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A 70s album, but one that features very early sides from Atlantic Records – raw acoustic blues from Willie McTell, recorded on a 12 string guitar down in Atlanta! The album's not just a great example of McTell at his best – witty vocals, and really sharp lines on the acoustic guitar – but also a key illustration of the Atlantic approach right at the start – an ability to find the best setting for the best talents – and really let them open up in a spontaneous, soul-drenched style! Titles include "You Got To Die", "Kill It Kid", "The Razor Ball", "Broke Down Engine Blues", "Dying Crapshooter's Blues", "Blues Around Midnight", "Pearly Gates", and "Soon This Morning".

Pivotal work from one of the first bluesmen to ever use "blind" in his name – sides recorded by the legendary Willie McTell when he was at the height of his powers! Most tracks here feature well-recorded vocals from Willie – especially for the time – a haunting accompaniment to his deft work on acoustic guitar, which makes up the bulk of the instrumentation for most of the tracks. Ruth Day joins Willie on a few numbers – and titles include "Razor Ball", "My Baby's Gone", "Atlanta Strut", "God Don't Like It", "Scary Day Blues", "Experience Blues", "Kind Mama", and "Cold Winter Day".

Brilliant early recordings from Blind Willie McTell – easily one of the most distinctive bluesmen of his generation! McTell's guitar is subtle, but effective – often used in these strummed passages that seem to let his vocals do most of the work on the tunes – save for some key points when Willie steps out with a few bold solos. And the vocals have these really unique quality – maybe a notch or two higher than most others, but with plenty of bite – as you'll hear on cuts that include "Statesboro Blues", "Stomp Down Rider", "Broke Down Engine Blues", "Travelin Blues", "Writing Paper Blues", "Talkin To Myself", and "Southern Can Is Mine".

A great collection of the earliest work of Blind Willie McTell – all recordings made in Atlanta between 1927 and 1929 – served up in a wonderfully spare style that really showcases Willie's work on vocals and guitar! The latter "sings" as much as the former here – often with these inflections that are completely sublime, and almost more compelling than the notes themselves – and there's a harmony between the instrument and the voice that really seems to expand the power of the tunes, even with such a simple presentation. Titles include "Statesboro Blues", "Stole Rider Blues", "Mr McTell Got The Blues", "Come On Around To My House Mama", "Love Changing Blues", and "Drive Away Blues".

Includes tracks by Luke Jordan, Blind Willie McTell, Sonny Boy Williamson, Elijah Jones, Clifford Gibson, James Rachel, the Memphis Jug Band, Joe Williams, Cannons's Jug Stompers, and Walter Davis.

Dark tales from the mid-century American scene – a host of rare blues, folk, and country numbers that went onto become inspiration for a host of rockers in later years! The package is put together with a Mojo stamp of approval – and features the original recordings of tunes that are key roots for Bob Dylan, Led Zepplin, Ry Cooder, Johnny Cash, and others – some classics, others a fair bit more obscure – and brought together here with thoughtful notes by Dave Henderson of Mojo. Titles include "Cast Iron Arm" by Peanuts Wilson, "Vigilante Man" by Woody Guthrie, "Dying Crapshooter's Blues"by Blind Willie McTell, "John Hardy Was A Deperate Little Man" by The Carter Family, "Stack O Lee" by Mississippi John Hurt, "Banks Of The Ohio" by Bascom Lamar Lunsford, "Pretty Polly" by Dock Boggs, "Jesse James" by Almeda Riddle, "Prison Cell Blues" by Leroy Carr, "The Gallis Pole" by Leadbelly, "Ornie Wise" by GB Grayson, and "Miss Otis Regrets" by Ethel Waters.