American Folk Blues Festival, 1962 – 1966 Vol. 1 and 1962 – 1966 Vol. 2 are incredible collections of some of the finest blues performances and performers the world will ever know.

On Vol. 1, Muddy Waters, T-Bone Walker, Sonny Terry And Brownie McGhee, and Sonny Boy Williamson are featured, beginning in 1962. Shakey Jake singing “Call Me When You Need Me,” accompanied by T-Bone Walker’s tasteful guitar, leads off the set. Walker then introduces Terry and McGhee, who do a killer version of “Hootin’ Blues.” Williamson’s harp playing is at its “hog callin’” best, accompanied by Brownie’s rousing rhythm guitar.

Memphis Slim pours his soul out on vocals and piano in “The Blues Is Everywhere.” Walker backs him up on guitar, along with Willie Dixon’s excellent bass lines. Otis Rush wails soulfully on vocals and guitar, on “I Can’t Quit You Baby,” from ’66.

Next up is Williamson, looking very cool and confident. He introduces “the one and only Lonnie Johnson,” who Williamson says “adds rhythm to blues, and blues to rhythm.” Johnson’s vocals are true-to-life, as in “Another Night To Cry” where he sings “you can’t keep hurtin’ me, until you hurt yourself too.” If that’s not enough, Sippie Wallace wails out “women keep yo’ mouth shut” in “Women Be Wise.” Little Brother Montgomery’s piano riffs add “supper club” atmosphere, while Jack Myers’ bass lines seem to sing an accompaniment of their own. A class act such as Wallace’s can be matched only by John Lee Hooker singing the “Hobo Blues” along with his own superb solo guitar accompaniment.

Eddie Boyd asks, “Have you ever been mistreated?” on vocals and piano, while Buddy Guy’s guitar licks cry out their answer. Waler “Shakey” Horton shakes it up appropriately on “Shakey’s Blues.” Lonesome Jimmy Lee’s rousing bass playing helps get things cookin’ in the old blues rhythm kitchen. Junior Wells wails out the “Hoodoo Blues” to Rush’s fine guitar leads and Myers’ well-chosen bass lines. Wells’ harp solo is incredible.

Mean Joe Williams echoes Robert Johnson-like vocals and guitar riffs in his ’63 solo rendition of “Mean Stepfather.” More solo excellence is up next, with Mississippi Fred McDowell’s 1965 rendition of “Going Down to the River.” McDowell plays some nice slide guitar here, along with some sensuous leads and lamenting vocals. Sunnyland Slim introduces Dixon’s rare 1964 solo acoustic guitar performance, which features him sitting in a chair singing “Weak Brain and Narrow Mind.”

Williamson’s “Nine Below Zero” is entrancing. His vocals and happy facial expressions are a joy to see. His effortless and quintessential harp playing is backed up with zest and good taste on piano by all-time great Otis Spann, along with Dixon on bass. Then Spann takes over with some upbeat boogie-woogie piano riffs. His heartwarming vocals zing, while Willie’s bass lines and Bill Stepney’s drumming energize the proceedings.

In Spann’s 1963 introduction of Waters, he tells the audience the great bluesman “brought the blues from the country to the city.” Waters sings “Got My Mojo Working” in rare mellow tone (minus guitar,) while Williamson wails out his ever lovin’ harp licks. The others echo “got my Mojo workin’” in the background.

In the finale, “Bye Bye Blues,” Dixon sings “ you can keep my baby, but you can’t keep her long.” Victoria Spivey complains “when I begged him for water, that guy gave me turpentine. Then the whole band wails “Bye, bye .. bye, bye baby, goodbye” as they sing and dance their way off stage to thunderous applause. After that, they all take a bow, and that’s it – except for the bonus items.

Earl Hooker wails some country blues in the bonus track “(I’m) Walkin’ the Floor Over You” from 1969. The second bonus song, “Off the Hook,” has Hooker playing some teeth-pluckin’ psychedelic leads, a la Jimi Hendrix.

Volume 2 of these amazing DVDs begins with Williamson (a.k.a. Rice Miller) outside a makeshift saloon playing harp and singing “Bye, Bye Blackbird.” Williamson then goes inside the saloon to continue his amazing performance with “In My Younger Days.” He’s joined by several more illustrious blues icons, including Dixon on bass, Hubert Sumlin on guitar, and Sunnyland Slim on piano.

Dixon does a great job (nervously) singing on “Nervous,” from ’62. Memphis Slim’s piano solo is mesmerizing. His fingers are a blur while he works their magic on the ivories. Lightnin’ Hopkins performs “Mojo Hand,” from ’64. The energy Hopkins gives off in his vocals and guitar work is stunning. Another spectacular performance is Victoria Spivey’s version of “Black Snake Blues.” The expressiveness in Spivey’s face is a joy to see. Lonnie Johnson’s guitar work is insightful and heartfelt. (Johnson and Spivey recorded together in the 1920s.)

Memphis Slim’s piano riffs are mouthwatering on “Everyday I Have The Blues.” He accompanies Dixon’s vocals on “Sittin’ And Cryin’ The Blues,” from ’63. T-Bone Walker plays some amazing guitar riffs while singing “Don’t Throw Your Love On Me So Strong,” from ’62. Dixon introduces Matt “Guitar” Murphy, who plays some mind-blowing guitar leads, added to by Slim’s equally eye-opening piano solo.

Terry and McGhee perform “Stranger Blues,” from ’62. McGhee’s vocals and guitar work are rousing, as is Terry’s awesome harp playing. Their vocal harmonies blend well together. Mae Mercer introduces Howlin’ Wolf, who shakes it up real well on vocals and guitar on “Shake For Me,” from ’64, accompanied by Sunnyland Slim on piano and Sumlin on guitar.

There are a couple of bonus tracks and an interview with earl Hooker from ’69. The sounds Hooker gets out of his Les Paul guitar on “Walkin’ the Floor Over You” and “Off The Hook” left me speechless. His interview is enlightening.

The Vol. 2 finale is “Down Home Shakedown,” from ’65. It features five great harp players, all “trading eights” with each other, one solo after the other. Big Mama Thornton’s energetic harp playing is added to by Big Walter “Shakey” Horton, Doc Ross, J.B. Lenoir and John Lee Hooker in a super rare harp blowout. What a sight!

This rare view captures these impeccable blues performers during the mostly forgotten world of blues, circa 1962 – 66. Some of them, such as Sumlin, were young then and fortunately are still around and performing. We’re very lucky to be able to see these historic performances by many of the biggest names in blues.

Special thanks should go to Horst Lippmann and Fritz Rau, who back in the early ‘60s believed in these fine blues players and singers. The pair gave these artists their chance to show Europe what the blues was all about. Since it’s now preserved on DVD, we can all wallow in these incredibly rare and historic blues performances, just as if we were there when they first took place.

Special mention should also go to the now 91-year-old Stephanie Weisand, who filmed these historic and entertaining performances then. Her fabulous original photos are found in the liner notes and in a bonus section of the DVDs. Stones bassist Bill Wyman writes nostalgic and informative forewards to both DVDs, which add to Rob Bowman’s well-researched liner notes. Both volumes of American Folk Blues Festival are must-haves for any blues collection.