The Doobie Brothers’ illustrious career is marked by a string of hits, two of which, “Sweet Maxine” and “Take Me In Your Arms (Rock Me),” are included here. But Stampede offers much more. In terms of musical dexterity, the 1975 set stands as the group’s peak studio moment.
With ex-Steely Dan guitarist Jeff “Skunk” Baxter finally a full-time member of the band, the California quintet steps up everything from the arrangements to the songwriting. The group also invited several distinguished guests along for the ride: Vocalist Maria Muldaur, soul legend Curtis Mayfield, slide guitarist Ry Cooder, and jazz hand Victor Feldman among them. The results are as good on record as they appear on paper…

The Doobies team up with the Memphis Horns for an even more Southern-flavored album than usual, although also a more uneven one. By this time, Tom Johnston, Patrick Simmons, and company had pretty well inherited the mantle and the core (and then some) of the audience left behind by Creedence Clearwater Revival and John Fogerty, with Johnston songs like "Pursuit on 53rd Street," "Down in the Track," and "Road Angel" recalling pieces like "Travelin' Band," while Simmons' "Black Water" (their first number one hit) evoked the softer side of the "swamp rock" popularized by CCR. Actually, in some respects, given the range of instruments employed here, including an autoharp (courtesy of Arlo Guthrie) and viola, the songs on the original LP's first side suffer somewhat from a sameness that makes What Were Once Vices Are Now Habits a little less interesting than the albums that preceded it…

Ever since ZZ Top signed with RCA, they fitfully tried to break free of the synthesized blues that once was their savior but quickly became a straitjacket. Like any addict, it was hard for them to quit that processed, sequenced sound cold turkey, so they weaned themselves off the robo-boogie, sometimes relapsing and adding too many synths to mix, other times breaking loose with some credible boogie. Apart from the dreadful misstep of 1999's XXX, they showed signs of life on all their RCA albums, and their fourth, 2003's long-delayed Mescalero, is no exception to the rule. Billy Gibbons' fat guitar tone really has some presence here, at least on some of the album, and there are enough rhythm tracks not performed to a didactic click track to provide some real swing.

With this release, Edgar Winter was faced with the question that haunts many a superstar following a highly successful album – how can he outdo himself? While Shock Treatment falls short of outdoing himself, it still manages to rock pretty righteously. Beginning with this album's answer to their previous "Hangin' Around," "Some Kinda Animal," the band moves into the excellent blues torcher "Easy Street," which is painted with highlights from the substantial saxophone talent of Winter, not to mention some of his finest singing. Like They Only Come Out at Night, this recording includes a pair of haunting ballads, "Maybe Someday You'll Call My Name" and "Someone Take My Heart Away." "Queen of My Dreams," along with "River's Risin'," showcase the Edgar Winter Group doing what they do best – rocking out with passion and lots of drums and guitar. Not as good as their previous album, but still a winner in its own right.

Just Testing is the tenth studio album by the British rock band Wishbone Ash, released on 18 January 1980 by MCA Records. Recorded primarily at Surrey Sound Studios in England, it was the last to feature the original lead vocalist and bass guitarist Martin Turner until the release of Nouveau Calls (1987). The track "Helpless" is only the second cover version released by the band on a studio album, the previous one being "Vas Dis" on Pilgrimage.

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.

One More River To Cross is the tenth studio album by Canned Heat, released in 1973. The band negotiated out of their contract with Liberty Records and debuted with Atlantic Records. This album featured horn arrangements played by the Muscle Shoal Horns along with Barry Beckett and Roger Hawkins. The album cover was designed by Ernie Cefalu.

The continuation of Eliminator's synthesized blues boogie made sense on Afterburner, since it arrived two years after its predecessor. ZZ Top's choice to pursue that direction on Recycler is puzzling, since a full five years separates this from Afterburner. It's not just that they continue to follow this path; it's that they embalm it, creating a record that may be marginally ballsier than its predecessor, but lacking the sense of goofy fun and warped ambition that made Afterburner fascinating. Here, there's just a steady, relentless beat (Frank Beard is still chained to the sequencer, as he has been for a decade), topped off by processed guitars turning out licks that fall short of being true riffs.

B.T.O. Live – Japan Tour is a live album containing live recordings from a 1976 Bachman–Turner Overdrive Japan tour concert. This album was only issued in Japan and Canada. It was officially released on CD by Lemon Recordings in the UK in 2012. Bachman–Turner Overdrive, often abbreviated as BTO, is a Canadian rock group from Winnipeg, Manitoba, that had a series of hit albums and singles in the 1970s, selling over 7 million albums in that decade alone. Their 1970s catalogue included five Top 40 albums and six US Top 40 singles (eleven in Canada). The band has sold nearly 30 million albums worldwide, and has fans affectionately known as "gearheads" (derived from the band's gear-shaped logo). Many of their songs, including "Let It Ride", "You Ain't Seen Nothing Yet", "Takin' Care of Business", "Hey You" and "Roll on Down the Highway", still receive play on classic-rock stations.

Vinegar Joe might very easily have been Island Records' answer to the Allman Bros. or Wet Willie. A sextet formed out of a busted big-band rock outfit called Dada, they were brought together at the suggestion of Island founder Chris Blackwell. Elkie Brooks (vocals), Robert Palmer (vocals, guitar), Pete Gage (guitars, piano), and Steve York (bass, harmonica), were at the core of the group, with Tim Hinkley and then Mike Deacon on keyboards, and Conrad Isadore and Keef Hartley, and then John Woods and Pete Gavin on drums–the band cut three albums for between 1971 and 1973. Their live shows were well reviewed and attracted significant audiences in England, but this was never reflected in their record sales. They split up in 1973, with Robert Palmer becoming an international star as a pop-rock blue-eyed soul singer and Elkie Brooks a success as an MOR singer with Pete Gage as her arranger. Collection includes: Vinegar Joe (1972); Rock'n Roll Gypsies (1972); Six Star General (1973); Six Star Gypsies (1993).

The Allman Brothers Band's fifth live release in 25 years, cut during 1994 in Raleigh, NC, and at the Garden State Arts Center in New Jersey, is a high-water mark in their Epic Records catalog. If anything, they're even better here than they were on the earlier Evening with the Allman Brothers Band, the old material getting fresh new approaches – the band was on for both nights, and presented sets, including an acoustic version of "In Memory of Elizabeth Reed" and "Jessica" (which won a Grammy Award), that soared and flowed, especially Dickey Betts and Warren Haynes' guitars. What's more, the clarity of the recording and the volume at which it was recorded make this a most rewarding 70 minutes of live music on a purely technical level – you can practically hear the action on the guitars during the acoustic set. It won't replace Live at Fillmore East or the live portions of Eat a Peach, but it deserves a place on the shelf not very far from them.

Canned Heat's first new studio album in 15 years! Nearly 60 years after the band was founded, Ruf Records releases a new studio album on CD & LP! Recorded in Burbank, California, long-serving drummer Fito de la Parra was joined in the studio by the members of the band’s current line-up, i.e. guitarist, keyboard player and singer Jimmy Vivino, harper and singer Dale Spalding and Richard “Rick” Reed who succeeded long-time bass player Larry “The Mole” Taylor after his death in 2019. Another musician that can be heard on the album is blues rocker Joe Bonamassa who makes a guest appearance as lead guitarist on “So Sad (The World’s In A Tangle)”; Canned Heat first recorded this song for their 1970 album “Future Blues” with founding members Alan Wilson and Bob Hite still around and a live version can be found on their 2015 CD/DVD set from Ruf’s “Songs From The Road” series.

This one-man extravaganza finds John Fogerty plowing the same ground he worked with Creedence Clearwater Revival. This mix of originals and rock & roll classics finds him in fine voice, with the familiar vocal scream and hot guitars augmented in places by saxophones reminiscent of CCR's "Travelin' Band." Several of these songs rank with the top tier of Fogerty's Creedence material, particularly "The Wall," "Almost Saturday Night," and the anthemic "Rockin' All Over the World." He also delivers satisfying versions of Jackie Wilson's "Lonely Teardrops" and Frankie Ford's "Sea Cruise" (written by Huey "Piano" Smith). The closer, "Flyin' Away," could have come off the Doobie Brothers' Toulouse Street. This underappreciated album is worth checking out.