This three-CD set documents some historic country-blues performances by the likes of Mississippi John Hurt, Skip James, Bukka White, Mississippi Fred McDowell and Mance Lipscomb. The urban side of things is well represented by Lightnin’ Hopkins, John Lee Hooker, Memphis Slim, Muddy Waters with Otis Spann, The Paul Butterfield Blues Band and The Chambers Brothers turning in a riveting rendition of “See See Rider.” Included here are 11 previously unreleased tracks. A must for acoustic-blues fans.

John Lee Hooker was the king of the endless boogie, a globally cherished bluesman whose droning, hypnotic, one-chord grooves were driving, primitive, and timeless. During a 50-year career, he melded regional sounds from the Delta, Detroit, and Chicago in a trademark, oft-imitated approach. From the late 1940s until 1969, he cut more than 100 singles for labels such as Modern, Chess, Federal, Atco, and Vee-Jay, including hits such as "I'm in the Mood," "Hobo Blues," "Boogie Chillen," "Crawling Kingsnake," and "Boom Boom." In 1966 he resurrected and reinvented the '50s R&B hit "One Bourbon, One Scotch, One Beer" and made it his own.

John Lee Hooker is one of the true giants of blues, ranking alongside the likes of other post-war greats such as B.B. King, Muddy Waters and Howlin’ Wolf as one of the artists who contributed massively to the development of the genre. His driving boogie style has become an essential element of the way blues is played in the modern era. He took the simple structures of Delta blues, sometimes using one and two-chord compositions, but added a fierce, relentless and hypnotically rhythmic approach, underlining the rawness of the messages in his songs. He was one of the blues artists who exerted a substantial influence on emerging stars in the rock ‘n’ roll era, from Bob Dylan through to Jimi Hendrix and Eric Clapton, and his legacy resonates through the rock music of the last half-century. He recorded prolifically under a number of names, but this great value 101-track 4-CD collection focuses on the singles he released under his own name (or in the case of some Chess singles, as John Lee Booker) on the Modern, Chess and VeeJay labels from 1949 through to 1962. It naturally includes his big R&B hits during that period - “Boogie Chillen”, “Crawlin’ King Snake”, “Hobo Blues”, “Hoogie Boogie”, “I’m In The Mood”, “Boom Boom” and “Dimples”, some of which have become blues and R&B standards. Includes comprehensive booklet with full discographical and session information. It’s a thorough overview of his output during what was perhaps the key era of his career, and a fine showcase for his unique talent.

1999 album from Britain's godfather of blues rock. 13 tracks, including 'White Line Fever' and 'Bad Dream Catcher'. Features guest appearances from John Lee Hooker, Ernie Watts and Coco Montoya.

John Lee Hooker never abandoned his raw, gut bucket Mississippi-Delta-comes-to-the-city approach to the blues throughout his fifty-year career, and if he got a tad bit slicker towards the end of that career, it was only a tad and only by degree. There are innumerable Hooker collections on the market, and this two-disc set wouldn't be anything particularly special except that it actually charts through his entire history, beginning with the ageless "Boogie Chillen," which was recorded in 1948 and topped the R&B charts for Modern Records in 1949, through "Tupelo," which was recorded in 1993 and released on the Pointblank LP Chill Out in 1995.

John Lee Hooker was the king of the endless boogie, a globally cherished bluesman whose droning, hypnotic, one-chord grooves were driving, primitive, and timeless. During a 50-year career, he melded regional sounds from the Delta, Detroit, and Chicago in a trademark, oft-imitated approach. From the late 1940s until 1969, he cut more than 100 singles for labels such as Modern, Chess, Federal, Atco, and Vee-Jay, including hits such as "I'm in the Mood," "Hobo Blues," "Boogie Chillen," "Crawling Kingsnake," and "Boom Boom." In 1966 he resurrected and reinvented the '50s R&B hit "One Bourbon, One Scotch, One Beer" and made it his own.

Original Folk Blues is a compilation album by American bluesman John Lee Hooker, released in 1967. It mostly features songs that Hooker recorded for Bernard Besman in Detroit, Michigan, between 1948 and 1954 they were originally issued by Modern Records. During the mid-1960s American folk music revival, there was increased interest in older blues music. Chess Records responded with its The Real Folk Blues series of albums, which compiled earlier singles by several of its most popular blues artists, including Hooker.

Recorded live in Chicago in 1977, this captures a a brief set by each of these blues legends. The Albert King set finds him in excellent form, tearing up his guitar on "Born Under a Bad Sign" and "I Worked Hard," and turning in fine vocals on "The Very Thought of You" and the title track, here mistitled as "When You Down." John Lee Hooker's set is a typical boogie-infested one, with solid support from a small combo doing a nice job following his idiosyncratic timing. Everything stays pretty much uptempo, with the exception of "Serves You Right to Suffer" (here mistitled as "Serves Me Right") and "Crawlin' King Snake." Actually nice live sets from both performers, and a decent addition to either artist's discography.

Nine songs recorded double-quick in one session, with Lowell Fulson on lead guitar on most of it. The rare embellishment on a Hooker release makes for unusually complex and rewarding listening, instrumentally speaking, beneath Hooker's ominous vocals. The textures here are very crisp and vivid, with a crunchiness that should make this an LP of choice for Hooker's rock fans, much more so than, say, the Canned Heat collaborations - Hooker and Fulson make a mean team on "Dazie Mae." Among the other highlights is Hooker's own take on the blues standard "Rollin' and Tumblin'," done here as "Roll and Tumble." The band that shows up on some of these cuts (which, in some instances, may have originated in Paris) is loose enough to follow Hooker, and he and Fulson play like one person.

Once considered a long-lost (and in most cases, complete unknown) studio recording from John Lee Hooker, 'The Standard School Broadcast Recordings' is the first commercial release of a rare 1973 fully electric blues band recording. Performed direct-to-tape at Coast Recorders in San Francisco, the session captures Hooker at a tumultuous and deeply transformative time of his career, accompanied by his reliable standby rhythm section of bassist Gino Skaggs and drummer Ken Swank, plus Hooker's pianist son Robert.

John Lee Hooker was the king of the endless boogie, a globally cherished bluesman whose droning, hypnotic, one-chord grooves were driving, primitive, and timeless. During a 50-year career, he melded regional sounds from the Delta, Detroit, and Chicago in a trademark, oft-imitated approach. From the late 1940s until 1969, he cut more than 100 singles for labels such as Modern, Chess, Federal, Atco, and Vee-Jay, including hits such as "I'm in the Mood," "Hobo Blues," "Boogie Chillen," "Crawling Kingsnake," and "Boom Boom." In 1966 he resurrected and reinvented the '50s R&B hit "One Bourbon, One Scotch, One Beer" and made it his own. He spent most of the '70s and '80s touring. 1989's The Healer initiated a charting, award-winning, five-album run of Hooker recording new songs and revisioning some of his classics backed by well-known contemporary guests. His commercial success led to Mr. Lucky in 1991, 1995's Chill Out, and 1997's Don't Look Back, a multi-Grammy-winning, album-length collaboration with Van Morrison.

This Live Radio Broadcast Recording from 1995 is hosted by John Lee Hooker and features performances by Hooker himself as well as his daughter Zakiya, Lazy Lester, John Hammond, Charlie Musselwhite, Taj Mahal, and Ry Cooder. The Duke Robillard band are the "House Band" for the night as they accompany the above in some rollicking blues numbers. As well as the Hooker/Cooder playing on the final three tracks the Blues harp of both Charlie Musselwhite and Lazy Lester are rocking reminders of how this music should be heard. John Lee Hooker fittingly closes the evening following up on a great version of "She Caught The Katy" by Taj Mahal. Everybody on this sound like they are having a great time and are happy to be part of a celebratory evening of the electric blues.

This four-disc box from London's JSP Records collects an astounding 100 songs recorded by John Lee Hooker in Detroit from the years 1948 to 1952, including his first two sides ever, the signature tunes "Boogie Chillen" and "Sally Mae." Most of the tracks here are done solo, with Hooker's ever-present foot-stomping, although a few feature other musicians on loose-limbed blues boogies. Since Hooker never significantly altered his style during his long career, these first recordings set the stage for all that came after, and he arguably never sounded fresher or better. Four discs worth of this throwback Mississippi bluesman will be severe overkill for casual listeners, but diehard Hooker fans will find this box set absolutely essential.

Leonard and Phil Chess were the innovators behind Chess Records, the Illinois based label that specialised in blues, r'n'b and soul, all genres influential in the early sound of rock n' roll. This 2CD compilation includes 50 original recordings featuring some of the greatest artists of the time. Highlights include songs from John Lee Hooker, Muddy Waters, Clarence 'Frogman' Henry, Bo Diddley, Etta James, Howlin' Wolf and more.

This is B.B. King's most delightful recording of the '90s. He duets with other blues greats, including Koko Taylor ("Something You Got"), Buddy Guy ("I Pity the Fool"), Etta James ("There's Something on Your Mind"), Ruth Brown ("You're the Boss"), and his dear friend John Lee Hooker ("You Shook Me"). The peaks come in his guitar shootout with Texas Telecaster slinger Albert Collins on "Call It Stormy Monday" and his high-spirited run-in with Katie Webster, who steals their performance of "Since I Met You Baby" with her saucy asides.