This 1965 album is where vocalist and harmonica player Junior Wells comes into his own. An early collaboration with Buddy Guy, the two of them sum up the 1960s funk-rock-blues that lay ahead. Hoodoo Man Blues inspired Paul Butterfield, Eric Clapton and a host of other musician-fans. Wells and Guy don't shy from creating James Brown-funkified blues, or from putting a rock edge to their blues; but neither do they shy from traditional blues. Their version of "Good Morning Little School Girl" is a proper update-still menacing, with less of a country blues feel. Also not to be missed is the instrumental workout "Chitlin Con Carne". -Robert Gordon.

Start with the Meters, whose hard funk is so efficient there's not a wasted note or out-of-sync beat. Add producer Allen Toussaint's wonderful vocal and horn arrangements. Top them off with seven Rebennack originals plus four well-chosen covers, and you have an album that seemed to arrive out of nowhere at the time of its original 1973 release. It still sounds garden-fresh today, not just the monster hits, "Right Place, Wrong Time" and "Such a Night", but also the chain-gang funk of "Same Old Same Old", the verbal insults of "Qualified", even the second-line soul of "Shoo Fly Marches On". The closest thing to a weak link is "Peace Brother Peace", in which Rebennack anoints himself the Dr Feelgood of love and happiness. But the Meters sound as if they believe every word he's singing, so who are we to argue? -Keith Moerer.

The classic "Hound Dog" is usually associated with Elvis Presley, but blues fans know: Presley's recording wasn't the first. That honor belongs to singer Big Mama Thornton, whose own recording of "Hound Dog" was eclipsed by Presley's. Her version is on this collection in all its glory, opening a CD of 18 killer tracks. Thornton's voice, by turns growling and richly melodic, was indeed unusual, and the spare accompaniment on Hound Dog makes it stand out all the more on songs such as "They Call Me Big Mama," "How Come," "The Big Change," "Hard Times," and "The Fish. " Thornton had talent and attitude to spare, and both come through loud and clear on this essential collection. -Genevieve Williams.

Fragile in most spots, ferocious in others, Harper's second album makes for a stirring listen. Harper's music preaches awareness-whether it is political, social, spiritual or personal-though he is more concerned with getting people to look for answers themselves than with providing answers for them. To get across such a range of ideas requires a full range of musical styles, and Harper incorporates elements of many to craft a unique whole. Though the record is mostly of a reflective tone, Harper's Weissenborn guitar can act as an effective weapon as well as a soothing embrace, and even in the music's quietest moments, there is a sense of urgency. And despair. And hope. -Marc Greilsamer.

A Bigger Bang-the Rolling Stones' 25th studio album-begins exactly how Rolling Stones albums ought to begin, with the testosterone calling-card explosion of "Rough Justice"; a ribald, licentious rocker with Sir Mick getting bawdy and with Keith Richard's infernal bottleneck guitar sliding around like an aroused python on an oil slick. Sigmund Freud would have had a field day. Venerable rock aristocrats they may be but beneath the wrinkles and erudition throbs the passion of reckless, raffish young dandies whose loins cannot be encumbered by codpieces. It's to the Stones credit that (knighthoods aside) they can still sound like the sort of chaps you wouldn't want hanging around your daughter. Jagger sounds fantastic; tawdry, bitchy and condescending on stompers like "Look What The Cat Dragged In" and like a dumped mug on the jilted love tale of "She Saw Me Coming". At sixteen tracks the album is long and not entirely without its shortcomings-"Sweet Neo Con" won't have George W Bush choking on any pretzels and "Driving Too Fast" sounds like a cross between "Jumping Jack Flash" and a lecture in road safety. But there are strong ballads ("Streets of Love") vintage malt blues ("Back of My Hand") and even Keith resurrecting one of Kenneth William's finest wordplays on "Infamy". Best Stones album in yonks? Quite possibly so. -Kevin Maidment More to Explore See more Stones CDs Live Licks (2CD) According to the Rolling Stones (Hardcover) Four Flicks (DVD) See all Rolling Stones products.

Recorded in October 1999, this double-disc slab will certainly stick to your ribs, chock-full as it is of burly, brawny riffs and it is as flavourful as it is filling. Without question, the pairing of Jimmy Page and the Black Crowes sounds as strong on your player as it does on paper. Page's playing is more focused and incisive than it has been of late, the Crowes sound energized and inspired by the esteemed guest and Chris Robinson makes a fine Robert Plant. The Led Zeppelin covers, which account for 14 of the 20 tracks on Live At The Greek, stay close to the original arrangements-you can sing along most of the way based on your knowledge of the Zep studio albums. At first, this may seem disappointing, but it becomes clear very quickly that this method is preferable to any heavy-handed reworkings. And they smartly include a few lesser-known tracks as well ("Sick Again" and "Ten Years Gone" from Physical Graffiti and "Out On The Tiles" from III). The real payoff, however, comes with the half-dozen blues covers, which sound looser and more alive than the Zep tunes. This set isn't innovative, surprising or adventurous, but that's precisely where its charms lie. -Marc Greilsamer.