Having forged a unique Louisiana/Chicago blues synthesis unlike anyone else's on the competitive Windy City scene, charismatic guitarist Lonnie Brooks long reigned as one of the town's top bluesmen. A masterful showman, the good-natured Brooks put on a show equal to his recordings (and that's saying a lot, considering there are four-plus decades of wax to choose from).

Born Lee Baker, Jr. in Louisiana, Brooks took his time when choosing his vocation; he didn't play guitar seriously until he was in his early twenties and living in Port Arthur, Texas. Rapidly assimilating the licks of B.B. King and Long John Hunter, he landed a gig with zydeco pioneer Clifton Chenier (not a bad way to break into the business) before inaugurating his own recording career in 1957 with the influential swamp pop ballad "Family Rules" for Eddie Shuler's Lake Charles, Louisiana-based Goldband Records. The young rock & roller -- then billed as Guitar Junior -- enjoyed more regional success on Goldband with the rocking dance number "The Crawl" (covered much later by the Fabulous Thunderbirds). Mercury also issued two 45s by Guitar Junior.

When Sam Cooke offered the young rocker a chance to accompany him to Chicago, he gladly accepted. But two problems faced him once he arrived: there was another Guitar Junior in town (precipitating the birth of Lonnie Brooks), and the bayou blues that so enthralled Gulf Coast crowds didn't cut it up north. Scattered session work (he played on Jimmy Reed's Vee-Jay classic "Big Boss Man") and a series of R&B-oriented 45s for Midas, USA, Chirrup, and Chess ensued during the '60s, as Brooks learned a new style of blues. The Guitar Junior sobriquet was briefly dusted off in 1969 for his Capitol album debut, Broke & Hungry, but its lack of success buried the alias for good.

By the late '70s, Brooks was gaining a deserved reputation as an exceptionally dynamic Chicago bluesman with a fresh perspective. He cut four outstanding sides for Alligator's first batch of Living Chicago Blues anthologies in 1978 that quickly led to his own Alligator debut LP, Bayou Lightning, the next year. Five more albums of his own for the firm and extensive touring cemented Brooks' standing as a Chicago blues giant. Son Ronnie Baker Brooks is a chip off the proverbial block, playing rhythm guitar in his old man's band and duetting on "Like Father, Like Son" on Lonnie's 1991 album, Satisfaction Guaranteed. Brooks' long association with Alligator Records continued into the late '90s with the release of Roadhouse Rules in 1996, which focused more on R&B than down-home blues, and Lone Star Shootout in 1999. The disc featured Brooks with fellow guitar slingers Long John Hunter and Phillip Walker playing together and solo in varied combinations of blues power. Lonnie Brooks died in Chicago on April 1, 2017 at the age of 83. ~ Bill Dahl & Al Campbell

For much too long, the legend of Long John Hunter was largely a local one, limited to the bordertown region between El Paso, Texas and Juarez, Mexico. That's where the guitarist reigned for 13 years (beginning in 1957) at Juarez's infamous Lobby Bar. Its riotous, often brawling clientele included locals, cowboys, soldiers from nearby Fort Bliss, frat boys, and every sort of troublemaking tourist in between. Hunter kept 'em all entertained with his outrageous showmanship and slashing guitar riffs.

The Louisiana native got a late start on his musical career. When he was 22 and toiling away in a Beaumont, Texas box factory, he attended a B.B. King show and was instantly transfixed. The next day, he bought a guitar. A year later, he was starring at the same bar that B.B. had headlined. Hunter's 1954 debut single for Don Robey's Houston-based Duke label, "She Used to Be My Woman"/"Crazy Baby," preceded his move to El Paso in 1957. Along the way, Phillip Walker and Lonnie Brooks both picked up on his licks. But Hunter's recording output was slim -- a few hot but obscure singles waxed from 1961 to 1963 for the tiny Yucca logo out of Alamogordo, New Mexico (standouts include "El Paso Rock," "Midnight Stroll," and "Border Town Blues"). Perhaps he was just too busy -- he held court at the Lobby seven nights a week from sundown to sunup.

Fortunately, Hunter's reputation eventually outgrew the Lone Star State. His 1992 set for the Spindletop imprint, Ride with Me, got the ball rolling. A pair of albums released later in the decade for Alligator, Border Town Legend (1996) and Swinging from the Rafters (1997), exposed the Texas blues great to a wider (if not wilder) audience than before. The following decade, Hunter didn't record quite as often, but 2003's One Foot in Texas (made with his brother Tom) and 2009's Looking for a Party (issued on Blues Express) were both notable additions to his discography. ~ Bill Dahl

Despite recording somewhat sparingly following his debut as a leader in 1959 on Elko Records with the storming rocker "Hello My Darling," Louisiana-born guitarist Phillip Walker enjoyed a sterling reputation as a contemporary blues guitarist with a distinctive sound honed along the Gulf Coast during the '50s. A teenaged Walker picked up his early licks around Port Arthur, Texas from the likes of Gatemouth Brown, Long John Hunter, Lightnin' Hopkins, and Lonnie "Guitar Junior" Brooks. Zydeco king Clifton Chenier hired Walker in 1953 as his guitarist, a post he held for three and a half years. In 1959, Walker moved to Los Angeles, waxing "Hello My Darling" for producer J.R. Fulbright (a song he would revive several times thereafter, most effectively for the short-lived Playboy logo). Scattered 45s emerged during the '60s, but it wasn't until he joined forces with young producer Bruce Bromberg in 1969 that Walker began to get a studio foothold. Their impressive work together resulted in a 1973 album for Playboy (reissued by HighTone in 1989), The Bottom of the Top, that remained one of Walker's finest recordings.

Walker cut a fine follow-up set for Bromberg's Joliet label, Someday You'll Have These Blues, that showcased his tough Texas guitar style (it was later reissued by Alligator). Sets for Rounder and HighTone were high points of the 1980s for the guitarist, and 1994's Big Blues from Texas (reissued in 1999) continued his string of worthy material. His 1995 set for Black Top, Working Girl Blues, showed Walker at peak operating power, combining attractively contrasting tracks waxed in New Orleans and Los Angeles. I Got a Sweet Tooth followed in 1998, and displayed no letdown in quality or power. Walker got together with fellow blues legends Lonnie Brooks and Long John Hunter in 1999 to record Lone Star Shootout for Alligator. Walker was featured as lead vocalist on four tracks and backed the others on the rest of the record. In the fall of 2002, a live recording of a spring concert was released on M.C. Records, and 2007 saw the release of Going Back Home by Delta Groove Productions. Phillip Walker died in July 2010 at the age of 73. ~ Bill Dahl