1 	–Snooky Pryor 	Look What You Doin' To Me 	
2 	–Snooky Pryor 	You Better Keep The Arms Around Me 	
3 	–James Cotton 	Decoration Day 	
4 	–Lester Davenport 	Let's Go Party 	
5 	–Lester Davenport 	She's 41 Years Old 	
6 	–Lester Davenport 	When My Troubles End 	
7 	–Golden "Big" Wheeler 	I'm Ready 	
8 	–Golden "Big" Wheeler 	Dirty Blues 	
9 	–Dusty Brown  	Say You Love Me 	
10 	–Dusty Brown  	Hey Baby 	
11 	–Dusty Brown  	He Don't Love You 	
12 	–Little Mac Simmons 	Come Back To Me 	
13 	–Birmingham Jones 	Don't Slam That Door 	
14 	–Birmingham Jones 	My Little Girl 	
15 	–Birmingham Jones 	I Was Wondering 	
16 	–Birmingham Jones 	Strange City 	
17 	–Billy Branch 	Take You Down Town

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A1 	–Johnny Young's South Side Blues Band 	One More Time 	2:26
A2 	–Johnny Young's South Side Blues Band 	Kid Man Blues 	3:00
A3 	–Johnny Young's South Side Blues Band 	My Black Mare 	3:41
A4 	–Johnny Young's South Side Blues Band 	Stealin' Back 	3:17
A5 	–Johnny Young's South Side Blues Band 	I Got Mine In Time 	4:17
A6 	–Johnny Young's South Side Blues Band 	Tighten Up On It 	3:11

Johnny Young - Guitar, Mandolin, Vocals
Hayes Ware – Bass
Elga Edmonds - Drums

B1 	–Johnny Shines Blues Band, The 	Dynaflow Blues 	2:35
B2 	–Johnny Shines Blues Band, The 	Black Spider Blues 	3:12
B3 	–Johnny Shines Blues Band, The 	Layin' Down My Shoes And Clothes 	2:24
B4 	–Johnny Shines Blues Band, The 	If I Get Lucky 	3:23
B5 	–Big Walter Horton's Blues Harp Band 	Rockin' My Boogie 	3:26
B6 	–Johnny Shines Blues Band, The 	Mr. Boweevil 	3:11
B7 	–Johnny Shines Blues Band, The 	Hey, Hey 	2:23

Johnny Shines – Guitar, Vocals
Floyd Jones – Bass
Walter Horton – Harmonica
Memphis Charlie Musselwhite – Harmonica (B5)
Frank Kirkland – Drums

A definitive album! It features songs by Johnny Shines and Johnny Young, both backed by Big Walter Horton (who takes center stage once, with Charlie Musselwhite on second harp, to blow the instrumental Rockin' My Boogie). These are some of the best recordings you'll find by any of these artists. Horton is absolutely magnificent. There is no harp-man that gets a tone quite as full as Horton's, and he is at his best on this album. One listen will prove why this lesser-known bluesman is considered one of the Chicago harp masters along-side Little Walter and Sonny Boy. The first three notes he blows on Black Spider Blues will pierce your heart. You will also be hard-pressed to find Johnny Shines sounding any better than he does here. It is not an exaggeration to say that Shines has a more capable voice than the majority of bluesmen and it is displayed in full power on this disc. Shines' Dynaflow Blues (an alteration of Robert Johnson's Terraplane Blues) is absolutely breathtaking. Johnny Young is also in top form. His band on this album gets a very complete sound not found on most of his recordings. One More Time just plain rocks and Young's work with the mandolin on Stealin' Back is incredible. Don't be fooled if you've never heard of these guys. These are bluesmen of the first order and they all perform to the best of their capabilities. This is the best album in the series (which is made up of two other excellent albums) and I'd say one of the best blues albums out there. Among my 100 blues albums this is one of my two or three favorites. ---amazon.com

When blues historian Samuel Charters released his three-volume collection of Chicago blues in 1966, it had an impact on the rock and roll world similar to that of Harry Smith's Anthology of American Folk Music , exposing a new, predominantly white generation to the sounds of the urban blues Mecca. Each artist came in and recorded 4-6 songs specifically for the project; many of these tunes have become staples in blues and rock repertoires. Includes Messin' with the Kid Junior Wells Chicago Blues Band; I Can't Quit You Baby Otis Rush Blues Band; Dust My Broom Homesick James & the Dusters; Hey, Hey Johnny Shines Blues Band; The Blues Keep Falling Jimmy Cotton Blues Quartet; Sometimes I Wonder Otis Spann's South Side Piano, and more. ---Editorial Reviews, amazon.com

This is one of the all-time great blues series ever recorded. Aside from the classic Chess albums (Muddy Waters, Little Walter, Howlin' Wolf, etc.), there is no better introduction to Chicago-style blues than this three-volume set. Each one is incredible. This third album contains the Johnny Shines Blues Band, Johnny Young's South Side Blues Band, and Big Walter Horton's Blues Harp Band with Memphis Charlie Musselwhite. Here are the original Chicago artists who have grown up and played together for most of their lives, so the musical time is spacious -- wide open. This is South Side Chicago blues with a trace of country at its best. Big Walter Horton plays some of the best harmonica of his career on this album. Listening to Horton on backup and solo harp is an education. This album is definitive. ---Michael Erlewine, Rovi

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A1 	–Jimmy Cotton Blues Quartet 	Cotton Crop Blues 	
A2 	–Jimmy Cotton Blues Quartet 	The Blues Keep Falling 	
A3 	–Jimmy Cotton Blues Quartet 	Love Me Or Leave Me 	
A4 	–Jimmy Cotton Blues Quartet 	Rocket 88 	
A5 	–Jimmy Cotton Blues Quartet 	West Helena Blues 	

Jimmy Cotton – Harmonica, Vocals
James Madison – Guitar
Otis Spann – Piano
S.P. Leary - Drums

A6 	–Otis Rush Blues Band, The 	Everything's Going To Turn Out Alright 	
A7 	–Otis Rush Blues Band, The 	It's A Mean Old World 	
B1 	–Otis Rush Blues Band, The 	I Can't Quit You Baby 	
B2 	–Otis Rush Blues Band, The 	Rock 	
B3 	–Otis Rush Blues Band, The 	It's My Own Fault 	

Otis Rush – Guitar, Vocals
Roger Jones – Bass
Robert Crowder – Saxophone (alto)
Luther Tucker - Rhythm Guitar
Willie Lion - Drums

B4 	–Homesick James And His Dusters 	Dust My Broom 	
B5 	–Homesick James And His Dusters 	Somebody Been Talkin' 	
B6 	–Homesick James And His Dusters 	Set A Date 	
B7 	–Homesick James And His Dusters 	So Mean To Me

Homesick James Williamson – Guitar, Vocals
Willie Dixon – Bass
Willie Dixon – Drums

After his tenure at Chess, Otis Rush signed with Duke Records in Houston, who only released one 45 during his entire five year stay at the label. This Vanguard session from 1966 was his first in several years and finds him in exemplary form. Backed by a tough little club band, Otis' guitar tone is crystal clear and well focused, while his singing is simply superb. With two excellent instrumentals aboard ("Rock" is Otis' version of Earl Hooker's "Universal Rock"), the other big ticket highlight is the version of "I Can't Quit You, Baby" that Led Zepplin would later copy note for note on their first album. This is part of a three volume series and also features excellent tracks by James Cotton ("Cotton Crop Blues" and a wild version of "Rocket 88") and Homesick James. ---Cub Koda, Rovi

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    1 Help Me Wells 4:05
    2 It Hurts Me Too (When Things Go Wrong) Wells 2:44
    3 Messin' with the Kid Wells 2:21
    4 Vietcong Blues Wells 4:57
    5 All Night Long (Rock Me Baby) Wells 3:44

The Junior Wells Chicago Blues Band:
Junior Wells (Harmonika , Vocals)
Buddy Guy (Guitar)
Jack Myers (Bass)
Fred Below (Drums)

    6 Going Ahead Hutto 2:03
    7 Please Help Hutto 2:53
    8 Too Much Alcohol Hutto 2:29
    9 Married Woman Blues Hutto 3:06
    10 That's the Truth Hutto 2:47

J. B. Hutto and his Hawks: 
J. B. Hutto (Guitar, Vocals)
Herman Hassell (Bass)
Frank Kirkland (Drums)

    11 Marie Spann 2:27
    12 Burning Fire Spann 3:14
    13 S.P. Blues Spann 2:51
    14 Sometimes I Wonder Spann 3:27
    15 Spann's Stomp Spann 2:19

Otis Spann´s Southside Piano: 
Otis Spann (Piano, Vocals)
S. P. Leary (Drums)

In early 1966, blues history was made with the issuance of a three-volume set of new recordings produced by blues historian Samuel Charters. This series was known as Chicago/The Blues/Today! and the release sent shock waves through the world of rock & roll. Every artist on the three volumes had recorded before (some, like Otis Rush and Junior Wells, had actually seen small hits on the R&B charts), but these recordings were largely their introduction to a newer -- and predominately white -- album-oriented audience. The "Today!" part of the title was no bit of hyperbole, either. This series accurately portrayed a vast cross section of the Chicago blues scene as one could hear it on any given night in the mid-'60s. Rather than record full albums (which Charters had neither the budget nor the legal resources to pull off), each artist simply came in for a union-approved session of four to six songs, with each volume featuring three different groupings. With these recordings, blues suddenly gained respectability as something much more vital and vibrant than just a poor cousin of jazz. A new market for this music began, one that exists today in full blossom. Their effect on musicians was enormous. It's fair to assume that most blues-influenced artists had all three volumes in their respective collections, and the songs on them ended up in the repertoires of everyone from Jimi Hendrix (Junior Wells' "Rock Me") to Led Zeppelin (a note-for-note copy of Otis Rush's "I Can't Quit You Baby") to Steppenwolf (Junior Wells' "Messin' with the Kid") and beyond. These recordings have stayed in print and have been reasonably good sellers over the years since their original release, all coming out on compact disc. This new packaging puts all three volumes together, but with no bonus tracks, as no extras were recorded for these sessions.

So if one already owns these sides, what's the incentive this time around? That's easy: the sound is massively improved, with the bass that was rolled off the vinyl and original CD versions now being restored. This makes the tracks truly come alive, especially on the Otis Rush and Junior Wells sides, both fortified with some major amounts of badass bass thumping by Roger Jones and Jack Myers, respectively. One can really hear the spaciousness of the old RCA studios where this stuff was cut for the first time, and the detailing of the mix is in sharp focus throughout, although the increased bass causes some unwanted distortion on the Homesick James Williamson tracks. The other plus is the new packaging, which features a nice booklet with detailed, updated notes from Charters, a nice appreciation from Ed Ward, and absolutely eye-boggling session photos taken by Charters' wife, Ann, that alone are worth the price of the set. With the glut of blues reissues out there, it is often a coin toss regarding where best to spend your hard-earned money. Even if you still have the original vinyl or CDs, this is one of the times when it would be best to spend the dough and add this one to your collection, because blues records seldom come as important, innovative, or just plain pleasurable to listen to as this set. File under "essential." ---Cub Koda, Rovi

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