This is not a new idea: in 2001 the English label Indigo produced a collection of Beatles songs by British and American blues artists. That was patchy, and so is this. The Beatles' heavy-handed treatment of "Why Don't We Do It in the Road?" was intended (surely?) to be a joke, so for Jimmy Thackery and the Drivers to roll it flat like a steamroller is kind of missing the point. Pity it's the first track. In fact it's a pity the whole album wasn't reshuffled, because the best stuff only begins to appear about halfway through. Maria Muldaur's reading of "Ob-la-di, Ob-la-da" leeches out all its cuteness, Chris Duarte's guitar-playing in "I'm So Tired" belies the title, Charlie Musselwhite and Colin Linden go arm-in-arm with harmonica and guitar to take "Dear Prudence" for a long walk and Linden also makes a pretty country blues in the style of Mississippi John Hurt out of "Blackbird".

In 2011, Mavis Staples stepped into Levon Helm Studios in Woodstock, New York (better known as The Barn) for a Midnight Ramble performance that would end up being her last with Helm, who died the following year. That performance will become public with the release of ‘Carry Me Home,’ a recording of that performance that represents some of Helm’s final recordings before his death.

Most of B.B. King's studio albums of the '80s and '90s tend to de-emphasize his guitar playing and consist largely of forgettable originals and obvious attempts at pop hits. However this CD (which was cut in the studios) is on a higher level and is quite rewarding. Most of the tunes were co-written by pianist Joe Sample and Will Jennings, and the majority are quite catchy and memorable. Certainly it is easy to sing along with the refrains of "I'm Moving On," "Back in L.A." and "Roll, Roll, Roll." On this date King usually overdubbed his guitar to play along with his vocals (somehow the interplay does not sound spontaneous) but it does not detract from the final results. The intelligent and philosophical lyrics fit King's style very well and his voice is very much in prime form. Well worth acquiring.

Jackie Payne is an American blues singer. He was nominated in both 2007 and 2008 for the Blues Music Award for Best Male Soul Blues Artist. Payne was the lead singer for the Johnny Otis Show for fifteen years. He recorded several albums with Otis's band and appeared for many years on the Johnny Otis Saturday morning live radio show broadcast on KPFA-FM. Spirit of the Black Territory Bands, recorded by The Johnny Otis Orchestra, featured Payne on vocals and was nominated for a 1993 Grammy Award. Payne's 1998 CD, A Day In the Life of a Blues Man, was produced by Kenny Blue Ray for the British JSP Records label.

The album accompanies Questlove’s directorial debut documentary Summer of Soul (…Or, When the Revolution Could Not Be Televised). Like the documentary, most of the audio recordings that were recorded during the 1969 Harlem Cultural Festival have not been heard for over 50 years, keeping this incredible event in America’s history lost - until now. The Summer of Soul (…Or, When The Revolution Could Not Be Televised) Original Motion Picture Soundtrack is a joyous musical celebration and the rediscovery of a nearly erased historical event that celebrated Black culture, pride and unity. For the album, Questlove carefully selected 17 live renditions of jazz, blues, R&B, Latin, and soul classics performed over the course of The Harlem Cultural Festival in 1969 as chronicled by the film.

With just a couple of cursory listens to the few tracks that popped up all over the Internet through 2007, comparisons were made between Adele, the much-hyped brassy British songstress, and Amy Winehouse, the…much-hyped brassy British songstress. However, after a solid listen to 19, the first full sampling by the up-and-coming Adele, listeners are forced to throw all comparisons to the wind; Adele is simply too magical to compare her to anyone. Bluesy like it's no one's business yet voluptuously funky in a contemporary way, Adele rocks out 19 with a unique voice and gritty sound that dazzle endlessly. Synthesizing blues, jazz, folk, soul, and even electric pop, Adele mystifies through her mature songwriting skills and jaw-dropping arrangements.

When reviewers heard teen-aged Jonny Lang's debut album of 1997, Lie to Me, many of them commented on how mature the blues singer/guitarist sounded for his age. Similarly, Lang's second album, Wander This World, often sounds like it could have been the work of a man of 30. With David Z. (known for his work with Prince) producing, the Midwesterner delivers an exciting sophomore effort that has as much to do with soul, funk, and rock as it does with actual blues. Far from a purist, Lang takes an approach that is best described as Albert Collins, B.B. King, and Luther Allison by way of Otis Redding, Stax Records, and Eric Clapton. While "Angel of Mercy" and the moody "Cherry Red Wine" demonstrate his mastery of the 12-bar format, most of the other selections aren't actual 12-bar blues, but rather Southern-style soul, funk, or rock with a wealth of blues feeling. Lovers of 1960s Memphis soul should appreciate "Walking Away" and "Second Guessing," while "The Levee" and "Still Rainin'" have more of a rock orientation.