Back catalogue: All genres

Review: Long-faced Boston blues trio GA-20 deliver a swampy, bluesy take on Dolly Parton's classic, 'Jolene'. While the original Parton number's lyrics dealt in the instantly-memorable theme of a queen bee stealing the singer's beloved - "just because you can" - the original song could nonetheless be accused of obscuring the melancholic feel of the lyrics, by lending them an uptempo dance backing. GA-20 might be credited with fixing that problem here, stripping things back to a lilting blues plod, convincingly reworked into a vintage, boxy, sepia-toned context.

Review: This wonderful album delivers a tight, vibing collection of traditional old-time Appalachian music. Featuring Liam Grant on guitar, Grayson McGuire on fiddle and Devon Flaherty on banjo and guitar, this debut recording brims with raw, authentic talent. It was recorded straight to cassette with no overdubs and despite the carefree atmosphere, the trio expertly channels the spirit of old-time music. Tracks like 'Dry and Dusty' and 'Taner's Farm' reflect their playful yet poignant approach by blending upbeat melodies with deeper themes of rural life and hard times. This one is a real charmer.

Review: A stonking 23 tracks lifted from a famous live show in London makes up this mega-album-set, 'All Around Man', from Rory Gallagher, the Irish singer-songwriter and guitarist known for his distinctive brand of blues-rock, and helming of the blues collective Taste. Charting the best examples of Gallagher's concerts across London throughout 1974 to 1976 - despite his underratedly moderate success in the UK - all show off Gallagher's virtuosic guitar playing, passionate vocals, and energetic stage presence, all of which translate just as well to vinyl as they do to his now irreplicable live experience.

Review: In 1972, Irish blues guitarist Rory Gallagher was at the peak of his powers. On the back of two much-loved and critically acclaimed albums, Gallagher was named Melody Maker's Musician of the Year. Before scooping that gong, he toured Europe and, while in Switzerland, recorded a now legendary session for Radio Suisse. This CD showcases that session in full, complete with crowd noise and trademark effects aplenty, with Gallagher and his band's dazzling - if fuzzy and lo-fi, in keeping with the original recording - blues and blues-rock performances (Gallagher's squally and extended guitar solos are especially memorable) being joined by interview experts and introductions by the radio station's unnamed disc jockey.

Review: The 3LP version of BBC Collection highlights the Best of Rory Gallagher recorded concerts by the British public service broadcaster. Standouts include 'Cradle Rock' and 'Tattoo'd Lady' from 'Sounds of The Seventies' (1973), 'Shin Kicker' from 'BBC In Concert' (1979), and 'Continental Op' from the 1986 Paul Jones Blues Show. Each track exemplifies Gallagher's extraordinary guitar work and raw, powerful vocals. This collection not only spotlights Gallagher's enduring influence but also provides a journey through his evolving sound, from the gritty blues of his early days to the more refined, yet equally intense performances of the 80s. Many will say, Rory Gallagher's exceptional talent and his significant contribution to rock and blues music is most shown in his live performances. To many this is one of the most important collections of BBC recorded music. Certainly, the most extensive.

Review: Melody Gardot's album The Absence is an ambitious blend of global influences, from the sun-drenched tones of Brazil to the evocative atmospheres of Morocco and Buenos Aires. Gardot's songwriting shines, merging her signature wry honesty with the rhythms and moods of the countries she explores. Tracks like 'Mira' and 'Lisboa' are lush with Spanish guitars, harps, and local percussions, crafting a backdrop of lazy days and warm nights. Gardot's voice, ever sultry and inviting, navigates through these arrangements with an ease that recalls classic bossa nova, occasionally flirting with the styles of New Orleans jazz on tracks like 'Goodbye.' While the album sometimes risks slipping into the overly mannered, Gardot maintains a charm that makes The Absence a compelling listen, proving her continual growth as a sophisticated singer/songwriter with a worldly touch.

Review: The Groundhogs' second album, Blues Obituary, released in 1969, marks a significant evolution in their sound, showing the band's ambition to transcend traditional blues. Tony McPhee and his band delve into a fusion of electric British blues and progressive psychedelic rock, resulting in a wonderful sonic journey. The opening track, 'B.D.D.', demonstrates their shift away from conventional blues structures with its refined guitar work and smoother melodies. Tracks like 'Daze of the Weak' highlight McPhee's extraordinary guitar work, propelling the music beyond mere blues variations. The album also features a diverse range of influences, from swamp rock in 'Mistreated' to the haunting 'Natchez Burning', reminiscent of classic southern rock bands. The experimental closing track, 'Light Was the Day' evokes their innovative spirit with freeform guitar and improvisational drumming. Blues Obituary is an essential listen that signals the Groundhogs' potential for greatness, as they chart their course into new musical territories. Highly recommended for those seeking a blend of blues and psychedelia.

Review: The Groundhogs' debut album, Scratching The Surface, stands as a milestone in the British blues movement of the late 1960s. Released in 1968, this record captures the raw energy of the era, blending blues authenticity with a distinctive edge. Unlike their later works, such as Thank Christ for the Bomb and Split, this album sticks closely to the classic blues format, heavily influenced by the sounds of early Fleetwood Mac and Savoy Brown. Featuring the original lineupiTony McPhee, Peter Cruickshank, Ken Pustelnik, and harmonica player Steve Ryeithe album has both McPhee's original compositions and Rye's blistering contributions. Rye's 'Early in the Morning' and 'You Don't Love Me' are standout tracks, while the reworking of Muddy Waters' 'Still A Fool' is fierce and memorable. Newly remastered, this vinyl reissue restores the album's rootsy, moody blues sound with remarkable clarity.

Review: Tommy Guerrero's sublime debut album Loose Grooves And Bastard Blues carved out his name as a musician, and followed hot on the heels of an already established skateboarding career. It's not often we can name an artist whose talents lend just as well to the axe as they do to the deck, but it's plain to see on this insouciant jazz/bossa nova collection: Guerrero is one dextrous bloke. With the skate career held firmly in mind, we can easily imagine these numbers as the backing cuts to a fish-eyed trickstyle video; it's a great testament to the pure joy of music-making too, with Guerrero insisting: "it was never meant to be released. I was just recording for the fun of it - still my fave. Oh so naive!"

Review: Guitarist, composer and skateboarder Tommy Guerrero hears several of his earliest albums reissued now via Be With, of which 2008's Return Of The Bastard was his fifth. Still evidently deep in the throes of recording for the pure fun of it, this fifteen-track album reflects a pure lyricless enjoyment that few other of Guerrero's contemporaries could ever hope to share. Perhaps it's the meditative truck of his earlier skate career that course-corrected his frame of mind to pure creative meditativeness; here driving noisy drum machines, lightly-amped two-tones, the occasional kalimba and faint vocals all collide for the perfect accompaniment to an implied visual narrative.

Review: Ranked among the 25 greatest guitarists of all time by numerous list-making taste makers and titles, among them Rolling Stone magazine, Buddy Guy should need absolutely no introduction after spending almost 80 years putting out music and playing it on stage. With such a storied career, the smart money is on him being able to call some pretty special talent in for a new album, and for his 19th studio long-player that's exactly what happened.

Produced by Grammy-winning rock and county legend Tom Hambridge, who himself picks up multiple instruments for multiple tracks here, The Blues Don't Lie isn't re-writing any rules, and nor should it, with Mavis Staples, Bobby Rush, Elvis Costello, James Taylor and Wendy Morten among the guests helping to make this the most authentic blues record you'll buy all year.