The powers that be at Alligator were subjected to a fair amount of criticism for taking a 1977 album of standards that Otis Rush had cut in Sweden and overdubbing Lucky Peterson's keyboards to make the thing sound fuller and more contemporary. History, after all, should not be messed with. But it's still a reasonably successful enterprise, with Rush imparting his own intense twist to "I Miss You So," "You Don't Have to Go," and "Little Red Rooster."

The heir apparent to Chicago's legacy of amplified blues harmonica, William Clarke was the first original new voice on his instrument to come along in quite some time; he became a sensation in blues circles during the late '80s and early '90s, stopped short by an untimely death in 1996. A pupil and devotee of George Harmonica Smith, Clarke was a technical virtuoso and master of both the diatonic harp and the more difficult chromatic harp (the signature instrument of both Smith and Little Walter). Where many new harmonica players had become content to cop licks from the Chicago masters, Clarke developed his own style and vocabulary, building on everything he learned from Smith and moving beyond it. His four '90s albums for Alligator earned wide critical acclaim and remain his signature showcases.

This is a collection of the five first albums of the Paul Butterfield' group. The first two albums are classic and influenced rock music. The first album gives an electric atmosphere to blues, and was one of the influences to Bob Dylan's music to became electric…

Classic 1977 London Sessions featuring Billy Boy Arnold w/ The Groundhogs. It happened during the autumn in London in 1977. Billy Boy was touring Europe and entrepreneur Peter Shertser came up with the idea that Billy Boy should record an album with The Groundhogs at Pathway Studios, North London. Billy Boy gelled immediately with the white boy's blues rock of The Groundhogs and jammed with the band until they were tight and ready to record the album. And what an album with Billy Boy's singing and harmonica and Tony S McPhee's slide technique and outstanding licks. As one reviewer said back in1979 "Briefly and simply, this album contains some of the best blues of the 70's and some of Billy Boy Arnold's best music ever."