Alligator Records shows a different side of its house-rocking face on this 13-cut collection of acoustic blues. While Muddy Waters, Robert Johnson and Bukka White don't appear here, other performers – some of whom one normally associates with overdriven electricity – are. Buddy Guy is present, as is Stevie Ray Vaughan. Koko Taylor's "The Man Next Door" is here and it's one of her greatest performances on record. In addition, Johnny Winter, who was no stranger to a National Steel string bottleneck earlier in his career, returns to give it another go, and the true roots doctor Corey Harris is here with "God Don't Ever Change," and Carey and Lurrie Bell with "Stop Running Around." Guy's "Hi Heel Sneakers" is terrific as is Winter's "Evil on My Mind." But it's those that are normally associated with the acoustic blues like Harris, Saffire – The Uppity Blues Women, Cephas & Wiggins, John Jackson and the legendary Sonny Terry who come off best, bringing the true rhythm and mystery with them into their songs.

Widespread respect for Earl Hooker, one of the unsung giants of the blues, is long overdue, and his rather limited available discography belies a great original talent. P-Vine Japan has attempted to put this right with Blues Guitar: The Chief and Age Sessions 1959-1963, an intelligent and authoritative collection of Hooker's early-'60s heyday, containing instrumental classics such as "Blue Guitar" and "Blues in D Natural." Both sound quality and packaging supersede all previous reissues of this work and, as such, this release becomes perhaps the cornerstone of any Earl Hooker collection.

Limited pressing housed in Japanese mini LP sleeve packaging with obi strip. Digitally remastered edition of this classic '60s Soul release. For years, Motown was always referred to as the most influential Soul label of the '60s. However, one cursory glance at Atlantic's vast catalog of '60s Soul releases proves that Atlantic may have had the edge in regards to it's roster of influential talent. This remaster is just one in a series of Japanese Atlantic Soul and R&B reissues that comes housed in a min LP sleeve, which replicates the excitement of opening the album back when it first came out!

Following his recorded debut as a leader for States Records, Junior Wells signed with Mel London, producing a number of sides for the producer's Chief and Profile imprints. Perhaps best-known for his spectacular harmonica playing, this period, documented on Calling All Blues, saw Wells emerging as an outstanding vocalist as well. A consummate performer with a firm grasp of the range of emotions the music can produce, Wells wrings every drop of feeling out of the lyrics. The singer growls, shouts, howls, moans across these 24 tracks including two versions of his great "I Could Cry" and other classics like "Little By Little," "Cha-Cha-Cha in Blue," and "Lovey Dovey Lovey One." While it has a great deal of overlap with the collections from Paula Records, Calling All Blues remains a fine introduction with no glaring omissions…

Cut at the 1974 Montreux Jazz Festival with Stones' bassist Bill Wyman anchoring the rhythm section, the set captures some of the ribald musical repartee that customarily distinguished the pairing of Buddy Guy and Junior Wells, though they certainly break no new ground as they roll through their signature songs.

An explosive double live album from the original Blues Brothers tearing up the stage in a vintage 1984 performance This concert comes jam-packed with guitar and harmonica solos galore plus some of the duo’s best performances of “Just A Little Bit,””Got My Mojo Working,” “Messin With The Kid,” and more! Come for the killer performances and solid gold blues, stay for the hilarious banter offered up by magnetic showman, Junior Wells!

The classic pairing of Buddy Guy and Junior Wells has been captured many times on vinyl, cassette, and disc over the years, but rarely with such intimacy and subtle, restrained energy as on this wonderful collection. Buddy Guy plays mostly 12 string guitar, and Junior laces his signature lines through the songs, engaging Guy in the kind of musical dialogue that only old friends can have. This is acoustic street-corner blues at its best, performed with incredible expressiveness, ease, and joy. One gets the feeling these two are just sitting down for a friendly jam session on a Saturday afternoon, and when things get loose, their laughter flows almost as freely as the music. Guy really shines on some of these tracks, his guitar lines fast, smooth, percussive, and seemingly effortless…

Cut at the 1974 Montreux Jazz Festival with Stones' bassist Bill Wyman anchoring the rhythm section, the set captures some of the ribald musical repartee that customarily distinguished the pairing of Buddy Guy and Junior Wells, though they certainly break no new ground as they roll through their signature songs.

The historically monumental concert performance by blues legends Buddy Guy & Junior Wells! Recorded 1978 in the gorgeous seaside town of Montreux at the foot of the Swiss Alps, this show cemented Guy & Wells’s reputation as the most significant, undeniable blues duo in music history! The audio has been digitally remastered for the highest audio quality possible!

The historical details surrounding the recording session that became Buddy & the Juniors are almost as entertaining - and oddly satisfying - as the music itself. Released on Blue Thumb in 1970 on multi-colored wax, this session, was it not for a very real economic necessity due to Buddy Guy's feud with Vanguard Records, would never have happened. It appears that Vanguard wouldn't pick up the tab for Guy to fly to New York to mix an album he'd cut with Junior Mance and Gary Bartz - also produced by Cuscuna. Being an ever-enterprising genius, Cuscuna pitched the idea for a recording between Guy, Mance, and Junior Wells to Blue Thumb label boss Bob Krasnow, who jumped at the chance. The all-acoustic Buddy & the Juniors was recorded on December 18 of 1969, and on December 19, they mixed this album and the Vanguard date…

Recorded at two separate gigs in January 1975 but not issued until 2006, this captures Junior Wells on-stage at Theresa's, one of the most esteemed Chicago blues clubs. It's a little rawer than most live albums; the sound is good, and Wells is in good form, but his band is a little rough (and, particularly on the tracks with guitarist Sammy Lawhorn, a little off-key). But the flaws really aren't too significant, as this is a pretty enjoyable set of electric Chicago blues in its unadulterated vintage form. Wells offers his trademark exuberant blues with touches of rock, soul, and funk, performing a few of his most popular tunes ("Messin' with the Kid," "Snatch It Back and Hold It") and a bunch of classic covers that are more identified with other performers (Slim Harpo's "Scratch My Back," Big Bill Broonzy's "Key to the Highway," St. Louis Jimmy Oden's "Goin' Down Slow," Little Walter's "Juke," Tampa Red's "Love Her with a Feeling," and "Help the Poor," the last popularized by B.B. King).

Hoodoo Man Blues is one of the truly classic blues albums of the 1960s, and one of the first to fully document, in the superior acoustics of a recording studio, the smoky ambience of a night at a West Side nightspot. Junior Wells just set up with his usual cohorts – guitarist Buddy Guy, bassist Jack Myers, and drummer Billy Warren – and proceeded to blow up a storm, bringing an immediacy to "Snatch It Back and Hold It," "You Don't Love Me, Baby," "Chitlins con Carne," and the rest of the tracks that is absolutely mesmerizing. Widely regarded as one of Wells' finest achievements, it also became Delmark's best-selling release of all time.