Bessie Jones, John Davis, and the Georgia Sea Island Singers gained wide renown during the 1960s and ‘70s for their powerful performances of traditional songs from the African American Gullah Geechee community on St. Simons Island, Georgia. Most in the group were born and raised on St. Simons, and could trace their ancestry to the enslaved West and Central Africans who worked on the island’s cotton plantations. Throughout the ‘60s, the Georgia Sea Island Singers were prominent voices in the civil rights movement, bringing hundreds of years of Black musical tradition to bear on a pivotal time in American history. This previously unheard recording captures their complete Friends of Old Time Music concert of April 1965, at which they were joined by legendary bluesman Mississippi Fred McDowell, cane fife player Ed Young, and folklorist Alan Lomax, who acted as emcee.

Hooker bounced around between label affiliations like crazy in the 1950s, recording under almost as many fake names as he did labels during that decade. His two lasting record company hookups occurred with Chess in the early 1950s and Vee-Jay later on in the decade. All of Hooker's Chess masters from that decade (he would later record in the '60s for them as well) are here on this two-disc, 31-track collection. Unlike other Chess artists, Hooker did little of his recording in Chicago, preferring to work out of his Detroit home base, where he continued to record for other labels under a variety of pseudonyms. His 1951 Chicago session excepted, the rest of the tracks emanate from Detroit sessions that also saw issuance on the local Gone, H-Q and Fortune labels…

Burning Hell was recorded in 1959 in Detroit, MI, but wasn’t released until 1964. Even then, it was only available in the UK. The album features Hooker solo as he plays originals and classics. AllMusic states that, on this album, “Hooker shows himself to be an excellent interpreter who could have held his own with Delta bluesmen of any era.” It is now available for the first time in hi-res audio.

Today! is Skip James’ second album, originally released in 1966. The album features James solo on all but one track, “How Long,” which includes Russ Savakus on bass. This 180-gram LP pressed at QRP includes an obi with notes by Scott Billington, a paper-wrapped jacket and (AAA) lacquers cut from the original master tapes by Matthew Lutthans at The Mastering Lab. AllMusic asserts, “wonderful vocals, superb guitar and a couple of tunes with tasty piano make this essential.”

If there is anyone out there looking to make a movie about a man having a hard time with women and the road…this would make the perfect soundtrack for you. There are 12 cuts to the original album but it was still a short one as none of those songs was longer than two minutes and thirty-seven seconds, but what it might have been missing in length it made up for in content. The several bonus tracks added to this version of the album is greatly appreciated as they fit well into the theme.

The Jo Ann Kelly archive has been very poorly treated over the years, with only Indigo's occasional forays during the late 1990s truly spotlighting one of Britain's most underrated, but highly-treasured, blues vocalists. Into this sorry state of affairs weighs Blues Matters!, the label wing of the magazine of the same name, with a collection that totally lives up to its title. Sixteen tracks, recorded between 1967-1984, are bundled up within, and capture Kelly ranging across the stylistic spectrum. The set kicks off with four numbers taken from a rare Harlequin blues EP compilation, recorded with Tony McPhee in 1965. This was not Kelly's first session, she'd done an earlier one for Mike Vernon's Purdah label, but that remains unreleased, and thus this was the music with which Kelly was introduced to the world…

Produced by Ralph Bass in 1966 but not issued by Chess at the time, More Real Folk Blues was unearthed by MCA only a few years back. It's no masterpiece maybe, but certainly deserved release in its day - backed by Burns and a Chicago rhythm section that copes as well as can be expected with Hooker's singular sense of timing, the Boogie Man answers Sir Mack Rice with his "Mustang Sally & Gto" and keeps things way lowdown on several other cuts.

Just like You is the second studio album by Delta blues artist Keb' Mo', released in 1996. It features guest artists Jackson Browne and Bonnie Raitt, both on the title track "Just Like You". Unlike the first album, Just Like You features a more blues-pop to blues-rock feel and more of its tracks feature a full band. In 1997, Just Like You won the Grammy Award for Best Contemporary Blues Album.

The rock era saw a few white female singers, like Janis Joplin, show they could sing the blues. But one who could outshine them all - Jo Ann Kelly - seemed to slip through the cracks, mostly because she favored the acoustic, Delta style rather than rocking out with a heavy band behind her. But with a huge voice, and a strong guitar style influenced by Memphis Minnie and Charley Patton, she was the queen. Her debut studio album was released in 1969.

Albert King recorded a lot in the early '60s, including some classic sides, but they never quite hit the mark. They never gained a large audience, nor did they really capture the ferocity of his single-string leads. Then he signed with Stax in 1966 and recorded a number of sessions with the house band, Booker T. & the MG's, and everything just clicked. The MG's gave King supple Southern support, providing an excellent contrast to his tightly wound lead guitar, allowing to him to unleash a torrent of blistering guitar runs that were profoundly influential, not just in blues, but in rock & roll (witness Eric Clapton's unabashed copping of King throughout Cream's Disraeli Gears).

Johnny Shines was far from predictable. Though he recorded his share of inspired electric dates, he had no problem turning around and delivering a stripped-down, all-acoustic Delta blues session like Too Wet to Plow. Recorded in Edmonton, Canada in 1975, Too Wet to Plow finds Shines in excellent form. His solid accompaniment includes harmonica player Sugar Blue and bassist Ron Rault, as well as guitarist/singer Louisiana Red (a superb bluesman who isn't nearly as well known as he should be), and Shines clearly has a strong rapport with them on "Red Sun," "Traveling Back Home," and other highly personal originals. Although Shines' own songs are dominant, one of the album's high points is an interpretation of Robert Johnson's "Hot Tamale."

This is one of several albums this artist made in the early '70s that stand as a masterpiece of the acoustic country blues genre. Johnny Shines had begun recording in the mid-'60s, the albums done with electric guitar and full-combo backup, one of them reportedly cut after he hadn't picked up an instrument in years. It was as if he reinvented himself in the following decade, playing pristine and flawless acoustic slide guitar pieces complete with shuffling, stuttering, and stimulatingly complicated tempos. The message was that he had been a young sidekick to Robert Johnson and had absorbed everything, although no deal had been made with the Devil. Shines was a steady, dependable, religious, and forthright chap who lived in Tuscaloosa, AL, and held down a steady job as a construction foreman…

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."

This is a 61-track, three-CD set that encompasses a complete chronological run of Patton's recorded output. All of his solo sides are here, his duets with Bertha Lee and Henry Sims and his backup work behind both of them. All previous incarnations of this material don't sound near as good as they do on these three volumes, all of them given the full deluxe Cedarization noise reduction treatment from the Document folks.