Cafe R&B is a five-piece band from the Los Angeles area consisting of female singer Roach, guitarist Byl Carruthers, keyboardists John "JT" Thomas, Harry Cohen and Stevie Utstein, bassist Bobby Pickett, and drummer Don Swanson and Adam Gust. Longtime music fans may remember lead singer "Roach" from her days fronting Los Angeles' "Roach and the White Boys" in the early 1980s. Critics in the U.S. and Europe have compared her hard-rocking vocals to the likes of Etta James, Tina Turner and Aretha Franklin. HITS Magazine declared: "Imagine Etta James riding a Harley out of an active volcano, and you'll have some vague inkling as to the vocal power…"

No one will accuse Steve Freund of having the greatest voice in the blues world. While Freund is an impressive guitarist, he is merely adequate as a singer. But when you're evaluating an album, it is important to look at the big picture. Taking different things into consideration - impressive chops, adequate singing, likable songwriting - one concludes that "C" for Chicago, although slightly uneven, has more plusses than minuses. Freund won't blow you away with a great voice, but he still gets his points across on enjoyable (if derivative) Chicago-style blues numbers like "Everytime I Get to Drinking," "Working Man," and "Please Love Me" (which employs Boz Scaggs as a second guitarist). One of the CD's most memorable tracks is "I Love Money," a humorous account of having champagne tastes and a beer budget…

The music Earl Hooker and Junior Wells made together demonstrates the blues in transition, still upholding its traditions but recasting them in a format that reflected the musical taste of contemporary black society. Shortly after these records were produced, the Blues Boom shifted the music’s focus on to young white audiences. The tracks featured here represent some of the last instances of Chicago blues being produced for the artists’ own community.

Paul Butterfield was the first white harmonica player to develop a style original and powerful enough to place him among the true blues greats. His initial recordings from the mid-60s featuring the legendary ‘Paul Butterfield Blues Band’ were eclectic, ground breaking tracks fusing electric blues with rock & roll, psychedelia, jazz and even Indian classical music…

One of the greatest of all Chicago bluesmen, vocalist, guitarist and harp player Bill Boy Arnold made his recording debut in 1952 and played harmonica on Bo Diddley's massive 1955 hit, "I'm A Man." A prolific songwriter, Arnold's songs have been covered by many artists including the influential English blues rock group, The Yardbirds. Arnold's career has spanned well over 50 years and he still continues to write and record new material. Presented here is Arnold's classic 1979 release, "Checkin' It Out," featuring nearly all original compositions, except for a pair of Little Walter tunes. The band is Billy Boy Arnold (vocals, harmonica); Tony S. McPhee (guitar); Wilbur Campbell (drums); Alan Fish (bass).

These are from the first and only recordings that brought the entire, legendary, Bell family together into the recording studio. Carey Bell is justly renowned today as the best blues harmonica man around and is of course father of all the other bells here. Not just genetically though, musically too because his style of bard, "50s" blues has been brought down to one more generation. Lurrie Bell is a stunning blues guitarist who would be a star if it was a fair world. Steve Bell is a maturing but definitely inventive blues harp player and Carey’s younger sons, Tyson and James, are a supremely powerful and well oiled rhythm section. The music on this CD defines the best of recent Chicago Blues.

One of the most enriching contemporary items in Rogers's growing album catalog. Combining studio tracks with live performances, the set trods heavily on the past with loving renditions of "Rock This House," "Ludella," "Sloppy Drunk," and "Chicago Bound." Kim Wilson proves a worthy harp disciple of Little Walter, while bassist Bob Stroger and drummer Ted Harvey lay down supple grooves behind the blues great.

Encountering this material in a fresh setting, stripped of the familiar configurations of the original albums, we can reassess this important music in contemporary terms. Right off the bat, As Good As It Gets receives a demerit for omitting "Mary Had a Little Lamb," easily Guy's best known … waxing. Otherwise, the CD provides a reasonable overview of the mercurial guitarist's output. Best of all, the set uncovers three previously unreleased items from the '67 sessions. Buddy Guy is one of the most celebrated blues guitarists of his generation (arguably the most celebrated), possessing a sound and style that embodied the traditions of classic Chicago blues while also embracing the fire and flash of rock & roll.

Last Time Around – Live At Legends is a fitting farewell to the late, great Junior Wells and his partnership, friendship and kinship with Buddy Guy that lasted decades. The album is a historic release in many ways. It reunites two blues legends who began their unique association in the 1950s. The album was recorded live in March 1993 at Buddy Guy's world-famous Chicago blues mecca Legends, and it's an acoustic document of many classic songs that made both Wells and Guy legends in their own right, such as "She's Alright" and "I've Been There," along with other classic blues standards such as "Hoochie Coochie Man" and "Key to the Highway," all delivered with a looseness and power that define both Guy and Wells. It also marks the last time the two ever played together.

Deep in the Blues is a fascinating jam session between James Cotton, guitarist Joe Louis Walker, and jazz bassist Charlie Haden. The trio runs through a number of classic blues songs written by Muddy Waters, Percy Mayfield, and Sonny Boy Williamson and a few originals by Walker and Cotton. The sound is intimate and raw, which is a welcome change from Cotton's usual overproduced records.

Chicago blues pianist Eddie Boyd only released one album for Mike Vernon's Blue Horizon label (7936 South Rhodes), so in addition to those 12 tracks, this reissue scrapes together another four rarities from around the same period (1967-1968) and two from 1960 to expand the song listing to 18. The bulk of this recording was laid down in a single day, a situation that kept the energy flowing in the studio. This was producer Vernon's second session with Boyd – two leftover tunes from his 1967 Decca album open the disc – so he was acquainted with the bluesman's method of working. The project was originally credited to Eddie Boyd with Peter Green's Fleetwood Mac, and indeed three quarters of that band (Green, Fleetwood, and McVie) provide backing duties for the majority of these tracks. The Mac, which had started to experience their first shot of stardom in the U.K., are in typically fine form with Green's slashing, quicksilver leads a particular treat. There are also vocal similarities between Green (who doesn't sing here) and Boyd, showing that this session was a two-way street.

Barrelhouse Chuck leads an all-star blues band which includes premier harp player and Fabulous Thunderbird's member Kim Wilson and long-time Muddy Waters rhythm section members Willie “Big Eyes” Smith on drums and Calvin “Fuzz” Jones on bass. On guitars are Joel Foy and Eddie Taylor, Jr. This band smokes as Chuck pays tribute to his mentors and heroes Sunnyland Slim, Little Brother Montgomery, Floyd Jones, Detroit Jr., Memphis Slim, Big Moose Walker, Smokey Smothers, Eddie Taylor, and Muddy Waters. Barrelhouse Chuck's music continues the Chicago blues piano tradition!

The Chess Box does not contain all the great music Muddy Waters made. His talent and legacy are too large to be captured in a mere three discs, even one that spans from 1947 to 1972. This means, of course, that his legendary plantation recordings with Alan Lomax are not here, nor is his dynamic late-'70s comeback, Hard Again. But, truth be told, it doesn't feel like they're missing, since Waters' legend was built on the music that he made for Chess, and much of the greatest of that is here. Few box sets have chronicled an artist's best work as effectively as this; even the handful of rare, previously unreleased recordings sit perfectly next to the essential singles (this is particularly true of alternate takes of Fathers and Sons material). Sure, there are great Chess sides that aren't here, but those are great sides that the serious listener and aficionado need to seek out. For everybody else, this is a monumental chronicle of Waters at his best, illustrating his influence while providing rich, endlessly fascinating music.