Down the Road is the twenty-ninth studio album by Northern Irish singer Van Morrison. The album has a nostalgic tone, lyrically and musically, and its arrangements mix R&B and blues with country and folk, and with a few exceptions, like "Georgia on My Mind," the music is most often rooted in 1950s and early 1960s popular music.

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.

"Ride Daddy Ride: Vintage Songs About Sex 1927-1953" is a compilation album that features a selection of early 20th-century songs with suggestive and risqué themes, dating from 1927 to 1953. The tracks on this album capture the humor, innuendo, and open references to sexuality that were part of the blues, jazz, and swing scenes of the time.

Billy Flynn (born August 11, 1956) is an American Chicago blues and electric blues guitarist, singer and songwriter. In addition to his own work and works mentioned later, he has worked and recorded with Bryan Lee, Little Smokey Smothers, Mark Hummel, Willie Kent, Snooky Pryor, Big Bill Morganfield, John Brim, Jody Williams, Little Arthur Duncan, Deitra Farr, and Billy Boy Arnold. Billy's really got the rhythm of the blues down on this disc, and there is lots of spectacular guitar work sitting on top of those fine rhythms. Besides Billy's guitar, you'll find drums, piano, organ bass, sax (tenor and bari) and soulful vocal styling by Billy, Margaret Flynn, Nora Jean Welch and Al Kirk. Billy's mastery and sense of the appropriate should come as no surprise since he's played around the world in some fast, company and has earned a still -growing reputation. This fine project contains abundant amounts of satisfying guitar and very soulful, mid-tempo numbers that can occasionally remind one of Motown. Yes, it's very satisfying.

Live at the Apollo is a Blues album by B.B. King and the Phillip Morris "Super Band" recorded at the famous Apollo Theater in Harlem, New York. It was awarded the 1992 Grammy Award for Best Traditional Blues Album.

The Neville Brothers made a bid for pop/rock stardom with this well-produced album for A&M, their first under a new pact with the label inked in the late '80s. It was certainly as solid as any they cut for A&M; the vocals were both nicely arranged and expertly performed, the arrangements were basically solid, and the selections were intelligently picked and sequenced. The album charted and remained there for many weeks, while the Nevilles toured and generated lots of interest. It didn't become a hit, but it did respectably and represents perhaps their finest overall pop LP.

High Moon Records' deluxe reissue of the final studio album from one of rock musics most gifted and enigmatic legends - on CD for the first time in a deluxe Digipak with a full-color, 32-page booklet, and expanded with 12 bonus tracks. Reel To Real captures Arthur Lee and Love at the peak of their rock/funk/soul powers. Originally released in 1974 on RSO Records, this beautifully packaged, deluxe reissue features vibrant, remastered audio from the original tapes, a 28-page, 9x12-inch LP booklet with an illuminating essay by Rolling Stone s David Fricke, and a trove of candid, unpublished photos.

A neo-soul singer with some of the finest interpretive gifts since the swing era, and an uncompromising innovator who dug deep into experimental R&B. Collection includes: 'Baduizm' (1997); 'Baduizm Live' (1997); 'Mama's Gun' (2000); 'Worldwide Underground' EP (2003); 'New Amerykah Part One (4th World War)' (2008); 'Live' (2009); 'New Amerykah Part Two (Return of the Ankh)' (2010).

Stunning compilation of Small Faces cuts released worldwide on the Immediate Records label. A-sides, rare B-sides, classic hit singles such as Itchycoo Park, Lazy Sunday, Here Come the Nice, Tin Soldier, The Universal, Afterglow Of Your Love and more. For the first time ever, all the correct single versions are included, newly remastered from recently discovered original mono master tapes by Matt Colton.

Basically a mainstream pop/rock band with hard rock and soul-influenced arrangements, Smith hit the Top Ten in 1969 with their drastically revised cover of the Shirelles' "Baby It's You." Featuring three lead singers and a B-3 Hammond organ, their strongest asset was their most frequent vocalist, Gayle McCormick, an accomplished female blue-eyed soul belter. Most of their material consisted of covers of popular rock and R&B tunes, and they broke up after a couple of albums, though the singles "What Am I Gonna Do" (co-written by Carole King) and "Take a Look Around" made the middle of the charts. McCormick had a couple of small hits in 1971 and made a few albums in the early '70s as a soloist.

There Must Be a Better World Somewhere is the twenty seventh studio album by B. B. King released in 1981. It was awarded the Grammy Award for Best Ethnic or Traditional Recording the following year.

Cow Fingers and Mosquito Pie is a magically weird 19-song collection of the bizarre shouter's mid-'50s OKeh/Epic output, when he was at the height of his strange and terrifying vocal powers. In addition to the prerequisite "I Put a Spell on You," and the surreal rockers "Yellow Coat," "Hong Kong," "Alligator Wine," and "Little Demon"; there's the amusing "There's Something Wrong With You"; a previously unissued "You Ain't Foolin' Me"; and a deranged takeoff on the cowboy ditty "Take Me Back to My Boots and Saddle." And what Screamin' Jay Hawkins does to the formerly stately "I Love Paris," and "Orange Colored Sky" is truly indescribable!.

Digitally remastered reissue combines two domestically out-of-print albums together on one CD, 'Make It Happen' (1967) & 'Special Occasion' (1968). Packaged in a full color outer slipcase with original sleeve artwork.

Although Live & Well wasn't a landmark album in the sense of Live at the Regal, it was a significant commercial breakthrough for King, as it was the first of his LPs to enter the Top 100. That may have been because recognition from rock stars such as Eric Clapton had finally boosted his exposure to the White pop audience, but it was a worthy recording on its own merits, divided evenly between live and studio material. King's always recorded well as a live act, and it's the concert tracks that shine brightest, although the studio ones (cut with assistance from studio musicians like Al Kooper and Hugh McCracken) aren't bad.

No frills on the final Excello blues sessions of the late 60s and early 70s aimed at the Southern Blues audience, but here for hippies, yuppies and anyone with the ears to hear the heart & soul of the real blues. Although Excello Records is famous for its swamp pop sound, a good part of which was due to Jay Miller's production approach that favored a deadened, muffled drum sound and tons of delay and reverb, by the late '60s and early '70s the label was struggling to grab hold of its share of the Southern soul market, and the sound of the label's singles became much slicker, sharper, and more funk-driven. Excello never really abandoned the blues, but the studio started to give the genre some fancier clothes, as this interesting collection of late-era singles recorded between 1966 and 1974 clearly shows. Slim Harpo's "I'm So Sorry" from 1968 and his cover of John Lee Hooker's "Boogie Chillun" from 1970 are cases in point. Both singles are far more professional sounding than his earlier output, and decidedly less swampy in feel. Better production and clearer sound didn't translate into more sales, however, and these tracks are some of the last gasps of the famed Excello catalog. Worth noting are two fine 1970 cuts from Otis Spann, the atmospheric and off-kilter "Bloody Murder" and the sharp-edged title track, "Blues for Hippies," where Spann sings about meeting Daniel in the metaphoric (one assumes, anyway) Lion's Den.