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This is the third and final volume in the complete recordings of Lil Green in chronological order as reissued by the Classics Blues & Rhythm Series. By 1947 Lil Green was beginning to sound more than a little like Ida Cox, even when handling songs from Tin Pan Alley rather than straight up out of the tried and true traditional blues repertoire. Comparisons could also be drawn between Lil Green and Nellie Lutcher or Julia Lee. While her "crossover" performances are worthwhile, there's nothing quite like hearing this woman savor the flavor of Bessie Smith hits like "Aggravatin' Papa," "Outside of That," and "You've Been a Good Old Wagon (But You Done Broke Down)." Green's own "Lonely Woman" has a powerful undercurrent running through it – there is even a remote possibility that Ornette Coleman was inspired by this record when conceiving his own composition of the same title in 1959. Even if the link is purely coincidental, these melodies have something wonderful in common. Green's final recordings for the Victor label are strengthened by the presence of tenor saxophonists Budd Johnson, Lem Johnson, and David Young.

Some Peter Green fans might be put off by this 64-song/four-CD collection, owing to the fact that they are likely to already own a significant chunk of what's here (especially the Fleetwood Mac material). (And in fairness, there apparently isn't a lot of – or any – unreleased material to draw on from Green's classic period with the band). But this reviewer had to spring for this four-and-a-half hour showcase of his work, and for one major reason – vitality. Green's virtuosity is a given, and his taste and his insights into blues and what can be done with it – while still leaving it as blues – are well known to anyone who's heard his work.

Some Peter Green fans might be put off by this 64-song/four-CD collection, owing to the fact that they are likely to already own a significant chunk of what's here (especially the Fleetwood Mac material). (And in fairness, there apparently isn't a lot of – or any – unreleased material to draw on from Green's classic period with the band). But this reviewer had to spring for this four-and-a-half hour showcase of his work, and for one major reason – vitality. Green's virtuosity is a given, and his taste and his insights into blues and what can be done with it – while still leaving it as blues – are well known to anyone who's heard his work.

Some Peter Green fans might be put off by this 64-song/four-CD collection, owing to the fact that they are likely to already own a significant chunk of what's here (especially the Fleetwood Mac material). (And in fairness, there apparently isn't a lot of – or any – unreleased material to draw on from Green's classic period with the band). But this reviewer had to spring for this four-and-a-half hour showcase of his work, and for one major reason – vitality. Green's virtuosity is a given, and his taste and his insights into blues and what can be done with it – while still leaving it as blues – are well known to anyone who's heard his work.

The final offering from the magical collaboration between Al Green and producer Willie Mitchell, Have a Good Time found the dynamic duo in the midst of a creative crossroads. Green had just purchased a church and was looking to pour his energies into his congregation and his newly appointed title of Reverend. While the message and tones of religion aren't as obvious on Have a Good Time as they were on Full of Fire, they still do make appearances here and there. But it wasn't just a change in Green's life that made Have a Good Time so distinct from the earlier classics; it was also the changing shift in cultural tastes (thanks in no small part to the emergence of disco to the forefront of America's collective dance consciousness)…