Serious marks the beginning of Luther Allison's late-'80s/early-'90s hot streak. The more streamlined, rock-oriented approach actually is a benefit, since it gives Allison a shot of energy that makes his guitar simply burn all the way through the record.

Kenny Neal is such a terrific singer that he can make any kind of blues sound good. On Hoodoo Moon, Neal does the Delta blues justice on a version of Elmore James's "It Hurts Me Too," and does a fine job on the Chicago blues with "I'm a Blues Man." He even pulls off some James Brown funk on "Just One Step." Nonetheless, Neal makes his most valuable contributions when he allows his Louisiana roots to show. On "Don't Fix Our Love," for example, Neal lays his blues-harmonica solo and gravelly vocal over a New Orleans second-line parade rhythm. Lucky Peterson plays the Professor Longhair-like piano part expertly and does the same with the Fats Domino-like piano triplets on "Why Should I Stay." "The Real Thing" and the album's title track boast the slippery shuffle beat of upstate Louisiana's swamp blues.

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.

Tony Joe's first U.S. release since 1983 finds the swamp-rocker in rare form. Produced by Roger Davies – Tina Turner's manager/producer, and the one responsible for her '80s breakthrough – this is the most cohesive album he's made since his early Monument LPs with Billy Swan. Tony Joe is kept tightly focused with a small combo (Hammond organ, bass, drums), and the rest of the space in the mix is occupied by the star's funky guitar, harmonica, and breathy vocals, recorded so close he sounds like he's two inches from the listener's face. It also helps that Tony Joe's songwriting skills have only sharpened over the years; the disc is simply loaded with great songs, including "Crack the Window Baby," "Gumbo John," "I Want My Fleetwood Back," and the moody "Cold Fingers," "I Believe I've Lost My Way," and "Across From Midnight." One of his very best, and as highly recommended as they come.

Allison was a major star in blues America when he was cut down by lung cancer and brain tumors in August 1997. But for a long time before celebrity caught up with him, the exciting guitarist was far better-known in Europe than in this United States. This French session dates from 1977, when the 38-year-old Chicago bluesman first earned standing ovations from European crowds and began contemplating his eventual move to Paris. Unlike his high-energy recordings in the '90s, Allison is in a relaxed mood throughout the program here, modulating his pointed expressions of heartbreak on blues standards (Little Walter's "Last Night" and Big Bill Broonzy's "Key to the Highway," to name two) and on originals (the title track and "It's Too Late"). Three tracks, all good, are added for CD reissue. On this memorable session, pianist-organist Sid Wingfield and a rhythm section capably back up the main man.

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.

Blues Hall of Fame inductee Walter Davis was a prolific and innovative artist who played an influential role in the creation of the pre-war Blues scene. On The Walter Davis Project a diverse collection of Blues Legends pay tribute to the man and his music, including Billy Boy Arnold, Jimmy McCracklin, Charlie Musselwhite, Christian Rannenberg and Keith Dunn, and Henry Townsend with Bob Corritore. The 17 track collection of Walter Davis' compositions include R&B Legend Jimmy McCracklin's final recordings as well as an interview with Mr. McCracklin, who was taught piano as a child by Walter Davis, by producer Christian Rannenberg, plus 2 tracks from Charlie Musselwhite and an unreleased track from 2002 by Henry Townsend with Living Blues Award winner Bob Corritore. 2012 Blues Hall of Fame member Billy Boy Arnold contributes 9 tracks. The Walter Davis Project album will be treasured by both Blues music lovers and collectors. "To me, Walter Davis's singing, piano playing and lyrics are really deep blues…about as deep as you can get. His lyrics are true blues poetry. His sound has such a deep deep feeling to it. It does what only deep blues can do: it touches your heart and comforts you in a poignant way." – Charlie Musselwhite

In its original form, Crown's Howlin' Wolf Sings the Blues LP was a patchwork compilation of sides cut for the Modern label in 1951-1952, including three songs that had previously showed up on RPM singles, a bunch of outtakes not released on 45, and a couple instrumentals that weren't even the work of Howlin' Wolf himself. The material hails from that confusing junction in his discography where his first Memphis recordings were being leased to both Modern and Chess, which is why material from that era has tended to get released on different labels. Certainly the Wolf's Modern sessions could have been better represented than they were by this 1962 album, but it's still groundbreaking early electric blues, though not quite up to the peaks he'd scale with his best Chess sessions of the mid-'50s to the mid-'60s…

Collection includes: 'Ry Cooder' (1970) # 7599-27510-2, 'Into the Purple Valley' (1971) # 7599-27200-2, 'Boomer's Story' (1972) # 7599-26398-2.

Debbie Davies' fourth album, 1998's Round Every Corner, displays her bluesy singing, writing, and playing talents on 11 songs, including originals by Davies, some traditional songs, and covers. Davies' own songs range from the romantic "Such a Fine Man" to the upbeat "A.C. Strut," and she performs accomplished versions of Creedence Clearwater Revival's "Who'll Stop the Rain" and the traditional "Blue and Lonesome." Davies' skillful, soulful take on the blues grows richer with time.

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.

The Best of the Allman Brothers offers a brief but effective introduction to the band, featuring such hits as "Ramblin' Man", "Crazy Love", "Melissa", "Jessica", and "Statesboro Blues".

Smokin' Joe Kubek and Bnois King first hooked up in 1987, and their musical association has lasted nearly 20 years. Their albums are dependable affairs that stick close to good old barroom Texas blues, and if they seldom deviate from that, well, that's fine, because they do it as well as anyone this side of Stevie Ray Vaughan. Road Dog's Life is the pair's second album for Delta Groove Music, who they signed with in 2012, and it follows the unplugged Close to the Bone, marking a return to plain old electric Texas blues. That's what you get here, plain and simple, with ten originals and an impressive pair of covers, the Rolling Stones' "Play with Fire" and the Beatles' "Don't Bother Me," both among the albums highlights. The sound, recorded by Prince's long-time engineer David Z, is warm, full, and makes intelligent use of stereo separation to give everything a broad, powerful kick. There's nothing new here – Kubek and King aren't trying to expand Texas blues as much as they simply revel in it – which is a good thing, since they do it so well.

The multitalented Kenny Neal offers up a real treat with Bayou Blood, which features mostly original songs seasoned with a very few covers. Neal's guitar work is excellent and his smoky voice is a pleasure, but it's his harp playing that really shines, especially on "Howling at the Moon" and "Big City Ways." There's plenty of variety, from the fast-paced shuffle of "Right Train, Wrong Track" to the slower, attitudinal "Gonna Put You out of My Misery" to the smooth "Smoke Signals." "That Knife Don't Cut No More," "Do I Have to Go That Far?" and the title track are especially memorable, and a tasty cover of "You Ain't Foolin' Me" closes this album with style.