Back in stock: Blues

Review: The 7" from Third Man Records features two previously-unreleased takes of the song 'Blind Willie McTell' with the a-side being totally exclusive to this Record Store Day Special. The b-side will also, in time, be included on Springtime In New York: The Bootleg Series, Vol. 16 (1980-1985). Session musicians Mark Knopfler, Mick Taylor, Sly Dunbar and Robbie Shakespeare all play on the tune which was the first one worked on during the Infidels album sessions. Bob Dylan's voice is at its whiny and idiosyncratic best here as his harmonica rings out, rolling drums set a slightly country-sousing groove and electric guitars flesh out the track.

Review: Originally recorded in 1966 during his remarkable comeback - he'd been playing since the 20s but was rediscovered by various musicologists and found a new audience at Newport and Philadelphia's folk festivals in 1963 - this album demonstrates why he became a beloved mainstay of the folk revival. Unlike traditional bluesmen, Hurt's style is rooted in melody and intricate fingerpicking, making him a profound influence on the folk musicians of the 60s. His dexterous guitar work, often feeling as if multiple players are involved, pairs seamlessly with his soothing, almost meditative voice. Tracks like 'Pay Day', 'Louis Collins', 'Spike Driver's Blues', and 'Make Me a Pallet on Your Floor' showcase his ability to transform folk and blues traditions into something uniquely personal. He even delivers a rare but successful slide guitar performance on 'Talking Casey'. A particularly stunning moment comes in 'Beulah Land', where his intricate cross-rhythms add new emotional depth to a traditional song. Every track exudes a gentle, comforting presence, as if Hurt himself is sitting beside the listener, easing their troubles. His voice, often described as a balm for the soul, remains as rich and warm as ever, untouched by time. A beautiful, healing and profoundly moving experience that continues to impress more than half a century later.

Review: This is a solo album in the true sense of the word. It's comprised solely of Ava Mendoza's raw virtuoso avant rock guitar playing and - on two tracks - her passionate voice. The Brooklyn-via-Oakland musician is also known for being a skilled collaborator, with the her band Unnatural Ways having earned a stellar reputation, but limiting the spotlight to herself alone here serves to elevate the searching, personal themes on the record. Mendoza's is famed for her virtuoso guitar technique, with lightning-quick tapping, use of feedback and tremolo up there with the best in the business. This is a melange of classical, free jazz, blues and noise, to name a few. With technique this strong, it's no wonder she's been setting the New York experimental scene alight over the past few years. And with The Circular Train - merely her second solo album - we can hope there's many more to come.

Review: The 1999 collaboration between The Black Crowes and Jimmy Page delivers a rock experience that feels as monumental on record as it did in the live setting of the Greek Theatre in Los Angeles. With a setlist stacked with Zeppelin classics like 'Celebration Day', 'Heartbreaker' and 'Whole Lotta Love', the performance sticks to the original arrangements, but it's the unexpected deep cuts like 'Sick Again' and 'Ten Years Gone' that resonate most. Page's guitar work is tight and focused, complemented by Chris Robinson's impassioned vocals, which channel the essence of Robert Plant while adding his own gravitas. The mix of Led Zeppelin anthems with the Crowes' blues-driven originals such as 'Shake Your Money Maker' and 'Mellow Down Easy' proves to be a potent combination and the recording captures an electric vitality, where the playing never feels overly polished but instead retains the raw power and spirit of a live jam session. A release where musical chemistry speaks louder than any reworking of the classics, reaffirming the timeless strength of these rock legends.

Review: The chemistry between Jimmy Page and The Black Crowes, caught here live in AL in 1999, produces a dynamic performance that brings fresh life to classic rock anthems. Tracks like 'Celebration Day' and 'What Is & What Should Never Be' are delivered with incredible precision, each riff from Page cutting through the mix, while the Crowes' rhythm section provides a perfect backdrop. Chris Robinson's vocals are raw and commanding, particularly on 'Heartbreaker,' where he channels the energy of the original while adding his own emotive twist. The blues covers, like 'Sloppy Drunk' and 'Mellow Down Easy,' show off the band's versatility, giving a loose, electric vibe that contrasts beautifully with the more structured Zeppelin classics. A live performance that captures both the spirit of the originals and the fire of the setting.

Review: Sacred Mushroom's debut is a blues-rock gem that shows the raw energy and talent of the Cincinnati-based quintet, led by Larry Goshorn and his brother Danny Goshorn. While their name might hint at psychedelia, the album leans heavily into blues traditions, paired with tight arrangements and flashes of rock ingenuity. Originals like 'Catatonic Lover', have an infectious energy and intricate chord progressions reminiscent of Jefferson Airplane, while 'All Good Things Must End' delivers a soulful Chicago blues waltz enhanced by Rusty Work's spirited harmonica. The funky opener, 'I Don't Like You', brims with dynamic harmonies and sharp guitar work that sets the tone for the album. Covers are equally impressive; their rendition of the Kinks' 'I'm Not Like Everybody Else' adds a fresh, acoustic-electric interplay and timeless melodic charm. On the extended 'Lifeline' and the driving 'Mean Old World,' the band channels the electric blues of Fleetwood Mac and John Mayall's Bluesbreakers. Charly's reissue should bring renewed clarity to this overlooked treasure, revealing a band with grit and versatility.