Fourteen rarities from the seemingly bottomless 1948-1952 stash of Detroit producer Bernie Besman, joined by a 1961 stereo "Blues for Abraham Lincoln" that's painfully out-of-tune. Includes "Boogie Chillen" and an alternate version of "I'm in the Mood."

John Lee Hooker developed a “talking blues” style that became his trademark. Though similar to the early Delta tradition, his metrically free approach and unique sound would make him a staple of Detroit blues. Often called the “The King of the Boogie”, Hooker's driving, rhythmic approach to guitar playing has become an integral part of the blues. His thunderous electric guitar sounded raw, while his basic technique was riveting. This quintessential collector’s edition includes two of Hooker’s finest albums: That’s My Story (1960), and House of the Blues (1959). These two masterpieces have been remastered and packaged together in this very special release. Contained here is the cream of the crop from Hooker's hit-making stretch during his most inspired years. Without a doubt, this is the material upon which John Lee Hooker's legend was built.

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.

Two classic Hooker LPs, all digitally re-mastered, 22 solid slabs of dark, leathery, brooding nostalgia. This is the electric blues at its very roots. This stripped-bare, one man and a growling electric guitar (on most tracks) music is the stuff those guys who fled the south for the auto production lines in the north used to listen to. Hooker’s ‘talking blues’ style is well represented on Folk Lore. Great numbers like I’m Going Upstairs (and we all know what John was going up for), I Like to See You Walk and My First Wife Left Me start to haunt you like some swamp ghost. The Folk Blues tracks are no less powerful. Half A Stranger, Shake, Holler And Run, Down Child and Gonna Boogie all roll into one another to form a big, dusty landscape punctuated by mid-20th century American industry.

John Lee Hooker developed a “talking blues” style that became his trademark. Though similar to the early Delta tradition, his metrically free approach and unique sound would make him a staple of the Detroit blues tradition. Often called the “King of the Boogie,” Hooker's driving, rhythmic approach to guitar playing has become an integral part of the blues. His thunderous electric guitar sounded raw, while his basic technique was riveting.
This quintessential release includes two of Hooker's finest albums: Burnin' (1962) - with a full-band accompaniment and featuring the chart success “Boom Boom,” one of Hooker's most identifiable and enduring songs, plus Plays and Sings The Blues (1961) which was filled with 1951-1952 solo­recordings and gems from Hooker's early days. Both masterpieces have been remastered and packaged together in this very special collector's edition, which also includes 3 bonus tracks…

John Lee Hooker was still churning out R&B-influenced electric blues with a rhythm section for Vee Jay when he recorded The Country Blues of John Lee Hooker, his first album packaged for the folk/traditional blues market. He plays nothing but acoustic guitar, and seems to have selected a repertoire with old-school country-blues in mind. It's unimpressive only within the context of Hooker's body of work; in comparison with other solo outings, the guitar sounds thin, and the approach restrained.
In addition to the original masterpiece, this remastered collector's edition also contains 8 bonus tracks, consisting of a number of solo recordings taped between 1951 and 1961.

This quintessential release presents one of Hooker's most difficult to find albums: Burning Hell. Recorded in Detroit in April 1959, the Riverside label only originally issued the LP in England. A country-­blues classic, John Lee Hooker only plays acoustic guitar throughout the album, and sings straight to the bone with his soul drenched vocal delivery. Highlights include songs associated with Muddy Waters, Howlin' Wolf, Lightnin' Hopkins, and Big Bill Broonzy, as well as a number of Hooker's own finest compositions. In addition to the original masterpiece, this remastered CD also contains 8 bonus tracks, including a number of solo recordings taped in different locations between 1952 and 1961.

This compilation contains 20 of John Lee Hooker's hits, recorded in the `50s and `60s, 68 minutes of music.

In 1959, John Lee Hooker signed a one-off deal with the Riverside label to record an acoustic session of the country blues. It was a key change from his earlier recordings, most of which had featured Hooker on an electric guitar with his trademark reverb and stomping foot. Folk purists of the day were delighted with COUNTRY BLUES, believing Hooker had returned to his roots, leaving the "glitzy commercialism" of R&B behind. But some Hooker fans considered COUNTRY BLUES a "betrayal" of his true sound.

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.