Free’s critically underrated ‘Heartbreaker’ was a direct foreshadowing of the success to come for Paul Rodgers and Bad Company.

‘Live At Maxwell’s’ is the first album to give those of us who hadn’t been able to see Duane Eubanks lead on the bandstand a taste of what he’s capable of in such a setting. We could use many more tastes like this.

John “Papa” Gros’ ‘River’s On Fire’ is one of those albums you “see,” because the stories are so well told. Mentor Allen Toussaint would be proud.

‘Behind The Vibration’ is a typical Rez Abbasi album in the sense that when you think he’s about to run out of ideas and start repeating himself, he’ll come out with something fresh and stimulating that builds upon what he’s made before.

With 1970’s “Fancy Colours,” Chicago proves once and for all how sophisticated rock music can be.

There’s some dope punk blues in here, recommended whether you’re new to Left Lane Cruiser or already a big fan. ‘Beck In Black’ is where to get your Sausage Paw fix.

People seeking adventurous music should seek out Marc Ribot adventures like ‘Live In Tokyo’ because he does it with such attitude, resourcefulness and — dare I say — fun.

With his proper debut ‘Cinematic,’ Dan Cavalca can already boast a fully-formed individual approach to an instrumental music that brings together a lot of familiar elements but the alchemy itself is uncommon…and uncommonly good.

The most tragic histories can make the greatest songs, as the Indigo Girls’ “Rise of the Black Messiah” reminds us.

‘Unstatic’ remains very much in keeping with the style of French rock-jazz drumming extraordinaire Manu Katché, a style that continues to discreetly evolve and stay very much engaging.