In addition to having some of James Brown's showmanship, Wells' blues is imbued with some funk and soul that surely would have appealed to The Godfather. Wells' work ethic might have rivaled Brown's, as he was known to play Theresa's seven nights a week when he wasn't on the road playing elsewhere. Opening cuts “Little By Little” and “Snatch It Back and Hold It,” the latter from Wells' landmark Hoodoo Man Blues album, have an undeniable groove. Purists may raise an eyebrow, but the ineluctable hooks will make even the dourest want to dance. Fans of Wells' playing might be a little disappointed because even when the music turns to the more traditional, it is the guitar work of Phil Guy, Byther Smith, and Sammy Lawhorn that carry the musical load. Wells' harmonica is audible, but not emphasized. The force of Wells' personality is powerful enough to prevent him from being overshadowed.

It is a shame it took so long for these performances to be liberated from their hiding place because individuality feels scarce these days. Are there fewer mavericks among us than there used to be? Did the mavericks change or did society? Maybe there are as many eccentrics as ever, but the power of our homogenized culture is more dominant. Whatever the case, 30 years in a vault has not diminished the power of the personality or the music of Junior Wells, and our need for both has never been greater.