Big Joe Williams was a Delta blues singer, songwriter and guitarist famous for the distinctive sound of his unique nine-string guitar, as well as for recording classic songs like Baby Please Don't Go and Crawling King Snake. His career was remarkable for the fact that he recorded through every decade from the mid-1930s into the'70s, although his periods of active recording were somewhat erratic, while he maintained a constant round of 'live' performing. This great-value 115-track 5-CD set comprises most of the A & B sides of his releases on the Bluebird, Columbia, Bullet, Trumpet & VeeJay labels from 1935 to 1957, plus EP titles and the titles from his albums Piney Woods Blues, A Man Sings The Blues, Tough Times, Blues On Highway 69, Nine-String Guitar Blues and Mississippi's Big Joe Williams & his Nine-String Guitar from 1957 through to 1962. It includes recordings where he is accompanied by noted contemporaries like Sonny Boy Williamson, Ransom Knowling, Robert Lee McCoy, Judge Riley and others. He was one of the most impressive blues performers of his era who inspired many artists of later years like Bob Dylan, and this substantial collection offers an entertaining showcase for a highly original and influential artist.

Big Joe Williams may have been the most cantankerous human being who ever walked the earth with guitar in hand. At the same time, he was an incredible blues musician: a gifted songwriter, a powerhouse vocalist, and an exceptionally idiosyncratic guitarist. Despite his deserved reputation as a fighter (documented in Michael Bloomfield's bizarre booklet Me and Big Joe), artists who knew him well treated him as a respected elder statesman. Even so, they may not have chosen to play with him, because – as with other older Delta artists – if you played with him you played by his rules.

The career of blues legend Big Joe Williams stretches back to the Mississippi Delta of the 1930s and continues up through the 1980s. The Sonet Blues Story captures Williams performing live in Sweden in 1972. Though not exactly in his prime, Williams plays with his usual boisterous spirit, reeling off classic acoustic Delta blues with a raw, propulsive edge. With only his stomping foot for rhythmic accompaniment, Williams and his guitar offer up a deep, riveting set. Informative liner notes by musical historian Samuel Charters round out the package.

Cut at Gerdes Folk City in New York on February 26, 1962, this record shows Big Joe Williams in top late-era form, enjoying himself before an audience of mostly white college kids and beats. He plays his signature nine-string guitar, accompanying himself on kazoo, which basically works (even subbing for what would have been a fuzz-tone guitar on "Bugle Blues"), although the kazoo was never meant to be captured in digital sound. The material includes Tommy McClennan's "Bottle Up and Go" and 11 traditional songs, including the intense "Trouble Take Me to My Grave" (his version of a song more familiar in Muddy Waters' version as "I Can't Be Satisfied"), "Mink Coat Blues," and "Burned Child Is Scared of Fire," all done in lively fashion with daunting finger-picking…

Big Joe Williams may have been the most cantankerous human being who ever walked the earth with guitar in hand. At the same time, he was an incredible blues musician: a gifted songwriter, a powerhouse vocalist, and an exceptionally idiosyncratic guitarist. Despite his deserved reputation as a fighter (documented in Michael Bloomfield's bizarre booklet Me and Big Joe), artists who knew him well treated him as a respected elder statesman. Even so, they may not have chosen to play with him, because - as with other older Delta artists - if you played with him you played by his rules…