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.

Recorded on Halloween night in 1979, this pairs up Wells and Guy in a fashion that hasn't been heard since Hoodoo Man Blues, their first, and best collaboration. Solid backing by the Philip Guy band (Buddy's brother) makes this album a rare treat.

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.

A superb and thrilling collection of early singles from one of the all-time blues greats, pioneering vocalist and harmonica player Junior Wells! Wells blended numerous styles including soul, gospel and even early rock on these early recordings some of which still remain his most identifiable sides including “Hoodoo Man,” “Lovey Dovey Lovey One,” “Messin’ With The Kid” and more!

Last Time Around – Live At Legends is a fitting farewell to the late, great Junior Wells and his partnership, friendship and kinship with Buddy Guy that lasted decades. The album is a historic release in many ways. It reunites two blues legends who began their unique association in the 1950s. The album was recorded live in March 1993 at Buddy Guy's world-famous Chicago blues mecca Legends, and it's an acoustic document of many classic songs that made both Wells and Guy legends in their own right, such as "She's Alright" and "I've Been There," along with other classic blues standards such as "Hoochie Coochie Man" and "Key to the Highway," all delivered with a looseness and power that define both Guy and Wells. It also marks the last time the two ever played together.

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.

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).

As the main songwriter for Chicago's Chess label, bassist/singer Willie Dixon was one of the most influential and prolific figures in blues. Although he often served as a session player for other well-known musicians, his soulful presence was always felt, as revealed on this excellent 18-track collection which features Dixon performing with Buddy Guy, Junior Wells, Magic Sam, Otis Rush, and other blues luminaries.

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…

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 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…