2011 three CD collection from the Blues legend. Without T-Bone's innovatory approach to playing the guitar there would have been no B.B. King, no Buddy Guy, no Freddie King, no Eric Clapton, nor any of the plank-spankers who strut the stage at Blues festivals and club gigs. The line began with T-Bone, who, along with his friend Charlie Christian, invented the vocabulary for the amplified guitar. Throughout the late 1940s, T-Bone cut a sequence of singles for labels like Black & White and Capitol that laid the groundwork for what became the prevailing style of Blues recording. T-Bone transferred to the Imperial label in 1950 but the music continued in an unbroken line of creative superiority, heard in 'The Hustle Is On', 'Strollin' With Bone', 'I Get So Weary' and 'Here In The Dark'. 75 tracks.

The title of Many Bright Things' third album highlights the nature of the project: a large cast of friends coalescing around guitarist Stan Denski. After a seven-year gap, Denski – better known by now as the compiler for QDK Media's high-profile series of obscure psychedelia, Love, Peace & Poetry – delivers an entertaining disc of spaced-out jams. Many Bright Friends combines the folky side of Jefferson Airplane ("Minor Parade for 18 Strings," the title track, "There Will Be a Slight Delay") and the crudest grooves of the Krautrock school. The album is structured around two main tracks. The first one is "East West," a 21-minute cover of the Paul Butterfield Blues Band's anthem to cross-pollination. Featured in this orgiastic jam are guitarists Denski, Nick Saloman, Daniel Noland, and Al Simones (trading solos); Vess Ruthenberg (bass); Steve Obenreder (drums); and harp player Byrd Birocco, who steals the show. "I Am Not a Collector Potato," the other key track here, is a feature for Jello Biafra, who tells listeners what collecting psychedelic records used to be like (with plenty of reverb in the voice), over a quiet groove improvised by Denski, Larry Demyer (guitar), David "Tufty" Clough (bass), and Lon Paul Elrich (percussion).

The two albums enclosed in At Town Hall/The Amazing Nina Simone bookend the remarkable summer of 1959 in the career of Nina Simone, when she recorded a studio session, The Amazing Nina Simone, in May, and in September appeared At Town Hall in a superlative performance that was recorded and soon issued. Just 26, Simone displayed great assurance, especially on the live date, casting off the cloak of the vocal jazz/standards singer and performing with her own trio featuring her lively piano. The studio date features an orchestra, but it too finds her early on in her recording career stamping her voice on standards "Willow Weep for Me" and "Blue Prelude".

The only band to use the Beatles, Whitney Houston, Mission Impossible, Petula Clark, Doctor Who, ABBA, and the French national anthem as art statements. Circa 1987: Shag Times, one of the many deliberate cash-ins released in the wake of the Timelords, confirmed Bill Drummond and Jimi Cauty's supremacy over every last imitator and pop stunt plagiarist.