John Buurton

Recorded in 1995 with Germany's WDR Big Band, the album features 16 tracks with over 60 minutes of music including an a bonus track on the CD only. Dr. John arguably has never sounded better. Hisvocals are crisp and clear and joyful, as if he turned back the clock toanother time and to a jubilant state of mind.

John Mayall's debut album, recorded live in December 1964, is a little unjustly overlooked, as it was recorded shortly before the first of the famous guitarists schooled in the Bluesbreakers (Eric Clapton) joined the band. With Roger Dean on guitar (and the rhythm section who'd play on the Bluesbreakers with Eric Clapton album, bassist John McVie and drummer Hughie Flint), it has more of a rock/R&B feel, rather like the early Rolling Stones, than the purer bluesier material Mayall would usually stick to in his subsequent recordings. The record doesn't suffer for this, however, moving along quite powerfully, and - unusually for a British R&B/blues band of the time - featuring almost nothing but original material, all penned by Mayall. Nigel Stanger's saxophone adds interesting touches to a few tracks, the songs are quite good…

Rhino's Great Days: The John Prine Anthology is an excellent summary of John Prine's prime period, from his sublime 1971 eponymous debut to 1991's Missing Years. This (appropriately) draws heavily from his early recordings (including the aforementioned debut), but it also does a terrific job of finding songs on uneven albums, while giving weight to such classic albums as Bruised Orange. Although those previously mentioned albums are all worthwhile on their own terms (as are many of Prine's other records), this provides a nearly flawless recap of his career – so much so that it's not only for neophytes, but also reminds longtime fans why they loved him in the first place.

Over his 35 years of recording, Mac "Dr. John" Rebennack has worn many hats, from '50s greasy rock & roller to psychedelic '70s weirdo to keeper of the New Orleans music flame. All of these modes, plus more, are excellently served up on this two-disc anthology. From the early New Orleans sides featuring Rebennack's blistering guitar work ("Storm Warning" and "Morgus the Magnificent") to the fabled '70s sides as the Night Tripper to his present-day status as repository of the Crescent City's noble musical tradition, this is the one you want to have for the collection.

This album is marked by the interaction between John Lee Hooker and his guitar-playing cousin Earl. Earl, who succumbed to illness in 1970, was a fine bluesman in his own right, possessing a formidable slide technique. Many are unaware that the two often performed together, and the band that accompanies John Lee here also backed Earl frequently. The opening cut, then, a slow 12-bar number called "The Hookers" is not about ladies of the evening, but rather about the gentlemen in question.
Heard here less than a year before his death, Earl still sounds frisky and versatile, often utilizing a funky wah-wah style without ever descending into the psychedelic excesses that plagued so many late-'60s electric blues albums…