Originally released in 1969. Regarded as one of the greatest blues albums of all time. All Analog Process (AAA) From The Original Master Tapes. Cut by Kevin Gray. Midnight Color Vinyl. Recorded in 1969, this album, as McDowell’s titular quote suggests, is not just a collection of songs but a significant piece of musical history. It’s a masterclass, a confessional, a musical statement, and a history lesson all in one. Despite its seemingly simple nature, it’s a profound work. Regarded as one of the greatest blues albums of all time, I Do Not Play No Rock 'N' Roll is a must-listen, a testament to one of the greatest musical forces that has directly influenced The Rolling Stones, Aerosmith, The Black Keys & Bonnie Raitt (to whom McDowell taught slide guitar). In 1959, McDowell’s talent was first captured by folklore musicologist Alan Lomax, and from there, he quickly rose to stardom with his live recordings and festival appearances across the US and UK. This album is a testament to McDowell’s unique voice and guitar style, dominating the air and filling it with raw power and authenticity.

Joe Louis Walker is the John Henry of the blues, a guy who works hard and isn't afraid to put his back into his music. Hornet's Nest is the man's tenth studio album since the dawn of the 21st century, and not a few journeyman bluesmen would be very, very happy to come up with a session this strong and diverse with twice the time to prepare. Walker and his band are in tight, ferocious form on Hornet's Nest, with Walker's blazing lead guitar work supported by Reese Wynans' rollicking keyboards, Rob McNelley's able second guitar, Tommy MacDonald's rock-solid bass, and Tom Hambridge's aggressive but tasteful drumming. The song list is eclectic, ranging from the hard-edged rock-leaning sound of the title cut, the psychedelic flourishes of "Not in Kansas Anymore," and the soulful, horn-fortified strut of "All I Wanted to Do" to the gospel-influenced moods of "Keep the Faith" and the down-home slide guitar showcase "I'm Gonna Walk Outside." And Walker's taste in covers is commendable, adding doo wop-style vocals to Jesse Stone's "Don't Let Go" and turning the Rolling Stones' "Ride On, Baby" into a roadhouse rocker whose twin-keyboard attack recalls Bruce Springsteen's E-Street Band.

Motel Shot is a studio album by Delaney & Bonnie and Friends, released in 1971. The album, their third for Atco/Atlantic (catalog no. SD 33–358) and fifth overall, is a mostly acoustic set. The album's title refers to the impromptu, sometimes late-night, jam sessions pursued by touring musicians when on the road. The album reached #65 on the Billboard album chart, and includes Delaney and Bonnie's biggest chart single, "Never Ending Song of Love", which peaked at #13. "Never Ending Song of Love" would immediately become a popular tune to cover, with hit versions being recorded by The New Seekers and Dickey Lee at the same time as Delaney & Bonnie's version (each becoming a hit in different markets) and the Osmond Brothers having a minor hit with it a decade later. Guest musicians on the album include Leon Russell, Joe Cocker, Duane Allman, Dave Mason, John Hartford, Clarence White, Gram Parsons and Bobby Whitlock.

From 1958 to 1993, Thomas and Louise Boddie’s industrious Boddie Recording Company issued nearly 300 albums and 45s, recorded 10,000 hours of tape, and remained in operation longer than any other studio, pressing plant, or label group in the history of Cleveland. Long forgotten even by the standards of the chronically overlooked northeastern Ohio music scene, Boddie was a fusion of its owner’s engineering genius and his limited economic means, its DIY recording studio housed in a humble barn, churning night and day to capture the sounds emanating from Cleveland’s east side neighborhoods. The 58 tracks on these three CDs (or 65-track 5LP) represent the best of the Boddies’ in-house Soul Kitchen, Luau, and Bounty labels, which released an unspoiled treasure trove of kitchen-sink eccentric soul, fuzzbox funk, shoestring doo-wop, and haunted, eerily hook-laden spirituals. Enclosed inside is a mountain of office-styled ephemera: two massive booklets brimming with detail on the Boddies and their artists; extensive notes and scores of unpublished photos; a complete detailed discography folio; reproduced fliers; and a Boddie greeting card—all rendered with the handcrafted charm that was the Boddie hallmark. Call it a self-contained secret record industry crammed into one box.

Robert Randolph is one of the rare artists who's been able to convince a sizable audience that the pedal steel guitar has a place outside country music. This is partly due to his over-the-top skills on the instrument, but just as importantly, Randolph and his Family Band have consistently shown their ability to launch a soul shakedown party of major proportions whenever they take the stage or set up in the studio. 2017's Got Soul, Randolph's fifth studio album, seems designed to capture the energy and power of Randolph and his band in full flight, and producer Matt Pierson has gone out of his way to give this material a big, rollicking sound that makes the most of the muscle and sweat of this music. While the tough, funky report of the rhythm section and the call of the organ provide the backbone of these songs, it's Randolph's pedal steel that gives Got Soul its unique sound, as the wailing peals of his instrument tear through the mix and lend this as much of a vocal presence as any instrumentalist can provide. While vintage soul and funk figures play a big role in these arrangements, Randolph's background in gospel is never entirely out of the picture, and there's a churchy passion at the heart of this music that adds plenty to the emotional resonance, especially on tracks like "Be the Change" and "Heaven's Calling".

Johnny Cash released more than half a dozen gospel albums during his career, beginning with 1959's Hymns by Johnny Cash, and he scattered gospel tunes throughout his other works as well. A deeply religious man, he sang his songs of praise with as much, or perhaps more, conviction as he did his secular material – even the most skeptical non-believer would have to appreciate the honesty and soul of Cash's gospel recordings. Cash: Ultimate Gospel collects 24 of his best, most drawn from his Columbia catalog with a pair ("I Was There When It Happened" and "Belshazzar") emanating from Cash's early Sun Records period, and two ("Oh Come, Angel Band" and "Children Go Where I Send Thee") originally on the Cachet label.

Produced by the legendary T Bone Burnett, 'We Walk This Road' continues the Sacred Steel tradition for which Robert Randolph has earned wide praise, including the New York Times, which applauds 'his rip-roaring virtuosity and his gift for making his instrument sing without a word.' Throughout the recording of 'We Walk This Road,' Randolph and Burnett worked closely together as archivists, discovering songs-decade by decade-from the 20th century American music canon. The songs they uncovered, ranging from blues and rock to field recordings and gospel, serve as the inspiration for the 11 songs on 'We Walk This Road.' Recorded at the Village Recorders and Electro Magnetic Studio, the album includes 'If I Had My Way' (featuring Ben Harper), 'Salvation' (featuring Leon Russell), and reinterpretations of Prince's 'Walk Don't Walk,' Bob Dylan's 'Shot Of Love,' (featuring Jim Keltner, who played drums on the original version) and John Lennon's 'I Don't Wanna Be A Soldier Mama' (featuring Doyle Bramhall II).

Those who became aware of Robert Randolph's considerable musical gifts on either the awesome Live at the Wetlands or on the underrated Unclassified are in for a surprise. Colorblind expands the Robert Randolph & the Family Band's palette – on tape anyway, they've been doing stuff like this on the stage for years – stretching out from the blues ledge into gospelized, gritty funk and soul, and expanding those genres in the process. Using a group of producers from cut to cut, the Family Band takes no prisoners in this wildly crazy and utterly joyous mix of musical forms and flavors. Sure, it's a bit slicker than Live at the Wetlands, but not in any detrimental way. This is what these cats have been laying down for awhile now. It's been their vision and they've finally brought it into the studio. The opening joint is a stomping wail called "Ain't Nothing Wrong with That" that features the Family Band chanting a refrain, handclaps, and killer female backing vocals as well as Jason Crosby's B-3, as Randolph's pedal steel hovers above before coming in for the killing groove.

The second full-length from sacred steel genius Robert Randolph & the Family Band delivers, from the studio, the same promise, grit, grease, and sweat that Live at the Wetlands did. Randolph pulls out the stops in the studio, using his own band, without any of the hotshot guest stars who he's appeared with in the last two years. Unclassified features a road-tested, studio-savvy band using all of its collected gifts with producer Jim Scott to make a record that is as much about soul, funk, hard rock, folk, and jam band intensity as it is about the gospel music that first inspired the unit.

Their music inspired many gospel, soul and R&B artists including Jackie Wilson and James Brown. The Dixie Hummingbirds were one of the longest-established and most influential gospel groups in the history of the genre, their career, through various evolving line-ups eventually lasting more than 80 years. Their style developed from the jubilee quartet approach of the 1930s through the 'hard gospel' of the music's golden era in post-war years to the more soul-tinged style of later times. This collection spans their development from their original line-up as their style gradually changed, with lead singer Ira Tucker being a constant link through the whole of the set.

The Preacher's Wife: Original Soundtrack Album is the soundtrack to the 1996 film of the same name and features songs performed by Whitney Houston, who also stars in the film. It is the best-selling gospel album of all time, and has sold an estimated 6 million copies worldwide. The lead single, "I Believe in You and Me" (a cover of The Four Tops classic), became a top five hit in the U.S. and was nominated for Best Female R&B Vocal Performance at the 40th Grammy Awards, as well as for Best R&B Album. "Step by Step" was another hit single, peaking at number 15 on the Billboard Hot 100 chart. "My Heart Is Calling" became the soundtrack's final release. "Lay Aside Every Weight", covered and performed by Georgia Mass Choir and Whitney Houston, appears in the film but not on the motion picture soundtrack for unknown reasons.

All tracks in stereo from the original Nashville sessions from 1961. Over 40 minutes of previously unreleased session takes from the "Hymns From The Heart" session in March and April 1961. Included is a brand new discovery: the first version of "I Shall Not Be Moved", which was recorded during these sessions. A must for every Johnny Cash fan, not only to hear a brand new song that has never been released before, but also to witness over 40 minutes of previously unreleased takes from the sessions including studio conversations between Johnny Cash and the band!

Joe Simon is one of the premiere R&B voices of all time. Over a career spanning five decades, "The Mouth of the South" has racked up 35 Billboard pop hits and 50 R&B hits, exploring an encyclopedia of R&B genres ranging from gospel to doo wop, countrysoul, the '70s sound of Philadelphia, Blaxploitation, disco, and a subsequent return to Simon's spiritual side. But, because his hits were evenly split between two different labels, there has never been a definitive compilation…until now. Step by Step—The Complete Pop Hits presents all 35 of Simon's pop smashes, including his maiden chart success, "My Adorable One," released by Vee Jay in 1964, then his 18 hits for the Sound Stage 7 and 16 hits for the Spring labels. Among the tracks are such gems as Simon's Grammy winning version of "The Chokin' Kind," the Gamble & Huff-produced "Drowning in The Sea of Love" and "The Power of Love," "Theme from Cleopatra Jones," the title song that he wrote and produced for the Warner Brothers smash 1973 film, fan favorites "Misty Blue," "Your Time to Cry," and the title track, and his Top Ten smash "Get Down, Get Down (on the Floor)."

Amazon Review by Stuart Jefferson: If you're a blues fan chances are you're already familiar with (if you don't already own) some/many/all of these albums. But if you don't own these sets (or have only a few) this is a good way to own all 20 albums in one nice, neat box. The sound is the same as the individual albums which is very good for the various periods when these tracks were originally recorded. The jackets are fairly thick cardboard and are reproductions of the original covers. The outer box is also of good quality. There's a 34 page booklet that has a few paragraphs on each disc, and track lists, but no detailed liner notes to really put this music into some kind of perspective, but information on these artists and styles is available in various blues books/encyclopedias and on the internet.

Sons of Sunday is the upcoming self-titled debut studio album by American Christian worship collective Sons of Sunday. The album will be released on May 16, 2025, through Elevation Worship Records and Provident Label Group, onto LP, digital download, and streaming formats.