1972 saw the release of Jackie Lomax's 3rd solo LP (his 2nd for Warner Brothers) entitled Three (III), with stand-out blue-eyed soul tracks including: No Reason and Fever's Got Me Burning and beautiful, slow, sad songs like Last Time Home, which featured members of The Band (Rick Danko, Levon Helm) and Billy Mundi of the Mothers Of Invention. The album was recorded at Bearsville Studios and produced by John Simon who produced the first two albums from The Band and Leonard Cohen's debut album.

Easy Does It is the third solo album by American singer-songwriter Al Kooper, recorded and released in 1970 for Columbia Records. A double album, Easy Does It featured Kooper on an expanded number of instruments, including sitar (used to effect on the country-tinged "Sad, Sad Sunshine"), vibes and electronic effects. While mostly backed by Bretheren rhythm section Stu Woods and Rick Marotta, Kooper also utilized groups in Nashville and Los Angeles to record the tracks for the album. Two tracks were also featured on the soundtrack to the counter-culture film The Landlord, "Brand New Day" and "Love Theme from The Landlord".

Folkways Records released New Orleans Street Singer in 1959 and the album set the world of folk and acoustic blues fans on fire. Snooks Eaglin was in the early stages of his long R&B career when folklorist Harry Oster heard him playing solo on the streets of the French Quarter. That very recording, presented here with 7 previously unreleased tracks, captured Eaglin's genius and elevated him to the pantheon of eccentric, uncategorizable guitar virtuosos. 32-page booklet.

The organ can often take a back seat in the pecking order of great Jazz instruments but underappreciate it at your peril. The likes of Jimmy Smith, Jack McDuff, Booker T and Ray Charles, to name but a few, made the instrument their own while crafting jazz cuts of dazzling brilliance.

On the Brink is a collection of 20 previously uncomped and absolutely superb UK instrumentals from the '60s and early '70s, assembled by legendary psych musician and Psychic Circle label-head, Nick Saloman (The Bevis Frond). Presenting session men discovering sitars, orchestras getting into the freaky side of things, hip theme tunes, Hammonds, fuzz and brass. Somehow sophisticated and cheesy simultaneously, these acts created their own musical world of Chelsea apartments, mini-mokes, dark velvet bespoke tailoring and the dolliest birds this side of Battersea Bridge. Welcome to the soundtrack of your own unmade Swinging London movie. Artists include: Mike Vickers, the Jim Sullivan Sound, the Shock Absorbers, Wynder K. Frog, Rita, Offside, the Les Reed Orchestra, David Smith, the Keith Mansfield Orchestra, the Dave Davani Four, the Fidd, Ken Woodman's Piccadilly Brass, the John Schroeder Orchestra, Trax Four, the Mike Cotton Sound, Lee Mason and his Orchestra, the Vic Flick Sound, the Chris Barber Soul Band, Brian Bennett and Stanley Myers.

This string-bending guitar master (and owner of one of the most beautiful voices in blues) had a big influence on rock, and rock returned the favor on this 1969 Atlantic LP. Duane Allman plays guitar, Mike Bloomfield and Nick Gravenites produced and that's Roger Hawkins on drums as Otis does Feel So Bad; Gambler's Blues; Baby, I Love You; It Takes Time, and more!

Let the Good Times Roll: The Music of Louis Jordan is the thirty seventh studio album by B. B. King, released in 1999. It is a tribute album to Jazz/Jump Blues saxophonist and singer Louis Jordan, and is made up entirely of covers of songs written or performed by Jordan. As well as King, the album features other famous jazz and blues musicians including Dr. John, Earl Palmer and members of Ray Charles' band.

Playing in front of an invited studio audience, Dr. John is featured with a full-scale jazz ensemble on this 1991 session Funky New Orleans. Alto saxophonist Donald Harrison Jr. is the leader of the date, which allows Dr. John to concentrate not only on piano and vocals but also his guitar playing. A hand full of Mac Rebennack and Harrison originals are mixed with the dirty blues of "Shave em Dry" and a nod to Professor Longhair and Earl King on "Big Chief." Also, two instrumental straight-ahead jazz pieces are explored on "Hu-Ta-Nay" and "Walkin Home." This really isn't a Dr. John recording as much as an honest portrayal of these (mainly) New Orleans musicians in an extremely loose and funky setting. Recommended and available on the budget Metro label.

This is the third in series of expanded versions of albums by Etta James, one of the greatest and most influential recording artists of our times. The original 10-track album is bolstered with 14 bonus titles recorded between 1962 and 1965. Together they show Etta's many sides, from the punchy soul of Pay Back and Only Time Will Tell to gorgeously orchestrated revivals of jazz standards such as Lover Man (Oh Where Can You Be), with a few Nashville-cut country tunes included for good measure. Track selection by Mick Patrick, with notes by Garth Cartwright.

True, this 1973 vintage best-of album covers a ridiculously slim wedge of time in the blues king's long career. Yet this period was quite significant, for it marks the crest of B.B. King's initial entry into the pop music mass market – and this album surfs succinctly, if not comprehensively, over the high points of his turn-of-the-decade winning streak. There's a potent slice of King's triumphant Live at Cook County – one of his sassiest "How Blue Can You Get?" on records – the huge hit "The Thrill Is Gone" extracts from his surprisingly pleasing early excursions into pop/rock territory on In London and Indianola Mississippi Seeds, and plenty of flavorful electric blues ("Sweet Sixteen," "Why I Sing the Blues") at full length. There are some quirks – "Caldonia" is shortened because one of the unnamed participants on the session demanded the cut, and the "compatible stereo/quad" sound on the LP has some details drastically mixed down when it's played back in ordinary stereo.

Bonnie Bramlett (born Bonnie Lynn O'Farrell, November 8, 1944) is an American singer and occasional actress known for her distinctive vocals in rock and pop music. She began as a backing vocalist for blues and R&B singers; performed with her husband, Delaney Bramlett, as Delaney & Bonnie; and continues to sing as a solo artist. Collection includes: It's Time (1974); Lady's Choice (1976); I'm Still The Same (2002); I Can Laugh About It Now (2006).

For the hardcore Little Richard fan – the kind that has to hear every recording the architect of rock & roll ever made – there's little question that Ace's Specialty Box Set is the motherlode. Spanning six discs and over a hundred tracks, this is for serious listeners. Since Specialty's condensed, three-disc version of this set also included numerous working versions, alternate takes and commercials, it was also targeted for dedicated listeners, but this set – which is twice as large – is for fans who love to immerse themselves in minute details and unfinished takes. For those listeners, this set is certainly worth the money, since it is lavishly produced and boasts every single thing Little Richard recorded at the label.

Let Me Get By is the third studio album from Tedeschi Trucks Band, featuring ten new, original songs that stand together as a testament to the spirit and commitment of the tightly-knit 12-member ensemble. Driven by Susan's soaring, spiritually charged vocals and Derek's masterfully lyrical slide-guitar, the band's musical talents are on display in full force. From 'Anyhow' - a declaration of devotion highlighting the album's theme of breaking away - to the funky and uplifting title track, Let Me Get By delivers a sonic journey filled with the barnstorming energy, soulful vibes and roots-based rock that no band delivers better. Deluxe version includes 8-track bonus disc that features live recordings from the legendary Beacon Theatre in New York as well as alternate mixes, early song takes and additional studio material, an expanded booklet with exclusive studio and live photos, and a custom-designed vintage amp box.

On Memphis, Boz Scaggs pays tribute to the city's magnificent soul tradition, Al Green, and producer Willie Mitchell and his Royal Recordings studio, whose location and personnel were used to cut it in three days. Produced by drummer Steve Jordan, the core band includes the singer and Ray Parker, Jr. on guitars, and bassist Willie Weeks, augmented by the Royal Horns & Strings, a small backing chorus, sidemen, and guests. Green's influence is celebrated in the opener, Scaggs' "Gone Baby Gone." Its wafting B-3, Rhodes, fluid electric guitars, and a tight backbeat underscore his baritone croon to excellent effect. If there were doubts about the quality of his voice at this juncture, they're immediately dispelled when his sweet falsetto emerges. In his cover of Green's "So Good to Be Here," Scaggs references him but digs deeper into his own trick bag with more rounded, earthier highlights.

Raven presents two landmark albums by legendary multi-instrumentalist, producer and solo artist Al Kooper. Few American musicians have pursued a more diverse or fascinating career than Kooper. As well as playing organ on Bob Dylan's timeless "Like a Rolling Stone", having formed Blood Sweat & Tears and produced Lynyrd Skynyrd, Kooper has issued a dozen solo albums. His 1968 debut I STAND ALONE incorporates pop and soul, jazz and classical elements, making for a seamless and enjoyable whole. As well as covers of "Hey, Western Union Man", "Coloured Rain," and "Blue Moon of Kentucky", Kooper excels with classy originals "I Can Love a Woman" and "Right Now for You". YOU NEVER KNOW WHO YOUR FRIENDS ARE (1969) ups the ante with the brassy "Magic in My Socks", the swooping, soulful "Loretta (Union Turnpike Eulogy)" and "I Don't Know Why I Love You". This top-value package of these two timeless albums comes complete with seven bonus tracks and showcases Kooper's incredible musicianship at its creative peak.