Black Magic (1998)

Magic Slim has released a pile of albums, all of them true to his group's house-rocking credo. The idea this time around was to hook him up with producer Dick Shurman and get Slim to record tunes he hadn't committed to wax yet. With a tight version of the Teardrops aboard (the ubiquitous Nick Holt on bass and vocals, Michael Dotson on rhythm, Allen Kirk on drums, and Slim's son Shawn Holt making a guest appearance on "Young Man's Blues"), Slim turns in a solid effort here. But perhaps the biggest change this time around is the inclusion of four original tunes from Slim, big news for a combo that many consider to be the ultimate blues cover band. Counting Nick Holt's "Playin' with My Mind" and Shawn Holt's "Young Man's Blues," the original material is up to the 50-percent mark, making this their most adventuresome outing to date.

The San Francisco Bay Area rock scene of the late '60s was one that encouraged radical experimentation and discouraged the type of mindless conformity that's often plagued corporate rock. When one considers just how different Santana, Jefferson Airplane, Moby Grape, and the Grateful Dead sounded, it becomes obvious just how much it was encouraged. In the mid-'90s, an album as eclectic as Abraxas would be considered a marketing exec's worst nightmare. But at the dawn of the 1970s, this unorthodox mix of rock, jazz, salsa, and blues proved quite successful.

Peter Green is regarded by some fans as the greatest white blues guitarist ever, Eric Clapton notwithstanding. Born Peter Greenbaum but calling himself Peter Green by age 15, he grew up in London's working-class East End. Green's early musical influences were Hank Marvin of the Shadows, Muddy Waters, B.B. King, Freddie King, and traditional Jewish music. He originally played bass before being invited in 1966 by keyboardist Peter Bardens to play lead in the Peter B's, whose drummer was a lanky chap named Mick Fleetwood…

The "storyteller" concept was ideal for aging singer/songwriters, letting them run through their back catalog and illuminate the origins of their best-known songs with stories and anecdotes. Ray Davies essentially invented the concept on his promotional tour for his semi-fictional memoir X-Ray, and his concerts were so successful, they eventually provided the basis for the VH1 series Storyteller. It also led to Storyteller, his first solo album since the soundtrack to Return to Waterloo. Like that album, it has a sound very similar to the Kinks – which shouldn't be surprising, since Davies was the musical force behind the band – but it's considerably more engaging than Return to Waterloo.

Several years before Steve Harris formed what would become (arguably) the biggest heavy metal band of all time, four young Basildon rockers going under the dubious moniker of ‘Bum’ decided they had to change their name. Innocent as it may seem today, the name Bum was causing them a lot of problems, with many promoters and clubs refusing to book them as it was seen to be "offensive". Having witnessed Cream perform live in their school hall in 1966, they were inspired enough to get working on a band of their own. They paid their dues initially as Stevenson’s Blues Department, playing regularly as main support to Fleetwood Mac and Jethro Tull amongst others…

Frank Sinatra was arguably the most important popular music figure of the 20th century, his only real rivals for the title being Bing Crosby, Elvis Presley, and the Beatles. In a professional career that lasted 60 years, he demonstrated a remarkable ability to maintain his appeal and pursue his musical goals despite often countervailing trends. He came to the fore during the swing era of the 1930s and '40s, helped to define the "sing era" of the '40s and '50s, and continued to attract listeners during the rock era that began in the mid-'50s. He scored his first number one hit in 1940 and was still making million-selling recordings in 1994.

Sounds of the Seventies was a 38-volume series issued by Time-Life during the late 1980s and early-to-mid 1990s, spotlighting pop music of the 1970s. Much like Time-Life's other series chronicling popular music, volumes in the "Sounds of the Seventies" series covered a specific time period, including individual years in some volumes, and different parts of the decade (for instance, the early 1970s) in others; in addition, some volumes covered specific trends, such as music popular on album-oriented rock stations on the FM band. Each volume was issued on either compact disc, cassette or (with volumes issued prior to 1991) vinyl record.