. Sonny Landreth's screaming slide guitar plows right into you and carries you along on its feral journey. This CD opens going for your guts and never quits, though at times its touch is more caressing than careening, as in "Cajun Waltz." This CD got a lot of airplay yet never got tiresome, the true test of good music. A wide variety of slide guitar styles, backed by an extremely tight rhythm section and various other New Orleans musicians adds to the pleasure of the album. This music combines the best of zydeco, New Orleans R&B, Cajun, and rock & roll into one mood-elevating experience. Listen to "Mojo Boogie" next to "C'est Chaud," then go on to "Shootin' for the Moon"; there is no letdown, but there is great variety. A must-buy.

Six weeks before the Allman Brothers Band played the shows immortalized on At Fillmore East, they played three gigs at Bill Graham's left coast venue, the Fillmore West, in San Francisco in January of 1971. They were slotted between openers the Trinidad Tripoli Steel Band and Hot Tuna. These three shows are presented in their entirety in a four-disc set. Sourced from original two-track, reel-to-reel soundboard masters, they were held in ABB crew members Twiggs Lyndon's, Joe Dan Petty's, and Mike Callahan's closets for nearly five decades. They were then acquired by archivist Kirk West, who set the painstaking restoration process in motion. The quality here, while very good throughout, is muddy in some spots (mostly on disc two). In addition to the complete shows, West added a 45-minute "Mountain Jam" from March of 1970 at the Warehouse in New Orleans to disc four to fill it out.

Stone the Crows was a tough-luck, working class, progressive soul band that came out of the pubs of Scotland in the early '70s. They had everything going for them at the start: not one, but two gritty singers, a talented guitarist, a rhythm section that had played with John Mayall, and the name recognition of having Led Zeppelin manager Peter Grant as their producer. Despite favorable reviews by the critics, however, they never managed to sell their hybridized soul music to a large audience. In addition, they lost two of their key members early on, one of whom was tragically electrocuted, and the group broke up after four albums. Their biggest contribution to rock was the immense vocal talent of one Maggie Bell. Winner of several Top Girl Singer awards in Britain, Bell had a raunchy, gutbucket voice that, although it fell short of the naked emotion and range of Janis Joplin's, came probably closer to her style than any other female singer.

Georgia Satellites hail from Atlanta, Georgia. In 1986 they signed to Elektra Records and set about recording their first album with Jeff Glixman. The band’s first single, ‘Keep Your Hands To Yourself’ stormed the US charts, peaking at #2 on the Billboard Hot 100. The band recorded a total of three studio albums for Elektra before Dan Baird left to pursue a solo career. The band continued with numerous changes of personnel but their musical legacy lives on with live performances across the US. The band always enjoyed a reputation for being excellent live and Rick Richards still leads the current line-up of the band on the road. This 3 CD, 53 track ultimate collection focuses on the band’s output whilst signed to Elektra Records. Spanning the years 1986 to 1990, the band released three studio albums and various singles that feature on this collection plus the related bonus tracks taken from the band’s b-sides and 12” releases.

Out on the road in the 2020s, the Doobie Brothers feature Michael McDonald, but when it comes time for the group to cut a record, the band whittles down to the trio of Tom Johnston, Patrick Simmons, and John McFee. Naturally, this means Liberté – the Doobies' first album of new original material since 2010's World Gone Crazy – sounds closer to a refurbished version of Toulouse Street or The Captain and Me than Takin' It to the Streets; there's no funky soft rock or smooth blue-eyed soul, just a lot of straight-ahead rock & roll. While Liberté may be old-fashioned in its aesthetic, this trio of Doobies take pains to make the album sound contemporary, dressing it in glassy production, generously adding electronic rhythms, and vaguely addressing the turmoil in the modern world. All this flair may announce Liberté as a 2021 album, but the record works because the Doobies remain dedicated to the rocking boogie they've been playing for 50 years.

These are the earliest-known recordings of Canned Heat with the primordial lineup of Alan "Blind Owl" Wilson (guitar/harmonica/vocals), Stuart Brotman (bass), Henry "Sunflower" Vestine (guitar), Bob "The Bear" Hite (vocals), and either Keith Sawyer (drums), or perhaps his replacement, Frank Cook (drums), who joined circa 1966. Another notable name among the personnel listed on the original LP jacket is rhythm & blues legend, Johnny Otis as producer. This is certainly fitting, as the Heat wind their way through compact, high-energy versions of a variety of selections, directly contrasting the longer psychedelic showcases that would evolve over the next few years.

Faded old-world flowers adorn both sides of the cover with a big strip of black grease disturbing the lovely imagery on the back. Beginning with Arthur Crudup's "My Baby Left Me," like that other band of famous backup players, the Section, how can this be anything but very musical? Guitarist/vocalist Henry McCullough's "Mistake No Doubt" has eerie backing vocals and is suitably well done, as is his "Let It Be Gone," and though this is far from commercial, it is important to have this document of the guys who made magic behind Joe Cocker in 1969 and Marianne Faithfull in the mid-'70s. This came right in the middle, and the Grease Band's collaborative effort, "Jesse James," could be mistaken for Doug Yule singing Lou Reed's "Train Comin' Round the Bend." It's got that chug-a-lug subdued rock sound. With Henry McCullough's Wings connection, The Grease Band gets a touch of the Beatles' guilt-by-association mystique. As intriguing and wonderful as this album is, had Joe Cocker guested on bassist Alan Spenner's "Down Home Mama" or had Marianne Faithfull taken on the traditional "To the Lord," there would have been that something extra, that intangible that makes records so very special.

ZZ Top's First Album may not be perfectly polished, but it does establish their sound, attitude, and quirks. Simply put, it's a dirty little blues-rock record, filled with fuzzy guitars, barrelhouse rhythms, dirty jokes, and Texan slang. They have a good, ballsy sound that hits at gut level, and if the record's not entirely satisfying, it's because they're still learning how to craft records – which means that they're still learning pacing as much as they're learning how to assemble a set of indelible material. Too much of this record glides by on its sound, without offering any true substance, but the tracks that really work – "(Somebody Else Been) Shaking Your Tree," "Backdoor Love Affair," "Brown Sugar," and "Goin' Down to Mexico," among them – show that from their very first record on, ZZ Top was that lil' ol' blues band from Texas.

Lynyrd Skynyrd is an American rock band formed in Jacksonville, Florida, in 1964 by Ronnie Van Zant (vocals), Gary Rossington (guitar), Allen Collins (guitar), Larry Junstrom (bass guitar) and Bob Burns (drums). It is best known for popularizing the Southern rock genre during the 1970s. Originally called My Backyard, the band was also known by names such as The Noble Five and One Percent, before finally deciding on "Lynyrd Skynyrd" in 1969. The band gained worldwide recognition for its live performances and signature songs "Sweet Home Alabama" and "Free Bird". Van Zant, along with guitarist Steve Gaines, and backup singer Cassie Gaines, were killed in an airplane crash on October 20, 1977, putting an abrupt end to the 1970s era of the band.

The very title of Goin' 50 suggests ZZ Top are considering their 50th anniversary as an event to be celebrated with a sense of humor. That's appropriate. Good spirits and lascivious jokes always have been integral to the trio's appeal, and they can be heard in abundance on this triple-CD/five-LP set that tells their story from beginning to end (there is also a single-disc edition that rounds up the highlights). Other compilations cover similar ground more succinctly – if you want just the hits, look elsewhere, or grab the single-disc incarnation of this 2019 set.