THE SACRED SHAKERS is the work of a Boston-based group of folk, blues, and roots-rock musicians who first started playing old-time traditional gospel tunes at a series of Sunday afternoon gospel brunches at a local club. The 14 tracks on this rollicking album are all traditional gospel tunes, both well-known and fairly obscure, delivered with the energy of early rock & roll and the down-home sentiment of traditional blues. Highlights include a spirited "I'm Gonna Do My Best" and "Titanic," a folk blues based on the sinking of the famed passenger ship.

Originally released in 1997, Eric Bibb's Me To You album was seen as a major stepping stone in the New York born Bluesters career. After many years of hard work releasing albums and a near constant touring schedule, Me To You finally and deservedly gave Bibb the recognition that he truly deserved. For the release Bibb gathered together some of his personal heroes, including Pops and Mavis Staples, and Taj Mahal to contribute. The results proved to be one of Bibb s most popular and best selling albums.

Hothouse Flowers are an Irish rock group that combines traditional Irish music with influences from soul, gospel, and rock. Formed in 1985 in Dublin, they started as street performers. Their first album, People (1988), was the most successful debut album in Irish history, reaching No. 1 in Ireland and No. 2 in the UK.

Joe Louis Walker is the John Henry of the blues, a guy who works hard and isn't afraid to put his back into his music. Hornet's Nest is the man's tenth studio album since the dawn of the 21st century, and not a few journeyman bluesmen would be very, very happy to come up with a session this strong and diverse with twice the time to prepare. Walker and his band are in tight, ferocious form on Hornet's Nest, with Walker's blazing lead guitar work supported by Reese Wynans' rollicking keyboards, Rob McNelley's able second guitar, Tommy MacDonald's rock-solid bass, and Tom Hambridge's aggressive but tasteful drumming. The song list is eclectic, ranging from the hard-edged rock-leaning sound of the title cut, the psychedelic flourishes of "Not in Kansas Anymore," and the soulful, horn-fortified strut of "All I Wanted to Do" to the gospel-influenced moods of "Keep the Faith" and the down-home slide guitar showcase "I'm Gonna Walk Outside." And Walker's taste in covers is commendable, adding doo wop-style vocals to Jesse Stone's "Don't Let Go" and turning the Rolling Stones' "Ride On, Baby" into a roadhouse rocker whose twin-keyboard attack recalls Bruce Springsteen's E-Street Band.

"One Lord, One Faith, One Baptism" is a 1987 gospel album recorded by Aretha Franklin, for Arista Records. Recorded at New Bethel Baptist Church in Detroit, Michigan, over the course of three nights (July 27, 28, and 30, 1987), "One Lord, One Faith, One Baptism" became an album that combined the gospel talents of Aretha, her late sisters Erma and Carolyn, and fellow gospel singer Mavis Staples.

RPM was a hip and happening label formed in LA, and was one of the several subsidiary labels of Modern Records who were the forerunner of ryhthm and blues. RPM quickly became associated with its biggest name, BB King, and then followed with names such as Lightnin' Hopkins, Howlin' Wolf and Willie Nix. The label was short-lived but this compilation catches RPM in its satisfying prime. This 2 CD set contains 40 original recordings from the RPM Records label, including titles from B.B. King, Lightnin' Hopkins, Johnny 'Guitar' Watson and many more. All tracks have been digitally remastered for optimum listening quality.

Songstress, Sarah Téibo is gradually becoming highly sought after in UK Gospel following the release of her debut album ‘Walk With Me’ on all digital music platforms on the 8th of May 2016. This was unveiled with a live gig at London’s 606 Jazz Club and subsequently bagged her a MOBO nomination for Best Gospel in the same year. This is a follow on from her debut single ‘Steal My Joy’, which was a huge success late 2015, charting at Number 2 in the StepFWD Christian Charts in December 2015 and bagging her two nominations for ‘Best Newcomer’ with Premier Gospel Awards and GXMM Awards in 2016.

While Johnny Cash at Folsom Prison, the 1968 album that made Cash a household word, spent only two weeks at No. 1, this 1969 follow-up topped the charts for 20 weeks. As with Folsom, the San Quentin LP had to be edited due to space limitations. Now, 31 years after the fact, the show can at last be heard in true perspective. All the original performances hold up, including the album's hit single: Shel Silverstein's "A Boy Named Sue," presented unbleeped for the first time. Equally impressive are the eight restored tracks and unexpurgated between-song patter. Cash's opening renditions of "Big River" and "I Still Miss Someone" are bracing. So are four closing songs teaming Cash with his complete performing troupe (the Carter Family, Carl Perkins, and the Statler Brothers). Their gospel performances ("He Turned the Water into Wine," "The Old Account," and an early version of "Daddy Sang Bass") are electrifying, as is a concluding medley featuring everyone. Cash is presented here at his roaring, primal best.

As a 16-song, single-disc best-of, this does the job very nicely for those who want Nyro's best and most famous songs in one place. Only nine tracks into the CD you've already heard "Sweet Blindness," "Wedding Bell Blues," "And When I Die," "Blowin' Away," "Eli's Comin'," "Stoney End," and "Stoned Soul Picnic," which should be enough to convince anyone that Nyro was a major singer/songwriter…

Oooshh! this strange, funky devil is a rare-as-owt gospel soul oddity from Detroit circa f**k knows (maybe late ’70s?), now newly dug out and dusted down as Jazzman’s 26th Holy Grail release. If those quizzical faces or masked dude on the cover haven’t piqued your interest, the music surely will.

James Brown's two-CD 40th Anniversary Collection gathered 40 of the soul-funk giant's biggest hits, and in keeping with its title, The 50th Anniversary Collection is just that little bit bigger and better, with (could you guess?) 50 of his most famous tracks. From 1956's "Please, Please, Please" to 1988's "Static, Pts. 1 & 2," it has almost all of his biggies, though the absence of the 1986 Top Five hit "Living in America" is puzzling indeed. But that's a minor quibble given the dozens of classics onboard, which taken as a whole not only represent the best Brown compilation on the market, but also make a plain case for the singer as one of the major talents of 20th century American music. It's not wholly redundant on the off-chance that you're willing to replace 40th Anniversary Collection, mopping up a few hits of note ("Bewildered," "Bring It Up," "Let Yourself Go," "I Can't Stand Myself [When You Touch Me], Pt. 1," "It's a New Day, Pt. 1," "The Popcorn") that didn't make the cut the previous time around. If you're keeping score, it does lose a couple minor goodies from 40th Anniversary Collection ("Money Won't Change You," "King Heroin"). Also, the '70s funk years might be given too much emphasis and his R&B-soul beginnings shortchanged, though there are plenty of other reissues of his '50s/'60s material out there if you want to investigate further.

With Painting Signs, Eric Bibb makes a fine case for blues as a music of introspection, warmth, and supreme nuance. Easily his most mature album to date, Painting Signs continues Bibb's formula of socially aware songs performed from an acutely personal point-of-view; standout tracks "Don't Ever Let Nobody Drag Your Spirit Down" and a cover of "Hope in a Hopeless World" hammer home his message of individual freedom and the responsibilities that accompany it. (It's no coincidence that Pops Staples, to whom Bibb dedicates this album, once recorded the latter song.) That's not to say Painting Signs is overly didactic or, indeed, "heavy" in any way; even the most serious songs here, like the plea for peace and unity "Got To Do Better," are leavened by a musical backdrop that's soulful and immediately accessible. Gospel-leaning backing vocals by Linda Tillery and her Cultural Heritage Choir help flesh out several cuts, and robust accordion fills by Bibb's longtime accompanist Janne Petersson add a subtle Louisiana flavor to the rolling, propulsive "Kokomo" and, to surprisingly good effect, the deep-grooved version of Jimmy Reed's "Honest I Do."

Jim Reeves - widely known as Gentleman Jim - was one of the most successful and important country artists of the 1950s and early '60s, his rich, velvet voice bringing a unique sound and style, which was in the vanguard of the new Nashville sound, as the music headed away from honky-tonk fiddles and steel guitars as introduced strings and backing choruses, helping to move the genre towards the pop mainstream.

These days she's known as the Queen of Soul, and indeed has been since she came to the fore belting out such well known hits as 'Respect', 'Chain Of Fools' and 'Say A Little Prayer' in the late '60s, scoring no less than ten Top 10 hits over an 18-month period from 1967-68. The rarely heard but strikingly effective recordings on 'The Early Years' come from a period when Franklin was signed to Columbia Records and offer a unique insight into the development of this amazing artist. Unlike SPV's companion piece, 'Aretha Sings The Blues', which as the title implies concentrates on a selection of blues-based recordings, 'The Early Years' is notable for the range of styles, from pop, blues, jazz, gospel and soul, that the young Franklin was able to instil into her music with the air of a seasoned veteran.

This all-star tribute to Aretha, recorded live at Radio City Music Hall in New York pays tribute to one of the USA s national treasures. Previously unreleased on DVD or CD, the undisputed Queen of Soul is joined by some very special guest stars including Stevie Wonder, Mary J. Blige, Jill Scott, Backstreet Boys, Kid Rock, and more. Originally broadcast on VH1 in 2001, this program features many of her greatest hits; a one-of-a-kind performance that will never be repeated.