Live05 documents the band at its very best in wonderful European settings with enthusiastic audiences. Besides a stirring take of Jack Bruce's cinematic classic "Theme from an Imaginary Western," the two-disc set includes several of the songs from their seminal albums, including "Rope Ladder to the Moon," "Stormy Monday Blues," "Those Who Are About to Die," "Lost Angeles," and "The Valentyne Suite," which showcases Greenslade's amazing keyboard artistry. Together, the musicians in Colosseum create a powerful mix of rock, blues, and jazz-fusion that transcends all musical barriers.

Hurricane Ruth Live at 3rd and Lindsley is 14 songs of unbridled blues rock fury! Hurricane Ruth is old school, real and raw. Her vocals are deeply rooted in the blues, but make no mistake she can rock the house! She is cut from the same cloth as Big Mama Thornton, Janis Joplin, and Tina Turner. Hurricane Ruth pulls from all these greats to create her own unique sound. Hurricane Ruth is a powerful, unpredictable, everchanging MUSICAL FORCE OF NATURE!

Throughout the 1960s and 70s, Native American guitarist Jesse Ed Davis was the "go-to" sideman for a remarkable group of musicians. Starting in the mid-'Sixties, he toured with Conway Twitty, then become a key part of Taj Mahal's band, playing on several albums and tours including an appearance on The Rolling Stones Rock and Roll Circus and his historic pairing with Leon Russell to play on Bob Dylan's "Watching the River Flow" at the Concert for Bangla Desh (after which he accompanied George Harrison). By now, he'd caught the eye of ATCO Records, which released his debut LP Jesse Davis in 1971 featuring Russell, Eric Clapton, Gram Parsons, Merry Clayton, Ben Sidran, John Simon (producer of The Band), Alan White (of Yes), and many others including Delaney Bramlett behind the mixing desk.

Snowy White is one of a handful of classic blues-orientated British electric guitar players - musicians whose sound, technique and style has echoed the originality of the blues with the excitement of contemporary rock. He has developed his own style of 'English' blues, a combination of clear, clean blues phrases and harder-edged riffs that are a recognisable feature of his very personal songs. In the Autumn of 1976 he was invited to tour America and Europe with Pink Floyd as their first augmenting musician, a gig which took up most of his time throughout 1977. In 1979, Peter Green decided to head for the studio once more and invited Snowy and his band along to jam.

E Pluribus Funk is Grand Funk Railroad's fifth studio album and was released in November 1971 by Capitol Records. Like previous Grand Funk Railroad albums, it was recorded at Cleveland Recording Company and is the final album produced by Terry Knight. The title is a play on the former motto of the US government, E pluribus unum. The original release cover (designed by Ernie Cefalu) was completely round and covered with a silver-like film to resemble a large coin. The back side of the cover of this album included a die cast picture of Shea Stadium to celebrate Grand Funk beating The Beatles' Shea Stadium attendance record by selling out in just 72 hours.

For the first time on vinyl –Premonition, the first live album released by John Fogerty as a solo artist. Featuring the hits of Creedence Clearwater Revival, as well as songs from his solo career. The album was recorded in front of a live audience at WarnerBros. Studios Stage 15 on December 12 and 13, 1997. Featuring “Born On The Bayou”, “Centerfield,” Fortunate Son”, “Proud Mary” and many more.

The casual observer might be surprised that 2004's The Best of Gary Hoey does not consist of a bunch of Christmas music culled from his Ho! Ho! Hoey albums, but as this 18-track collection proves, there's more to the high-riding guitar virtuoso than chop-laden versions of seasonal classics. There are also covers of classic oldies like "Low Rider," "Wipeout," "Linus and Lucy," Pink Floyd's "Money," "Misirlou," and "Frankenstein," along with a bunch of original material that functions as a vessel for Hoey's relentless playing.

Eric Clapton's brand-new record, Meanwhile features 6 never-before-heard tracks and 8 previously released singles. This album includes collaborations with Jeff Beck, Van Morrison and more. Available digitally on October 4th and coming to vinyl and CD on January 24, 2025!

Smokin' Joe Kubek and Bnois King's albums are dependable affairs that stick close to good old barroom Texas blues. The lyrics won't win any Pulitzer Prizes, and while Kubek is an amazing guitar player with a huge tone, he isn't exactly reinventing the instrument, and likewise King, although he is a distinctive and pleasant vocalist, isn't going to be mistaken for Marvin Gaye anytime soon. Not much has changed on their second release on the Blind Pig label, and Show Me the Money delivers another dose of straight-ahead roadhouse blues. If there are any concessions here, it is that all the songs pull in at a radio-friendly length, and at least one, the infectious "My Heart's in Texas," would fit effortlessly on "new country" play lists. The first two tracks, "I Saw It Coming" and "Burnin' to the Ground," pretty much lead the charge here, and King's easy, subtle singing pairs nicely with Kubek's gutbucket guitar tone, but there are no real surprises waiting in the grass, and certainly nothing that will shake the roots of the music industry – just solid blues-rock. Somebody's gotta do it, and Kubek and King do it so well.

Jack White One of the great rock conceptualists of the 21st century, Jack White came to fame as the leader of the White Stripes, the Detroit-based garage-punk duo who unexpectedly became one of the biggest rock acts of the 2000s. The White Stripes established White as a roots rocker – he made sure they covered blues chestnuts from Son House – to such a degree that his modernist art instincts were somewhat overshadowed during the band's peak. These dueling, sometimes complementary instincts, fueled White's myriad artistic pursuits both within and without the confines of the White Stripes.

Filmed at the BBC Radio Theatre, Sir Van Morrison performs an intimate In Concert show. The Belfast born Van the Man performs a selection of tracks, old and new, from his iconic back catalogue through to Keep Me Singing. Tracks include the classic hit Brown Eyed Girl, Wild Night and Cleaning Windows. This intimate show is an up close and personal performance by the Grammy award winning Celtic soul troubadour who is arguably one of the most influential songwriters and performers in the history of popular music.Also included is the 60-minute bonus concert Up on Cyprus Avenue, recorded on his 70th birthday to celebrate this milestone. The 12-song show is set on the Belfast Avenue Cyprus Hill, made famous through Van's iconic 1968 album Astral Weeks. Van plays hits including Moondance, Brown Eyed Girl and Baby Please Don't Go.

Van Morrison Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced what is regarded as perhaps the most spiritually transcendent body of work in the rock & roll canon. Having penned iconic songs such as "Gloria," "Brown-Eyed Girl," and "Moondance," Morrison has, from the very beginning – as frontman for Irish blues rockers Them during the early 1960s to a solo career that has lasted more than 50 years – been subject only to the whims of his own muse. His solo recordings, beginning with the mystical, jazzy folk of Astral Weeks in 1968, cover extraordinary stylistic ground, yet retain a consistency of vision and purity of execution unmatched among his contemporaries. His swinging meld of jazz, pop, folk, blues, and Celtic soul fueled the albums of his Warner Bros. period from the late '60s (Moondance) to the early '80s (Common One).

This album was originally released in 1969 as "First Winter". When Johnny Winter emerged on the national scene in 1969, the hope, particularly in the record business, was that he would become a superstar on the scale of Jimi Hendrix, another blues-based rock guitarist and singer who preceded him by a few years. That never quite happened, but Winter did survive the high expectations of his early admirers to become a mature, respected blues musician with a strong sense of tradition. In 1988, he was inducted into the Blues Foundation Hall of Fame and in 2003, he was ranked 63rd in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".

The final Canned Heat album to feature co-founder Alan Wilson, Future Blues was also one of their best, surprisingly restrained as a studio creation by the band, the whole thing clocking in at under 36 minutes, as long as some single jams on their live discs. It was also one of their most stylistically diverse efforts. Most of what's here is very concise and accessible, even the one group-composed jam - Alan Wilson's "Shake It and Break It" and his prophetically titled "My Time Ain't Long" (he would be dead the year this record was issued), which also sounds a lot like a follow-up to "Going up the Country" until its final, very heavy, and up-close guitar coda. Other songs are a little self-consciously heavy, especially their version of Arthur Crudup's "That's All Right, Mama"…

To anthologize the often overshadowed solo career of Brother Gregg Allman, Capricorn Records released this luscious, 34-track, 2CD collection in 1997 entitled One More Try: An Anthology. But, instead of packing it with “hits,” someone got the bright idea to stuff it full of demos, band rehearsals and 26 previously unreleased recordings. Which is very cool for fans and collectors. So… is there a buzz killer here, you ask? Of course. Just two years later, Capricorn unceremoniously deleted the collection. Maybe the bean counters were bummed at the lack of radio-worn favorites, or Capricorn thought a by-the-book Best Of would sell better. Perhaps Allman himself just changed his mind about having it out there. Who knows? But what got overlooked is that One More Try: An Anthology might be the single most interesting release in Allman’s solo catalog. The recordings often showcase Gregg alone on acoustic guitar. Some are live band rehearsals. Even the Allman Brothers Band staple, “Wasted Words,” appears here as a loose studio jam featuring Johnny Winter, Buddy Miles and the late Berry Oakley. Polished or not… profitable or not… perhaps this is the best way Gregg Allman deserves to be heard, by himself or just casually jamming with friends.