Although Chess didn't bother to anthologize these sides into album form until the early '60s, this marvelous collection actually dates from 1953. Broonzy and Sam are both in great form here, sharing the vocals throughout and recalling their earlier days as Bluebird label and session mates. The sound is fleshed out by the addition of guitarist Lee Cooper (who at times almost sounds a bit too modern for the genre being explored here, throwing in what can only be described as Chuck Berry licks) and Big Crawford on upright bass.

Big Bill Broonzy was viewed as a beloved country blues player when he died in 1958, a master of raw and authentic-sounding folk-blues. But this public image, although Broonzy worked hard to maintain it in his later years, does him a bit of a disservice. He was much more than a rustic relic, however well he played the part. Broonzy was an excellent and even sophisticated guitarist, starting out in the '30s as a rag and hokum player but he was versatile enough to work with jazz and R&B combos, and his guitar approach was instrumental in the early formation of the Chicago blues sound. He was also a crafty songwriter, who managed to write blues pieces that bridged the line between traditional blues themes and modern structure. This 21-track collection focuses mostly on his early solo acoustic material, although there are some band pieces included as well toward the end of the sequence.

Originally recorded in 1957, these sessions turned out to be the last the legendary Big Bill Broonzy would record; only a little over a year later, he succumbed to lung cancer. This collection consists not of fan or producer favorites, but Broonzy favorites, and includes a variety of blues, folk, and devotional music. Though he was instrumental to the development of the blues and the Chicago sound, much of the material on this three-disc set reaches back to the music that the blues came from, with a lot of drop-in help from Broonzy's friends, of which there were many. That makes these recordings not only recordings, but documentation, a testament to a bluesman who was at once musician and historian.