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.

Muddy Waters had his second coming 30 years ago, when longtime friend and disciple Johnny Winter and his Blue Sky label returned him–after a series of listless recordings aimed at the rock audience–to the raw, powerful authenticity of his timeless Chess material with a series of powerful albums. Beginning with 1977's acclaimed Hard Again, a subsequent tour produced Muddy "Mississippi" Waters Live, recorded onstage in Detroit, New York, and Philadelphia with Muddy's band, Winter, and harmonica player/vocalist James Cotton. Enough live material remained for Legacy to release an expanded version with an entire second disc of unissued concert material. It seems even that wasn't the end. This collection returns again to those remarkable concerts, featuring Muddy on five tracks, among them a rousing "I Can't Be Satisfied," "Trouble No More," "Caldonia," and the closing "Got My Mojo Workin'." Winter and Cotton are no less powerful, Cotton redoing Jackie Brenston's hit "Rocket '88'" and Winter ripping up John Lee Hooker's "I Done Got Over It" and "Mama Talk to Your Daughter."

After a string of mediocre albums throughout most of the 1970s, Muddy Waters hooked up with Johnny Winter for 1977's Hard Again, a startling comeback and a gritty demonstration of the master's powers. Fronting a band that includes such luminaries as James Cotton and "Pine Top" Perkins, Waters is not only at the top of his game, but is having the time of his life while he's at it. The bits of studio chatter that close "Mannish Boy" and open "Bus Driver" show him to be relaxed and obviously excited about the proceedings. Part of this has to be because the record sounds so good. Winter has gone for an extremely bare production style, clearly aiming to capture Waters in conversation with a band in what sounds like a single studio room. This means that sometimes the songs threaten to explode in chaos as two or three musicians begin soloing simultaneously. Such messiness is actually perfect in keeping with the raw nature of this music; you simply couldn't have it any other way.

Of all the post-Fathers & Sons attempts at updating Muddy's sound in collaboration with younger white musicians, this album worked best because they let Muddy be himself, producing music that compared favorably to his concerts of the period, which were wonderful. His final album for Chess (recorded at Levon Helm's Woodstock studio, not in Chicago), with Helm and fellow Band-member Garth Hudson teaming up with Muddy's touring band, it was a rocking (in the bluesy sense) soulful swansong to the label where he got his start. Muddy covers some songs he knew back when (including Louis Jordan's "Caldonia" and "Let The Good Times Roll"), plays some slide, and generally has a great time on this Grammy-winning album. This record got lost in the shuffle between the collapse of Chess Records and the revival of Muddy's career under the auspices of Johnny Winter, and was forgotten until 1995. The CD contains one previously unreleased number, "Fox Squirrel".

This is easily a "super super blues bust." Power trios, of course, were hip in the late '60s – even at down-home Chess Studios, where ad hoc "supergroups" were assembled for 1967's Super Blues and its sequel, Super Super Blues Band. (No one ever accused Chess Records of being subtle.) The band on Super Super Blues Band included two-thirds of the original Super Blues headliners – Muddy Waters and Bo Diddley – with Howlin' Wolf replacing Little Walter to round out the trio. Unlike Walter, who was willing to cede the spotlight to Diddley and Waters on Super Blues, Wolf adamantly refuses to back down from his rivals, resulting in a flood of contentious studio banter that turns out to be more entertaining than the otherwise unmemorable music from this stylistic train wreck.

Muddy's next-to-last Chess album, Can't Get No Grindin' marked a return to working with a band of his own after several experimental line-ups and recordings – Pinetop Perkins took over the piano spot from the late Otis Spann, with Chess veteran harpist James Cotton aboard, and PeeWee Madison, and Sammy Lawhorn handling the guitars (apart from Muddy's axe, natch). The music is raw, hard-edged, and sharp (the guitars slash and cut), more like a successor to Muddy's classic 1950's sides (he rethinks a bunch '50s numbers here) than to the London Sessions, Super Blues, brass blow-outs, and psychedelic albums that he'd been doing. It's also easy to hear Muddy's heart in this release – he fairly oozes soul out of every note he sings.

Seldom equalled and never surpassed, Muddy Waters changed the course of popular music. Beautifully remastered to capture Muddy's intoxicating power, this Rough Guide charts his early career in the Delta and pioneering time in Chicago.
The bonus CD features a group of stellar musicians, who played with Muddy Waters while he changed the face of blues music. Harmonica players James Cotton and Junior Wells, guitarists and singers Jimmy Rogers, Earl Hooker, Walter Horton, Jimmy Oden, Buddy Guy and Otis Rush, all passed through Muddy's band or played on his records. Others were merely influenced by him. But then again, of the blues musicians of the 1950s, there was scarcely anybody who wasn't…

This Muddy Waters compilation from England is comprised of 20 songs,17 of them dating between 1950 and 1958 and the other three from 1968 and 1972, arranged in no particular order. The selection opens with "Got My Mojo Working" in its original studio version and covers most of the obvious bases, including many of Muddy's best-known originals and his classic renditions of Willie Dixon compositions, but somehow missing out on "I Can't Be Satisfied" and "Rollin' and Tumblin'" in favor of "Garbage Man" from 1972 (a better case can be made for "Can't Get No Grindin'"). It's difficult to say what makes this collection "essential" - one supposes that the producers wanted to emphasize the fact that Muddy was still making important music that late, but given that the notes focus on songs that were later staples of the British Invasion, the choices are odd…

Muddy Waters left Chess only when the label folded upon its sale in the mid-'70s, but by that point he was in need of the kind of career revival that only comes with a new label and new set of collaborators. That's precisely what Muddy received in 1976, when he signed with Blue Sky Records and teamed up with the hotshot blues-rock guitarist Johnny Winter, who produced Waters' acclaimed 1977 comeback, Hard Again, and its sequels, 1978's I'm Ready and 1981's King Bee, along with supporting Muddy for the 1979 concert set Muddy "Mississippi" Waters Live. All four albums are cherry-picked for Raven's 2009 compilation The Johnny Winter Sessions 1976-1981, which also adds a cut from the 2003 deluxe edition of Live and Muddy's duet "Walking Thru the Park" from Winter's 1977 album, Nothin' But the Blues…

After the Rain dates from the most controversial period in Muddy Waters' history - along with its predecessors, Electric Mud (probably the most critically despised album in Muddy's catalog) and Brass and the Blues (an effort to turn him into B.B. King), it came out of an era in which Chess Records was desperately thrashing around trying any musical gambit to boost the sales of its top blues stars. But unlike Electric Mud, in which the repertoire selected by producer Marshall Chess was mostly unsuited, and the musical settings provided by Phil Upchurch, Pete Cosey et al. were too loud and too frenetic for Muddy's style of singing, After the Rain simply let him be Muddy Waters. The album mostly featured higher-wattage remakes of a lot of familiar repertoire, including "Honey Bee" and "Rollin' and Tumblin'," and also reintroduced Muddy's own electric guitar, which had mostly been unheard on his recordings of the 1960s…

This is the first of two super session albums that Chess produced in the late '60s. Time has been a bit kinder to this one, featuring Muddy, Bo Diddley and Little Walter, than the one cut a year later with Howlin' Wolf standing in for Walter. It's loose and extremely sloppy, the time gets pushed around here and there and Little Walter's obviously in bad shape, his voice rusted to a croak and trying to blow with a collapsed lung. But there are moments where Bo's heavily tremoloed guitar sounds just fine and the band kicks it in a few spots and Muddy seems to be genuinely enjoying himself. Granted, these moments are few and way too far between, but at least nobody's playing a wah-wah pedal on here.

Accompanied by Johnny Winter and his band, Muddy Waters turns in an enthusiastic performance on Muddy "Mississippi" Waters Live. The set list contains most of his biggest hits, and the sound quality and performances are mostly energetic. Still, there's something faintly repetitive about this record. For one thing, there's only one song here, "Deep Down in Florida," that comes from any of Waters' recent albums. All of the others are old standards, which makes this album rather superfluous, since there are equally forceful performances of these cuts elsewhere. It doesn't help any that "Deep Down in Florida" isn't an especially noteworthy song, sounding more like a rewrite of Waters' older, better cuts. Without much in the way of new material, or anything especially notable about the performances, it sometimes comes off as little more than a set of Muddy Waters' greatest hits, with applause as the sole new ingredient…

Once Chess discovered a white folk-blues audience ripe and ready to hear the real thing, they released a series of albums under the Real Folk Blues banner. This is one of the best entries in the series, a mixed bag of early Chess sides from 1949-1954, some of it hearkening back to Muddy's first recordings for Aristocrat with only Big Crawford on strings in support, with some wonderful full band sides rounding out the package to give everyone the big picture. A couple of highlights to pay special attention to are the cha cha/shuffle strut of the band charging through "Walkin' Through the Park" and the "I'm a Man"-derived nastiness of "Mannish Boy."