John Lee Hooker's greatness lies in his ability to perform the same songs the same way yet somehow sound different and memorable in the process. He operates at maximum efficiency in minimal surroundings with little production or assistance. That was the case on a 1969 session for Black and Blue; it was just Hooker and his guitar moaning, wailing, and narrating on 10 tracks which included familiar ditties "Boogie Chillen," "Love Affair," "Big Boss Lady," and "Cold Chills." Evidence has now not only reissued these 10 but has added another six bonus cuts, bringing the CD total to 16. If you have ever heard any Hooker, you will not be surprised or stunned by these renditions; you will simply enjoy hearing him rework them one more time, finding a new word, phrase, line, or riff to inject.

Why they kept these 19 recordings locked up in some vault for 40 years is beyond comprehension. A chunk of the Live at Sugar Hill material – recorded at a club in the Bay Area – was issued by Fantasy as Boogie Chillun on LP in 1972. It is available on CD minus one track under the same title. As good as that material was, these tracks from the very same gig are hands down some of the sexiest, deepest blues John Lee Hooker ever recorded – and that's saying something. Accompanied only by his hollow-bodied electric guitar and his foot on the floor, Hooker takes listeners through a performance so intimate that you wonder if there was an audience present – there is clapping, but not much. Versions of "Crawling King Snake," "Bottle Up and Go," "Let's Get It," "Jelly Jelly," "What's the Matter Baby," "You Don't Miss Your Water," "I Can't Hold On," and others get perhaps their definitive versions here. The opening track, "You Torture My Soul," is one of Hooker's most poignant moments, full of venom and vulnerability. In addition to the stellar performances, Hooker's guitar playing here is perhaps the finest of his career

This collection spotlights the great Delta bluesman Son House at three distinct points in his life. Included here are three of his 78s issued in the 1930s by Paramount Records, several of the Library of Congress field recordings done by Alan Lomax in 1941-1942, and a sampling of rediscovered 1960s concert pieces, including a riveting version of Blind Willie Johnson's "John the Revelator." All of this material is available elsewhere, but having examples of these different eras all on one disc makes this set a nice introduction to the full sweep of House's recorded legacy.

Like her signature song "Ode to Billie Joe," Bobbie Gentry is an enigma by choice. "Ode to Billie Joe" deliberately leaves out details that would spell out the story and Gentry removed herself from public view sometime in the late '70s for reasons that have never been fully disclosed. Many have tried to track her down because her cult not only persisted into the 21st century, it even grew – so much so that an observer would be forgiven if they believed Gentry was something of an outsider artist instead of a mainstay on television who hosted a variety show of her own…

Recorded live in November 1962 in San Francisco, this dates from the period in which Hooker often presented himself as a sort of blues/folk singer for the coffeehouse crowd, toning down his volume and aggressiveness somewhat. There's something of a muted "unplugged" feel to these solo performances (though an electric guitar is used). It's not ineffective, though not among his best work; it's the kind of Hooker you might want to put on past midnight, just before going to sleep. Hooker's never been bashful about recycling songs, and "Boogie Chillun" appears here in one of its many versions, as does "Dimples" (retitled as "I Like to See You Walk"). He also tackles the rock/soul standard "Money," changing the title to "I Need Some Money," for which he also somehow gets awarded the songwriting credit on the sleeve.

Final recordings: Face to Face combines previously released material from John Lee Hooker with unfinished tracks he was working on before he died. Compiled by the estate of Hooker, with his daughter Zakiya at the helm, the unreleased material leans heavily toward soul-blues united with Hooker's patented electric Delta boogie. "Loving People," "Funky Mabel," "Six Page Letter" (a ballad with synth strings), and "Rock These Blues Away" are highlights. Zakiya Hooker takes the spotlight on "Mean Mean World," singing lead alongside her father, and the acoustic "Wednesday Evening Blues" features George Thorogood on guitar. Hooker staples "Dimples," "It Serves Me Right to Suffer," "Mad Man Blues," and "Boogie Chillen" also make their perennial appearances. While there are no real surprises here, Face to Face still sounds great and is recommended alongside John Lee's last official releases, Chill Out and Don't Look Back, both on Pointblank.

On this recording, Burnside presents the blues in its original and purest form. His music is not very different from the Southern blues of the 1900s. Five songs from this recording, ‘Jumper hanging on the line’, ‘Long-Haired Doney’, ‘Poor Black Mattie’, ‘Catfish Blues’ and ‘Rolling and Tumbling’, are versions of traditional blues pieces that are known to everyone in the State of Mississippi. These songs date from before the blues structures with standardised texts and harmonies; they are close to the ‘hollers’ and the vocal line is supported by the repetition of the musical phrase on the guitar. The other songs are adaptations, by Burnside himself, of hits of the 1950s. Other blues artists from Mississippi and Texas perform these songs: Robert Nighthawk, Lightnin’ Hopkins, Elmore James and John Lee Hooker…

Calvin Jackson (1961-2015) was an American drummer from north Mississippi. He is considered an innovator in the Hill country blues style of drumming, having incorporated elements of the regional Fife and drum bands style in the blues band setting.
In 1999 he released the only album under his own name, Calvin Jackson & Mississippi Bound's Goin' Down South. For this effort Jackson covered songs by such obvious influences as Mississippi Fred McDowell plus added his original complaints to this whining, fussing genre such as "Hard to Get Along" and "It's Gonna Rain". The album was nominated for a Blues Music Award in the category of "Best New Artist Debut".

Hailing from New York City, the Floyd Lee Band formed in early 2001. Fronted by 75 year old Mississippi bluesman powerhouse Floyd Lee and at his side the dynamic guitarist, Joel Poluck, who represents the next generation of guitar heroes. The Floyd Lee Band has created their own sound and style without compromise and with this release they carry on the tradition of pure, raw blues. Doctors Devils & Drugs is the band's fourth release on the Amogla label and it is considered to be one of the toughest and heaviest sounds ever heard on a blues CD. This recording is also an important part of a documentary film about Floyd Lee's (Full Moon Lightnin') emotional return home to Mississippi to search for his family.

One of the best recordings in Chess Records' 50th Anniverary series is the first of two bookend Muddy Waters collections, His Best 1947-55. Documenting Waters's most creatively and commercially successful years at Aristocrat/Chess, this collection begins with his formative years and ends with Waters at his peak. So you're in for a lot of terrific bottleneck slide guitar work as well as electric Chicago blues; what's to criticize? Superb remasterings of "I Can't Be Satisfied", "Rollin' and Tumblin'," "I'm Ready", and "Mannish Boy" are simply beyond reproach. With simple bass accompaniment from Ernest "Big" Crawford, Waters's bottleneck tracks are spare, haunting and, quite frankly, perfect country blues. And listening to Waters, Little Walter, Willie Dixon, and Jimmy Rogers piece together (and perfect very quickly) the classic Chicago sound is pure blues epiphany. At the very least, this collection shows you why Waters's rollicking stop-time classics like "Mannish Boy" and "I'm Your Hoochie Coochie Man" have sparked endless imitations over the years–and why nobody has played them better since.

The New Moon Jelly Roll Freedom Rockers originated back in January 2007 when musician brothers Luther & Cody Dickinson sat down for a guitar jam with ex-Squirrel Nut Zippers leader Jimbo Mathus along with Blues Greats Charlie Musselwhite, Alvin Youngblood Hart and the late Memphis pianist, producer and all around musical stylist Jim Dickinson gathered for a recording under the group name of the New Moon Jelly Roll Freedom Rockers.

Endless Boogie is a studio album by John Lee Hooker, released in 1971 through ABC Records. Produced by Bill Szymczyk and Ed Michel, the double album was recorded at Wally Heider Recording with session musicians such as Jesse Ed Davis, Carl Radle, Steve Miller, Gino Skaggs and Mark Naftalin.