Mississippi bluesman James Isaac Moore made the bulk of his recordings at JD Miller's Crowley, Louisiana studio, accounting for the deep, swampy sound and creeping rhythms of his hit singles. Another important influence on the Stones, Harpo's debut 1957 single "I'm A King Bee's" compulsive, chicken-scratch guitar motif became an essential part of their early sound. Although Ace have released a comprehensive series covering Slim's years with the Excello label, this Best Of draws together all the classic singles: "Baby Scratch My Back", "I Got Love If You Want It", "Rainin' In My Heart" (Louisiana pop of the highest order) and "Shake Your Hips" (rolling along with train-chugging intensity, rattling-sticks providing its percussion track). By 1967, he was recording in Nashville, producing even more light-footed material like "Te-Ni-Nee- Ni-Nu" and "Tip On In" ("let me see those fishnet hose", he drawls. ). Harpo had it all: a bittersweet soul moan of a voice, a squealing, wounded-hound harmonica sound and a feel for mixing genres that found him picking from country, rock 'n' roll and soul, perfectly placed to be one of the funkiest, most danceable blues performers so far in the music's history. Who knows how much more he would have contributed if not for his sudden early death from a heart attack in 1970. -Martin Longley Slim Harpo recorded really good rhythm and blues. He never got too fancy; he never forgot the importance of the groove. He died young in 1970, but his music reached the Rolling Stones (who covered his "I'm a King Bee"), the Kinks (who sang his "I Got Love If You Want It"), Van Morrison, and Them (whose first single was Harpo's "Don't Start Crying Now"). [+]

What do you know of the island of Reunion, which lies west of Mauritius in the Indian Ocean? Little, probably, beyond the fact that its local people produce sugar, and that rich tourists bask in the sun. If you listen to Digdig, you'll get a whole new perspective: what that globe-trotting guitarist Bob Brozman has done in this particular collaboration is to celebrate an intoxicating musical style entirely different from any other. His musical guru here is the multi-talented René Lacaille, who moves effortlessly between the guitar, accordion, and sundry percussion instruments as well as singing the local ballads; what these two musicians get up to together has irresistible charm. Their duets are fast and fluent, and when backed by Lacaille's percussionist go at a dizzy pace. As befits an island with global links, there are echoes of many other musics here-French, Latin-American, Arab, Portuguese-but they all combine into a gloriously heady brew. The songs seem casually tossed off like improvisations, but you can sense the intricate work which has gone into these dazzling instrumental tracks. This CD is seriously addictive. -Michael Church.

Roy "Professor Longhair" Byrd was a largely forgotten New Orleans bluesman when this album of his '40s and '50s Atlantic sides appeared in 1972. By decade's end, he was justly celebrated as a thoroughly one-of-a-kind father of rock & roll. These tunes, many initially issued as singles, showcase Longhair's droll vocals and unmatched sense of syncopation. "In the Night," "Tipitina," and "She Walks Right In" are among the hippest things you'll ever hear-no matter what kind of music you like. -Rickey Wright.

The list of superstar blues pianists is a small but illustrious one, and no name shines brighter than that of Otis Spann, the Windy City wonder who was a conspicuous component of Muddy Waters's most legendary bands. Spann, who also recorded classics with Howlin' Wolf, Little Walter, and other blues greats, was a peerless pianist, and this expansive 18-track compilation, complete with three previously unreleased tracks, enjoyably exhibits his keyboard expertise. Spann jumps right in with the rollicking instrumental "Marie," pounding the piano with force and finesse from the first note in a wide-ranging overview of his recorded work as a leader that spotlights his talents in several different contexts, including a rare Hammond B-3 organ instrumental via "Cryin' Time. " Spann's signature solos are the main attraction, but his singing also gets ample attention. His wife, Lucille, joins in on several tracks, including two superheated gospel numbers, to further diversify the proceedings. It may not be Spann's most significant work (check out the Muddy Waters box for that), but the collection is definitely his best individual showcase. It's also an unmitigated delight for blues fans tired of guitars but still eager to immerse themselves in the music of the masters. -Michael Point.

It's not often you get to hear Mabel Scott wail "Boogie Woogie Santa Claus" and Bessie Smith pour it all out on "At the Christmas Ball" alongside Lightnin' Hopkins's blistering "Santa" or Amos Milburn's classic "Let's Make Christmas Merry, Baby," but that's the mile-wide shape of this good-times, 15-track compilation. Swingin' Louis Jordan is likewise featured on "Santa Claus, Santa Claus," while Kings Albert and B. B. , John Lee Hooker, Jimmy Weatherspoon, and Lowell Fulson sharpen their axes for a mess of Christmas blues. Also included are cuts by Anson Funderburgh & the Rockets, Floyd Dixon, and Eddie C. Campbell, whose "Santa's Messin' with the Kid" is as funny as it is rockin'. A fantastic showcase for blues guitar and vocals, this album should please any blues fan in your house. -Martin Keller.