Of the numerous British blues-rock bands to spring up in the late '60s, the Aynsley Dunbar Retaliation was one of the better known, though solid reception on tours did not translate into heavy record sales. Musically, the group recalled John Mayall's Bluesbreakers during the 1966-1967 era that had produced that group's A Hard Road album, though with a somewhat more downbeat tone. The similarities were hardly coincidental, as the band's founder and leader, drummer Aynsley Dunbar, had been in the Bluesbreakers lineup that recorded the A Hard Road LP. Too, bassist Alex Dmochowski would go on to play with Mayall in the 1970s, and guitarist Jon Morshead was friendly with fellow axeman Peter Green (also in the Bluesbreakers' A Hard Road lineup), whom he had replaced in Shotgun Express.

Somehow the grandfather of British blues still had the fire in his belly to record a strong album almost 40 years after he began his storied career. Buddy Whittington acquits himself well as the latest in a long line of hotshot guitarists for this multi-instrumentalist, who still does his best work on harmonica. He still admires long-dead bluesman J.B. Lenoir, including "Voodoo Music" here. A lot of credit for this strong outing goes to R.S. Field, lyricist and sometime producer for Webb Wilder. "Long Story Short" would pass for a Wilder tune were it not for Mayall's distinctive voice.

This was the last of the six albums John Mayall originally made for Blue Thumb/ABC Records between 1975 and 1978, about which he has said, "ABC released six of my albums as a tax write-off. A week after they were released you couldn't find them in any store." It's a live album on which Mayall fronts a quartet consisting of guitarist James Quill Smith (who sings lead on several songs), bassist Steve Thompson, and drummer Soko Richardson. The approach is rock-oriented, and the set list includes such Bluesbreakers favorites as Mose Allison's "Parchman Farm," and Freddie King's "Hideaway" (taken at a frantic tempo), along with the usual complement of generic Mayall originals, among them, a remake of "The Bear," from Blues From Laurel Canyon.

Reasonably interesting collection of non-LP singles from 1964 to 1968, featuring almost all of the notable musicians that passed through the Bluesbreakers throughout the decade. "Sitting in the Rain" (with Peter Green) showcases fine fingerpicking, the haunting "Jenny" is one of Mayall's best originals, and "Stormy Monday" is one of the few cuts from 1966 that briefly featured both Eric Clapton and Jack Bruce. The rest is largely passably pleasant…

John Mayall's Bluesbreakers featured the best of the early 60s English rhythm and blues scene, including members of the Rolling Stones, The Yardbirds, Cream and more. This compilation of live tracks was recorded in the USA and Italy in the early 1980's, and features performances by John McVie (Fleetwood Mac) and Mick Taylor (The Rolling Stones) from the reformed Bluesbreakers tour of 1982. Over 70 minutes of the finest blues including a storming workout of "The Stumble". Full booklet. A replica of the release of Secret Records Limited.

A classic example of the whole not matching the component parts, Tramp featured several high-profile veterans of the British blues boom including Mick Fleetwood (drums), Bob Brunning (bass), Danny Kirwan (guitar), Dave Kelly (vocals), Jo Ann Kelly (vocals) and Bob Hall (keyboards). Hall, like Brunning, had earlier been co-leader of the Brunning-Hall Sunflower Blues Band. Tramp made their debut for Music Man Records in 1969 with a self-titled collection which lacked direction or convincing songwriting.

A classic example of the whole not matching the component parts, Tramp featured several high-profile veterans of the British blues boom including Mick Fleetwood (drums), Bob Brunning (bass), Danny Kirwan (guitar), Dave Kelly (vocals), Jo Ann Kelly (vocals) and Bob Hall (keyboards). Hall, like Brunning, had earlier been co-leader of the Brunning-Hall Sunflower Blues Band. Tramp made their debut for Music Man Records in 1969 with a self-titled collection which lacked direction or convincing songwriting.

Digitally re-mastered reissue of this album from the British Blues icon. The title makes a virtue of necessity, as John Mayall introduces another new line-up Two guitarists, High Tide Harris and Randy Resnick, lead the band in more of an up-tempo R&B style than has been used in much of Mayall's music during the past several years, starting with the timely 'Gasoline Blues' (1974 was the year of the gas lines, remember?) and going on to 'Troubled Times' (which advises impeaching President Nixon). for the first time on CD this sought after John Mayall album is available, endorsed a by John himself, and he has contributed a new interview for the notes.

Rory Gallagher sounds inspired throughout JInx, gamely leading new drummer Brendan O'Neill and keyboardist Bob Andrews through the blues-rock paces, even though the guitarist's personal fortunes were on a downslide from which they would never recover. "Big Guns" and "Bourbon," the album's opening selections find Rory in full fiery form, tossing out muscular guitar lines and fiery solos with descriptive lyrics catering to his infatuation with American gangsters. The album also features two of his best, and least known, songs in the spooky, paranoid title track, complete with simmering sax section, boiling tom-tom drums as well as his own stealthy harmonica, and "Easy Come Easy Go," a beautiful, bluesy ballad where Rory double tracks his acoustic and electric guitars.

Rory Gallagher's most successful albums are his live ones. He was an artist that came alive when onstage and this album covers a previously undocumented live period. This barnstorming 20-song, previously unreleased set is culled from four shows (London, Brighton, Sheffield and Newcastle) which were part of a 1977 tour across the UK in support of Rory’s then latest album 'Calling Card'. Featuring fantastic live versions of tracks from that album as well as from 1975’s 'Against The Grain' and other live favourites, has been mixed from the original multitrack tapes from the official Rory Gallagher archive and mastered for this release at Abbey Road Studios. Cover art by Irish graffiti artist Vincent Zara.

Rory Gallagher sounds inspired throughout JInx, gamely leading new drummer Brendan O'Neill and keyboardist Bob Andrews through the blues-rock paces, even though the guitarist's personal fortunes were on a downslide from which they would never recover. "Big Guns" and "Bourbon," the album's opening selections find Rory in full fiery form, tossing out muscular guitar lines and fiery solos with descriptive lyrics catering to his infatuation with American gangsters. The album also features two of his best, and least known, songs in the spooky, paranoid title track, complete with simmering sax section, boiling tom-tom drums as well as his own stealthy harmonica, and "Easy Come Easy Go," a beautiful, bluesy ballad where Rory double tracks his acoustic and electric guitars. Gallagher's tough vocals take on a new emotional depth not previously heard, and are particularly poignant throughout. Diving into the blues, Lightnin' Slims' "Nothin' but the Devil," one of the two songs added for this reissue, is an acoustic solo showpiece revealing Gallagher's delta roots and substantial slide abilities.

Most famous for his vocal and guitar work in the group Ten Years After, Alvin Lee had a long solo career after the band dispersed, still working in the hard rock, rockabilly, and British blues style that TYA did until his sudden death in Spain in the spring of 2013. This set captures his last live show, a concert held in Raalte, Holland, on May 28, 2012, with a crisp rhythm section of Pete Pritchard on bass and Richard Newman on drums. The show was recorded, and although it wasn't recorded to be an official release, Lee was pleased with the performance and authorized its release, not knowing, of course, that it would be his swan song.

Gallagher's second album for Chrysalis – and last with his longstanding trio of Lou Martin (keyboards), Rod De'Ath (drums) and Gerry McAvoy (bass) – was a milestone in his career. Although Calling Card was produced by Deep Purple bassist Roger Glover and not surprisingly contained some of his most powerfully driving rockers, tracks like the acoustic "Barley & Grape Rag" and the jazzy, soulful, finger snapping title cut – a perennial concert favorite – found the Irish rocker not only exploring other musical paths, but also caught him on one of his most consistent songwriting streaks ever. Even "Do You Read Me," the muscular opening track, is a remarkably stripped-down affair that adds subtle synths to the rugged blues rock that was Gallagher's claim to fame. While "Moonchild," "Country Mile," and "Secret Agent" displayed catchy hooks, engaging riffs, and raging guitar work (the latter adds a touch of Deep Purple's Jon Lord-styled organ to the proceedings), it's the elegant ballad "I'll Admit You're Gone" that shifts the guitarist into calmer waters and proves his melodic talent was just as cutting on quieter tunes.