This Columbia Legacy reissue of the 1965 release is one of the few recordings available of one of the blues' founding fathers. It contains some of his best songs, which have unsurprisingly become classics of the Delta blues genre: "Death Letter," "Preachin' Blues," "Levee Camp Moan," "Pony Blues," and "Downhearted Blues" are all here. Though not as comprehensive as Father of the Delta Blues: The Complete 1965 Sessions, this CD is an excellent introduction to this seminal artist's work, revealing the creativity, passion, skillful guitar playing, and rich singing that helped form a whole new kind of music. -Genevieve Williams.

Leadbelly wasn't exactly the Raffi of the Roosevelt era. Convicted of attempted murder and murder, the man born Huddie Leadbelly on January 20, 1888, in Mooringsport, Louisiana, began forging a career as a performer in the 1930s after his discovery by John and Alan Lomax. By then he'd developed an enormous repertoire as well deft vocal and instrumental skills. Despite his sordid past, Leadbelly won over adults and children alike; this generous 28-song collection demonstrates the source of his pied-piper appeal. While the master of the 12-string guitar drew upon traditional kid fare ("Skip to My Lou", "Blue-Tailed Fly"), he recognised that plenty of goodies from his adult bag of songs appealed to tykes too. Consequently, blues, work songs and prison numbers turn up in this gratifying collection, which consists of a 1960-released children's LP in its entirety, plus selections from two other records and a previously unreleased radio track. -Steven Stolder.

In many ways, these 1938 and 1939 Carnegie Hall concerts ushered in an exciting period of black music for the American public. While great bandleaders like Benny Goodman had been blurring the color line for years, From Spirituals to Swing was the first prominent Carnegie Hall production to present African American performers to an integrated audience. Besides the racial and political implications of John Hammond's controversial shows, the producer was able to bring together some of the era's finest talent in jazz, blues, and gospel music. Recorded straight onto lacquer discs before the advent of long-playing albums and first released in 1959, this three-CD set includes two dozen previously unreleased performances by the likes of the Count Basie Orchestra, bluesman Sonny Terry, the Golden Gate Quartet, and James P. Johnson. There are several notable moments in Hammond's Carnegie collection, previously unreleased and otherwise. Naturally, this includes swinging presentations by a Basie band that showcase star-studded soloists like Lester Young, Buck Clayton, Herschel Evans, and Harry "Sweets" Edison. There are also three dynamic performances by the Kansas City Six, which feature the rare pairing of tenor saxophonist Lester Young with early guitar great Charlie Christian. The box set also includes wonderful vocal contributions from Joe Turner, Helen Humes, and Jimmy Rushing as well as blues icon Big Bill Broonzy and gospel matriarch Sister Rosetta Tharpe. Unusual artistic combinations make these Hammond productions particularly distinctive. [+]

Rescued from becoming a mere footnote in the history of alternative rock-jazz-influenced hippy band obsessed with dope imagery, made some interesting experiments with electronics-by the mainstream adoption of trance in the 1990s, Gong were always either ahead of their time or, more usually, out of it altogether. They were touting trippy light shows, ambient chill-out effects and mantra-like beats long before the concept of "New Age" had anything to do with music. And it's not only Ozric Tentacles who can trace their roots back to Gong: both the Orb and System 7 are direct descendants, thanks to their connection with ex-Gong guitarist Steve Hillage. Gong's legacy is handily captured in this lengthy, if chaotically organised two-disc collection dating from 1971-77: the swirling electronics, the hypnotic rhythms, the "space whisper" vocals of Gilli Smyth. Even the parade of Pothead Pixies on their flying teapots can still raise a chuckle (it was surely never meant to be taken seriously). Only the late Floating Anarchy session hits the occasional raw note, but whenever the band kicks in with one of those meditative grooves you know it's time to put the kettle on. -Mark Walker.