When it comes to the Delta blues, all roads lead to its father figure Charley Patton, an immensely gifted performer, Patton served as a major influence on other legendary bluesmen who followed including Robert Johnson, Muddy Waters and Howlin' Wolf

This is a 61-track, three-CD set that encompasses a complete chronological run of Patton's recorded output. All of his solo sides are here, his duets with Bertha Lee and Henry Sims and his backup work behind both of them. All previous incarnations of this material don't sound near as good as they do on these three volumes, all of them given the full deluxe Cedarization noise reduction treatment from the Document folks.

Charley Patton lived only into his 40s, but he left a large body of recorded work, which reveals a broad repertoire, much self-written. He came to his first recording session - in June 1929, for Paramount - with an established reputation. It was said his voice could be heard 500 yards away. The songs he recorded that day include some he had been honing for 20 years around the Delta. Pony Blues is usually cited as a masterpiece. He cut two versions. Both are good, the first is finer: he growls the lyrics, his guitar lopes and bucks. Patton's rhythms are one of his trademarks - complex, intricate, powerful, his fingering always precise. Listen to his playing on Down The Dirt Road Blues - he puts brilliant guitar phrases at the end of each stanza. Songs like Banty Rooster, with its beautiful slide work, and the idiosyncratic Spoonful represent the essence of Mississippi blues and are typical of Patton fast-and-loose approach to blues structures (there's not a standard 12-bar in Patton's recorded output) and rhythmic conventions. Even those who have studied Patton's lyrics find areas to dispute. The voice is gruff, the phrasing eccentric and his Mississippi accent can be impenetrable. But it's worth paying attention - Patton's songs evoke a world that has vanished.

This excellent companion volume to Founder of the Delta Blues pulls together 23 more Patton tracks (including some alternate takes that were for years thought to be lost) to give a much more complete look at this amazing artist. It's interesting here to compare the tracks from his final session to his halcyon output from 1929. Highlights include "Mean Black Cat Blues," Patton's adaption of "Sitting on Top of the World" ("Some Summer Day") and both parts of "Prayer of Death," originally issued under the non de plume of "Elder J.J. Hadley." The sound on this collection is vastly superior, from a noise-reduction standpoint, to its companion volume.

The Definitive (or The Definitive Charley Patton) is a 2001 3CD box set from blues musician Charley Patton with 58 cuts. This was released by Catfish.

The digital remastering on this compilation is just as superior to any previous attempts to transcribe Patton's marginally recorded and preserved legacy as that of the Document discs. And as it is only slightly less thorough - the Document discs include extra takes on "Elder Green Blues," "Hammer Blues," and "Some of these Days I'll Be Gone" - this compilation seems the likely choice for anyone with an interest in pre-war Delta blues. Both affordable and handsomely packaged, the three-disc box includes extensive liner notes written by blues historians Keith Briggs and Alex Van Der Tuuk, with reminiscences by Patton crony Son House.