Originally recorded live in 1961 at the legendary Ash Grove folk club in Los Angeles and beautifully remastered for gold disc by Steve Hoffman in 1995 for DCC Compact Classics, Blues Hoot is an absolute holy grail of acoustic blues. Bringing together three towering titans of the genre—Texas giant Lightnin' Hopkins, Piedmont blues guitarist Brownie McGhee, and virtuosic harmonica wizard Sonny Terry (with guest appearances by Big Joe Williams)—this record captures the unmatched warmth, spontaneous humor, and brilliant instrumental telepathy of the 1960s folk-blues revival. The first section highlights Hopkins' trademark narrative wit and stinging acoustic guitar on tracks like Coffee House Blues, before transitioning into historical summit jams like Blues For Gamblers. The latter half belongs to the peerless, decades-long chemistry of Terry and McGhee, showcasing their iconic call-and-response vocal styling and soaring harmonica train-whistle effects on Down By The Riverside and live bonus tracks recorded at The Troubadour. Preserved in a pristine, audiophile-grade high-fidelity digital archive, this gold reissue offers an incredibly spatial, front-row seat to an unforgettable night of blues history.

Singer/Guitarist Brownie McGhee and his life-long musical partner, blind harp-man, Sonny Terry are best known as champions of the "Piedmont"-style blues pioneered by artists such as Blind Blake, Blind Willie McTell and Blind Boy Fuller. In the 1960s, they became icons of the folk-blues revival. The recording presented here however showcase a different chapter of the story. This is a collection of raw and rocking jump blues cut between 1947 and 1955 for juke boxes in black beer joints and dancehalls by the New Jersey-based Savoy Record company. Essential blues recordings from two of the genres' most revered artists.

“Sonny Terry & Brownie McGhee 1938-1948” is an extensive and historically significant collection that documents a crucial decade in the development of acoustic blues. Spanning five discs, the compilation captures early recordings from both Sonny Terry and Brownie McGhee, individually and as a duo, showcasing their evolution as influential figures in American roots music. Terry’s dynamic harmonica style and McGhee’s expressive guitar work and vocals form the foundation of a raw and authentic sound deeply rooted in rural blues traditions. The recordings highlight a wide range of material, from solo performances and duets to collaborations with other artists, reflecting the diversity and vitality of the blues during this era. Despite the archival nature of the recordings, the performances remain vibrant and emotionally resonant. This collection serves as both an essential historical document and a comprehensive overview of two legendary artists whose work helped shape modern blues.

“The Duo” by Sonny Terry & Brownie McGhee is a timeless blues collection that captures the essence of one of the most celebrated partnerships in acoustic blues history. Featuring Terry’s expressive harmonica playing and McGhee’s warm guitar work and vocals, the album presents a raw and authentic sound rooted in traditional blues storytelling. The performances are intimate and direct, emphasizing rhythm, melody, and emotional delivery over elaborate arrangements. Each track reflects the duo’s natural chemistry, with a balance of upbeat, foot-tapping numbers and more reflective, melancholic pieces. Their ability to convey narrative and feeling through simple yet powerful musical structures highlights the enduring appeal of classic blues. “The Duo” stands as both an accessible introduction and a rewarding listen for longtime fans, showcasing the depth, character, and cultural significance of Sonny Terry and Brownie McGhee’s music.

Well, complete as far as his pre-war country blues waxings for OKeh sans Sonny Terry (except for one or two where the whooping harpist provided accompaniment). McGhee was working firmly in the Piedmont tradition by 1940, when he signed with OKeh and began cutting the 47 enlightening sides here, which represent some of the purest country blues he ever committed to posterity.

Recorded in 1960. Classic straight forward roots blues. This is a wonderful cd of "true" blues with no fluff or frills. Nothing but acoustic duets using vocals, guitar and harmonica with astonishing results. The subject matte of the songs go to the hard basics of black southern life with references both lyrical and Sonny's wonderful "field hollers", whoops, and their combined work chants. Sonny and Brownie represented a strong link to where the modern blues came from and gave a path to how it developed, and this cd is an excellent example of that. A treasure for any real blues lover or anyone interested in understanding the genre.

Here's Brownie and Sonny's gospel album, recorded in 1957 at Jenny Lind Hall in Oakland, California. Those used to hearing this duo stomp and hoot the blues will be surprised as they tackle material like "What a Beautiful City," "I Shall Not Be Moved," "If I Could Hear My Mother Pray," and Gary Davis' "Get Right Church" in their own inimitable style. But an even bigger surprise comes with the liner notes, penned by major league baseball player Orlando Cepeda! By far the most interesting of all the many recordings this twosome made during their time together.

Sonny Terry & Brownie McGhee were the ultimate blues duo; McGhee's stylized singing and light, flickering guitar was wonderfully contrasted by Terry's sweeping, whirling harmonica solos and intense, country-tinged singing. They were in great form during the ten tunes featured on this live date. Sometimes, as on "Custard Pie" or "Barking Bull Dog," they're funny; at other times, they were prophetic, chilling, or moving. This is Piedmont blues at its best, and this disc's tremendous remastering provides a strong sonic framework.

These recordings were made in 1960, when Sonny Terry and Brownie McGhee were in their prime. That is to say, when they were the most exciting entertainers out there. They were a spirited duo, so perfectly attuned they were like a single musical force, joined in perfect harmony even as their personalities clashed in joyous rivalry. Sonny wild, untamed, his free hand fanning the harmonica while his falsetto cries recalled fieldhollers of long ago. Brownie was more refined, his voice rich and domineering, decrying the unfaithfulness of women, the unkindness of strangers. He’d cast mock anguished looks at the disconcerting exuberance of his friend, then light up the room with a smile.
The excitement they generated in concert halls, nightclubs and on college campuses, has been unmatched in country blues of any period…

In a way, this is the veteran duo's version of Fathers and Sons, a meeting of old black bluesmen with young white admirers that Muddy Waters and Otis Spann cut with Mike Bloomfield and Paul Butterfield. John Mayall and John Hammond, Jr. are among the "youngsters" on this powerful statement that includes a definitive version of Randy Newman's wickedly subtle anti-slavery tune "Sail Away." Sonny Terry's trademark whoops are energizing. The repartee between him and Brownie McGhee might convince you they were fast friends if you didn't know otherwise.

Lightnin' Hopkins is the star of this live recording, made at an August 1961 concert at the Ash Grove in Hollywood featuring Hopkins, Sonny Terry and Brownie McGhee (with Big Joe Williams sitting in on three numbers…

In a way, this is the veteran duo's version of Fathers and Sons, a meeting of old black bluesmen with young white admirers that Muddy Waters and Otis Spann cut with Mike Bloomfield and Paul Butterfield…