Vocalist/cornet player Al Basile's longtime friend Duke Robillard gets front cover billing, as well he should, as co-producer and guitarist on this impressive outing. The album, Basile's fifth, was even recorded at the guitarist's Pawtucket, RI studio called the Mood Room, hence the album's title. Musically, it's a combination of old-school R&B ("Baby Sister," "Be a Woman"), swamp-tinged rock & roll ("I'm in a Mood"), mid-tempo, Chuck Berry styled groovers ("Coffee and Cadillacs"), grinding blues ("Picked to Click") and even a jump blues throwback to the duo's Roomful of Blues days ("She's on the Mainline"). Robillard keeps the sound full yet stripped down – most of the tracks feature a standard three-piece – bass/drums/guitar setup – which leaves space for Basile's sly vocals and snappy lyrics. Basile, a teacher and fiction author who also has a Master's degree in creative writing, not surprisingly crafts lyrics that are far more imaginative and original than most blues artists'. But they never detract from these melodies that glide along sparked by Robillard's tasty licks.

Her mountainous stature matching the sheer soulful power of her massive vocal talent, Big Maybelle was one of the premier R&B chanteuses of the 1950s. Her deep, gravelly voice was as singular as her recorded output for Okeh and Savoy, which ranged from down-in-the-alley blues to pop-slanted ballads. In 1967, she even covered ? & the Mysterians' "96 Tears" (it was her final chart appearance). Alleged drug addiction leveled the mighty belter at the premature age of 47, but Maybelle packed a lot of living into her shortened lifespan.

On the surface, the Groundhogs could easily have become one of the dozens of British "blooze and boogie" bands that cropped up in the late '60s and early '70s in the manner of Savoy Brown or Foghat, but Tony (T.S.) McPhee's ideas and ambitions were just eccentric enough to push the band into directions too challenging for most mainstream listeners, and as with much of their catalog it's McPhee's sense of invention that makes 1974's Solid memorable…

JSP's Atlanta Blues compiles four CDs of performances by Julius Daniels, Curley Weaver, Georgia Browns, Peg Leg Howell, Henry Williams & Eddie Anthony, Macon Ed & Tampa Joe, Lil McClintock, and Lillie Mae. It's hard to go wrong with these 101 recordings cut between 1926 and 1949…

Rap is considered today's modern urban music, but its roots reach far into the past as this provocative project shows. The rapping technique has been present in many American musical genres, for 100 years or more, including early rural music, both black and white, religious songs, blues, ragtime, vaudeville, and hokum. This album features rap precursors by such legendary figures in American music as Blind Willie Johnson, Pine Top Smith, Memphis Jug Band, Butterbeans and Susie, Seven Foot Dilly & his Dill Pickles, Dixieland Jug Blowers, Jimmie Davis, Blind Willie McTell and more! A highly entertaining and provocative exploration into early American musical history.