1 	–Koko Taylor 	Merry, Merry Christmas	4:29

Bass – Jerry Murphy
Drums – Frank Alexander
Guitar – Calvin Louden, Criss Johnson
Organ – Jeremiah Riley
Vocals – Koko Taylor

2 	–Kenny Neal 	Christmas Time In The Country	4:34

Bass – Noel Neal
Drums – Ken Johnson
Harmonica, Guitar, Vocals – Kenny Neal
Keyboards – Lucky Peterson

3 	–Lil' Ed & The Blues Imperials	 	I'm Your Santa	2:55

Bass – James "Pookie" Young
Drums – Kelly Littleton
Guitar – Mike Garrett
Guitar, Vocals – Lil' Ed Williams

4 	–Katie Webster	 	Deck The Halls With Boogie Woogie	2:59

Bells [Sleighbells] – Ameen Abdur-Rashied
Piano, Vocals – Katie Webster

5 	–William Clarke 	Please Let Me Be Your Santa Claus	4:31

Acoustic Bass – Flaco Medina
Drums – Bob Newham
Guitar – Greg Verginio
Harmonica, Vocals – William Clarke
Piano – Fred Kaplan

6 	–Tinsley Ellis	 	Santa Claus Wants Some Lovin'	3:23

Bass – James Ferguson
Drums – David Sims 
Guitar, Vocals – Tinsley Ellis
Organ – Mike Boyette

7 	–Charles Brown 		Boogie Woogie Santa Claus	3:12

Acoustic Bass – Earl May
Drums – Kenny Washington
Guitar – Billy Butler
Piano, Vocals – Charles Brown
Tenor Saxophone – Harold Ousley

8 	–Son Seals 		Lonesome Christmas	5:13

Bass – Johnny B. Gayden
Drums – Ray "Killer" Allison
Organ – Sidney James Wingfield
Vocals – Son Seals

9 	–Lonnie Brooks 	Christmas	 On The Bayou	4:46

Bass – Stan Chambers
Drums – Kevin Mitchell 
Guitar – Ronnie Baker Brooks
Guitar, Vocals – Lonnie Brooks
Piano – Tom Giblin

10 	–Little Charlie And The Nightcats 	Santa Claus	2:57

Bass – Jay Peterson
Drums – Dobie Strange
Guitar – Little Charlie Baty
Harmonica, Vocals – Rick Estrin

11 	–Elvin Bishop 		The Little Drummer Boy	2:52

Alto Saxophone – Ray Arvizu
Bass – Evan Palmerston
Drums – Larry Van
Guitar, Vocals – Elvin Bishop
Piano – Randy Forrester
Trombone – Ed Earley

12 	–Saffire -The Uppity Blues Women 	One Parent Christmas	3:35

Acoustic Bass – Earlene Lewis
Guitar, Vocals – Gaye Adegbalola
Piano – Ann Rabson

13 	–Clarence "Gatemouth" Brown 	Christmas	3:13

Bass – Harold Floyd
Drums – Chuckee Burke
Guitar, Vocals – Clarence "Gatemouth" Brown
Keyboards – Bob Hoban
Rhythm Guitar – Ron Harris

14 	–Charlie Musselwhite 	Silent Night

Harmonica – Charlie Musselwhite
Piano – Stu Blank

This entertaining CD serves a dual purpose, introducing listeners to many of the blues artists who have recorded for Alligator and giving consumers a rare Christmas blues record. The performers include Koko Taylor, Kenny Neal, Lil' Ed & the Blues Imperials, Katie Webster (on a rollicking "Deck the Halls With Boogie Woogie"), William Clarke, Tinsley Ellis, Charles Brown ("Boogie Woogie Santa Claus"), Son Seals, Lonnie Brooks, Little Charlie & the Nightcats, Elvin Bishop, Saffire, Clarence "Gatemouth" Brown and Charlie Musselwhite. With the exception of Bishop's "The Little Drummer Boy" and Musselwhite's "Silent Night," all of the selections are originals by the artists. Although the musicians all play in the same general genre, this set has enough variety (and good feelings) to hold one's interest throughout. ---Scott Yanow, AllMusic Review

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1 	James Cotton with Joe Bonamassa - Cotton Mouth Man 	3:46 	
2 	Albert Collins - If Trouble Was Money 	8:01 	
3 	JJ Grey& Mofro - 99 Shades of Crazy 	4:10 	
4 	Jarekus Singleton - I Refuse To Lose 	4:56 	
5 	Michael "Iron Man" Burks - Empty Promises 	6:15 	
6 	Roomful Of Blues - Turn It On, Turn It Up 	4:22 	
7 	Lazy Lester - Raining In My Heart 	3:12 	
8 	Johnny Winter - Shake Your Moneymaker 	2:38 	
9 	Curtis Salgado - Walk A Mile In My Blues 	4:04 	
10 	The Kentucky Headhunters with Johnnie Johnson - Stumblin’ 	3:09 	
11 	Billy Boy Arnold - I Ain’t Got You 	3:16 	
12 	Ann Rabson - Gonna Stop You From Giving Me The Blues 	4:44 	
13 	Smokin’ Joe Kubek & Bnois King - Freezer Burn 	4:31 	
14 	Guitar Shorty - I’m Gonna Leave You 	5:08 	
15 	A.C. Reed with Bonnie Raitt - She’s Fine 	4:30 	
16 	Luther Allison - Will It Ever Change? 	5:25 	
17 	The Holmes Brothers - Amazing Grace 	7:36

Today, Alligator Records is the largest independent blues label in the world, and has been repeatedly honored for its achievements. Three Alligator recordings have won Grammy Awards, and 41 titles have been nominated. The label and its artists have received well over 100 Blues Music Awards and more than 70 Living Blues Awards. But even with all of the accolades, Alligator Records never rests on its laurels. According to Iglauer, "Alligator should be the label that's exposing the next generation of blues artists and bringing their music to the next generation of blues fans. I want to keep bringing blues and roots music to new fans and getting them as excited about the music as I am. I want the future of the blues and the future of Alligator Records to be one and the same."

From the early days of recording only Chicago talent, to attracting national and international musicians, to the label’s commitment to nurturing the next generation of blues artists, Alligator continues to break new ground. Now, as clearly proven by the Alligator Records 45th Anniversary Collection, the label is still dedicated to recording and promoting great talent, confirming that the passion, energy and soul-healing power of Alligator’s music is strong, genuine, and capable of rocking the house with no end in sight. --- alligator.com

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1 	Lil' Ed & The Blues Imperials - Hold That Train 	3:59 	
2 	Son Seals - Cotton Picking Blues 	4:40 	
3 	Shemekia Copeland - Devil's Hand 	3:43 	
4 	Elvin Bishop - Can’t Even Do Wrong Right 	3:47 	
5 	Toronzo Cannon - Bad Contract 	3:51 	
6 	Charlie Musselwhite - The Well 	3:19 	
7 	Marcia Ball - The Tattooed Lady And The Alligator Man 	3:37 	
8 	Tommy Castro & The Painkillers - Common Ground 	4:14 	
9 	Carey and Lurrie Bell - The Road Is So Long 	3:14 	
10 	Koko Taylor - Voodoo Woman 	3:49 	
11 	Selwyn Birchwood - Don’t Call No Ambulance 	3:50 	
12 	Rick Estrin & The Nightcats - Callin’ All Fools 	5:13 	
13 	Joe Louis Walker - Too Drunk To Drive Drunk 	3:57 	
14 	Lee Rocker - Crazy When She Drinks 	3:08 	
15 	Moreland & Arbuckle - Take Me With You (When You Go) 	4:00 	
16 	Jimmy Johnson - Your Turn To Cry 	5:50 	
17 	Delbert McClinton - Givin’ It Up For Your Love 	4:24 	
18 	Hound Dog Taylor & The HouseRockers - Take Five 	2:43 	
19 	Anders Osborne - Let It Go 	4:33 	
20 	Mavis Staples - Will The Circle Be Unbroken 	3:22

On May 25 and June 2, 1971, the rawest, roughest-edged, most joyful blues band in Chicago recorded their first album. With the help of two fledgling producers, Bruce Iglauer and his friend Wesley Race, they cut multiple takes of twenty-five songs in two evenings, recorded live and mixed as they were being recorded. The album, issued in August of that year, was simply named after the band: Hound Dog Taylor And The HouseRockers, the first release from a brand new label called Alligator Records.

Alligator was a leap of faith, an underfinanced one-man operation run out of an efficiency apartment. It was launched with an album by a band virtually unknown outside the local bars where they played. The album captured the band’s glorious racket and the vibrant, rocking spirit of the South and West Side Chicago blues clubs—simple neighborhood taverns in the city’s black community where mostly Southern-born, working class people bonded together and sloughed off the frustrations of their day-to-day hard lives by listening and dancing to the honest, rhythmic, joyful and cathartic music they had grown up with—the blues. Two of the three members of the band—Hound Dog, a fifty-five-year-old former sharecropper and factory worker, and Brewer Phillips, a part-time construction worker, had come to Chicago from Mississippi looking for decent jobs. The third member, drummer Ted Harvey, a loading dock worker, came from the Windy City. They had no reputation, no booking agent or manager, and they were not creating music that sounded much like anything getting played on any form of commercial radio. Yet their unbridled energy, unfettered joy and raw soulfulness of their music somehow communicated to people all over the world, making them blues legends and making their debut recording a classic that continues to be discovered by legions of new fans.

Forty-five years later, Alligator Records, now with a catalog of almost three hundred albums, continues to be bound by the same philosophy that led to that first recording—that direct, unvarnished, straight-from-the-soul blues and blues-rooted music, the music we call “Genuine Houserockin’ Music,” speaks to some primal, necessary place in people’s consciousness. We believe that our music, if delivered by charismatic, soul-stirring artists, and if publicized, promoted and marketed with unwavering energy, will find a worldwide audience, stand the test of time, and keep the label moving forward for years to come.

The first years of Alligator were dedicated to recording artists from Chicago’s deep well of blues talent. Besides Hound Dog Taylor, the label released albums by Big Walter Horton, the then-unknown Son Seals, Fenton Robinson, Koko Taylor and Lonnie Brooks. In an effort to expose the wealth of Windy City artists, in 1978 and 1980 we released the six-LP (now four-CD) Living Chicago Blues set (and followed it with a single-album collection called The New Bluebloods in 1985 to introduce some of the newly-arisen Chicago talent).

Starting in 1978, Alligator began recording blues musicians from across the country. Established blues stars like Albert Collins, James Cotton, Gatemouth Brown, blues-rock guitar heroes like Johnny Winter, Roy Buchanan and Lonnie Mack, and ‘next generation’ artists like Kenny Neal, Tinsley Ellis and Little Charlie & The Nightcats all joined the Alligator family.

As the blues grew further from its Deep South roots, and the African-American audience turned to other forms of music, the large pool of musicians who had grown up in the blues tradition began to dry up. At the same time, a new generation of musicians, inspired by the blues but not part of the historic flow of blues, began to reshape the traditional elements to speak to contemporary audiences. Artists like JJ Grey, Anders Osborne, Jarekus Singleton, Selwyn Birchwood, and the newest Alligator family members, Toronzo Cannon and Moreland & Arbuckle, are defining blues and roots music for future decades.

The previous Alligator Anniversary Collections have been aimed at showing the complete span of the music we’ve recorded. For this collection, we have chosen to shine the spotlight somewhat more on the current artist roster and on those artists who are showing some of the directions Alligator will be heading in the future.

Over the last five years, since the release of Alligator Records 40th Anniversary Collection, we’ve lost too many members of the extended Alligator family, not only artists on the roster and those who had previously recorded for us, but also those who made memorable guest appearances on our releases. We will always miss Michael “Iron Man” Burks, Otis Clay, Michael Coleman, Popsy Dixon of the Holmes Brothers, Lacy Gibson, Wendell Holmes, Long John Hunter, Smokin’ Joe Kubek, Magic Slim, Sista Monica Parker, Pinetop Perkins, Ann Rabson, Pete Special of Big Twist & The Mellow Fellows and Johnny Winter. We also pay special homage to The King Of The Blues, B.B. King, who graced us with a guest appearance on Alligator. This collection is dedicated to all of them. ---–Bruce Iglauer, alligator.com

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2.1 	–Albert Collins, Robert Cray & Johnny Copeland 	T-Bone Shuffle 	
2.2 	–Lonnie Brooks 	Don't Take Advantage Of Me 	
2.3 	–Eddy Clearwater 	A Good Leavin' Alone 	
2.4 	–Hound Dog Taylor 	Sitting At Home Alone 	
2.5 	–Elvin Bishop & Little Smokey Smothers 	Roll Your Moneymaker 	
2.6 	–James Cotton 	With The Quickness 	
2.7 	–Shemekia Copeland 	It's My Own Tears 	
2.8 	–Professor Longhair 	Red Beans 	
2.9 	–Charlie Musselwhite 	Where Hwy 61 Runs 	
2.10 	–Roy Buchanan With Delbert McClinton 	You Can't Judge A Book By The Cover 	
2.11 	–Mavis Staples 	Step Into The Light 	
2.12 	–Tinsley Ellis 	Speak No Evil 	
2.13 	–Eric Lindell 	It's A Drag 	
2.14 	–Saffire -The Uppity Blues Women 	Going Down To The River 	
2.15 	–The Holmes Brothers 	Feed My Soul 	
2.16 	–Katie Webster 	Two-Fisted Mama 	
2.17 	–William Clarke 	Daddy Pinocchio 	
2.18 	–Buckwheat Zydeco 	When The Levee Breaks 	
2.19 	–J.J. Grey & Mofro 	The Sun Is Shining Down

You could say that Alligator Records was born in January, 1970, at a little neighborhood bar called Florence’s Lounge on Chicago’s South Side. On a Sunday afternoon, a blues fan newly arrived in the city dropped in to check out a gig by a tall, gangly guitarist that everyone called “Dog.” When I stepped into the crowded little club packed with dancing, drinking, laughing patrons, I was overwhelmed by joyful, raw and energized electric boogie blues. Hound Dog Taylor, perched on a folding chair with a steel slide on the fifth of his six fingers, was pouring out piercing, distorted licks and chords on a cheap Japanese guitar and singing in a high, cracking true bluesman’s voice. He was accompanied only by a broken-toothed second guitarist named Brewer Phillips, playing ever-changing bass lines on an old Fender Telecaster, and a gum-chewing drummer named Ted Harvey who propelled every song forward, picking up the tempo on his minimalist kit, and making it impossible to keep from dancing. It was simply the happiest music I ever heard, and I knew it had to be recorded.

I spent the next year and a half learning everything I could about making and selling records from my boss and mentor, Bob Koester of Delmark Records. Finally, in May of 1971, I was ready to take this amazing little band into the studio. I wanted to capture the spirit of Florence’s Lounge on tape, for all the world to hear. And fueled by a sufficient amount of Canadian Club and the encouragement of my co-producer Wesley Race, they delivered just that spirit. They fulfilled my dream, and started another one—now I wanted to record the other wonderful bands I was hearing every night in the little blues bars on the South and West Sides of Chicago, musicians like Koko Taylor and Fenton Robinson and Carey Bell and Son Seals. And soon, the dream expanded to recording blues musicians from all across the country, legendary artists like Albert Collins and Professor Longhair and Gatemouth Brown and Johnny Otis, and talented newcomers like Shemekia Copeland and Corey Harris.

When I created Alligator Records, the very first promo piece to promote that very first Hound Dog Taylor album was headed “Genuine Houserockin’ Music.” That became our slogan, and we wear it proudly today. “Genuine” because the music we record is deeply rooted in the blues tradition (even when it pushes the standard definition of blues) and is created by musicians who have honed their songs not on synthesizers in their bedrooms, but in front of real audiences, responding to the emotional needs of their listeners. “House” instead of “theatre” or “arena” or “stadium,” because our music is ultimately intimate, even when it’s big and loud. It’s not meant to be presented. It’s meant to be shared between the musicians and the audience, like everyone at Florence’s shared the music with Hound Dog Taylor. And “Rockin’” because it’s designed to move you. Most of Alligator’s records will move your feet or your body, but we’ve tried to make records that will move that other part of you—your soul. Sometimes that can mean music that cleanses your inner pain by pulling it out of you, the “hurts so good” that is so special to the blues. And sometimes it just means the pure release and fun of musicians pouring their energy into a great groove.

Over the forty years, our definition of “Genuine Houserockin’ Music” has expanded to include not only pure blues artists, but also musicians and songwriters who have taken the spirit of the blues and created their own sounds and styles, sometimes called roots rock or rockabilly or front porch soul or, in a few cases, gospel, the ultimate soul-rockin’ music. But our mission has remained the same—to record honest, blues-infused music that moves the feet and soothes the soul, and hopefully makes you feel as good as a Sunday afternoon at Florence’s Lounge. --- Bruce Iglauer, alligator.com

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1.1 	–Koko Taylor 	I'm A Woman 	
1.2 	–Albert Collins 	I Ain't Drunk 	
1.3 	–Michael Burks 	Strange Feeling 	
1.4 	–Tommy Castro 	Backup Plan 	
1.5 	–Lil' Ed And The Blues Imperials 	Icicles In My Meatloaf 	
1.6 	–Guitar Shorty 	We The People 	
1.7 	–Rick Estrin And The Nightcats 	U B U 	
1.8 	–Marcia Ball 	The Party's Still Going On 	
1.9 	–Roomful Of Blues 	That's A Pretty Good Love 	
1.10 	–Smokin' Joe Kubek & Bnois King 	Have Blues, Will Travel 	
1.11 	–Sonny Seals 	Going Home (Where Women Got Meat On Their Bones) 	
1.12 	–Buddy Guy & Junior Wells 	Give Me My Coat And Shoes 	
1.13 	–Janiva Magness 	Slipped, Tripped And Fell In Love 	
1.14 	–Johnny Winter 	Mojo Boogie 	
1.15 	–Coco Montoya 	Last Dirty Deal 	
1.16 	–Corey Harris 	Fish Ain't Bitin' 	
1.17 	–Luther Allison 	All The King's Horses 	
1.18 	–Anders Osborne 	Echoes Of My Sins 	
1.19 	–Lonnie Mack With Stevie Ray Vaughan 	Double Whammy

Starting with its 20th anniversary in 1991, every five years brings another double Alligator collection, and 2011 was no exception. While the 35th edition --released in 2006 -- logically featured 35 songs, the compilers couldn't quite squeeze 40 onto this 40th anniversary disc, even though owner Bruce Iglauer does admit to fading a few endings off prematurely in order to maximize the list, which hits 38 selections. The trick with these albums is to both pay tribute to the label's storied past while including enough recent acts to connect the dots between the house-rocking music Iglauer built his company on, and the more modern yet still roots-based sounds he's released during the last five years. He does an excellent job here, mixing not just old and new, but male and female musicians who have recorded for Alligator over the decades. Of course, no Alligator historical collection is going to exclude Hound Dog Taylor, Iglauer's first signing who remains the raucous, soulful blues-rocking standard who helped forge the label's musical direction. Newer artists such as JJ Grey & Mofro, Eric Lindell, Anders Osborne, and Janiva Magness share space with Johnny Winter, Son Seals, Koko Taylor, Albert Collins, Lonnie Brooks, Eddy "The Chief" Clearwater, and lots more. A 30-page book includes obscure information and anecdotes about each, providing a first-hand look at what attracted Iglauer to the artists. Even with 35 acts, dozens are left out, and they are listed individually at the end of the extensive and often fascinating notes. There are some predominantly acoustic performances from Mavis Staples, Saffire -- The Uppity Blues Women, Buddy Guy & Junior Wells, and Corey Harris, but the majority of the selections run to the high-energy, very plugged-in Chicago and Texas blues that Iglauer plainly loves. Between musicians such as Luther Allison, Roy Buchanan, Son Seals, and Koko Taylor, all of whom have created arguably their finest work while signed to Alligator (and that's saying plenty), there is an embarrassment of riches to choose from. While some of these names have also appeared on previous anniversary editions, no songs are repeated from those albums. Clearly, the intention of this and the previous sets is as loss leaders to sell more individual Alligator discs, but they play as perfectly enjoyable mash-ups of roots music, and a historical music lesson that anyone with an affinity for the genre will appreciate. ---Hal Horowitz, AllMusic Review

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1. Albert Collins - Brick (Morrissette) 4:35 	
2. Katie Webster - Pussycat Moan (Webster) 6:05 	
3. Lil' Ed & The Blues Imperials - You Don't Exist Anymore (Mayfield) 4:01 	
4. Carey Bell and Junior Wells - Second Hand Man (Bell) 4:00 	
5. Delbert McClinton - I've Got Dreams To Remember (Redding/Redding) 4:26 	
6. The Paladins - Going Down To Big Mary's (Turner) 2:54 	
7. Big Twist & The Mellow Fellows - 300 Pounds Of Heavenly Joy (Dixon) 3:05 	
8. Son Seals - Going Back Home (Seals) 7:04 	
9. Lonnie Mack - Strike Like Lightning 3:39 	
10. Saffire-The Uppity Blues Women - The Middle-Aged Blues Boogie (Adegbalola) 5:42 	
11. Lonnie Brooks - Eyeballin' (Brooks) 3:42 	
12. The Kinsey Report - Full Moon On Main Street (Lindsey/Jones) 4:21 	
13. Sonny Terry - Crow Jane (traditional) 3:46 	
14. Clifton Chenier - I'm The Zydeco Man (Chenier) 2:55 	
15. Fenton Robinson - You Don't Know What Love Is (Robinson) 3:50 	
16. Pinetop Perkins - Blues After Hours (Parrish/Bruce/Feyne) 5:01 	
17. Johnny Winter - Boot Hill 3:55

Alligator records has some serious talent on it's label. Many of them are big names that you will recognize if you have been into blues for very long. I have tried samplers from other blues record labels and have been very disappointed with the mediocre talent on their label. Usually there are only one or two people -out of fourteen or fifteen - that stand out on other blues samplers. You will recognize that the vast majority of artists on Alligator Records are true talents - even if you don't like their style. This album is definitely worth the investment. ---Darren Burton, swapacd.com

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1-1 	–Hound Dog Taylor 	Give Me Back My Wig		3:31
1-2 	–James Cotton 	No Cuttin' Loose		3:20
1-3 	–Albert Collins And Johnny Copeland 	Black Cat Bone	4:54
1-4 	–Professor Longhair 	Big Chief		3:13
1-5 	–Koko Taylor 	That's Why I'm Crying		4:28
1-6 	–Tinsley Ellis 	Double Eyed Whammy		3:20
1-7 	–Lucky Peterson 	I'm Free	5:18
1-8 	–A.C. Reed With Stevie Ray Vaughan 	These Blues Is Killing Me	3:05
1-9 	–Little Charlie And The Nightcats 	Rain		5:11
1-10 	–Kenny Neal 	Look But Don't Touch		3:16
1-11 	–Elvin Bishop 	Fannie Mae		3:18
1-12 	–Jimmy Johnson  	Serves Me Right To Suffer		3:56
1-13 	–The Siegel-Schwall Band 	Leavin'			3:10
1-14 	–Clarence "Gatemouth" Brown 	Born In Louisiana		3:50
1-15 	–Charlie Musselwhite 	Leaving Your Town		3:15
1-16 	–Roy Buchanan 	Drowning On Dry Land		6:18
1-17 	–Detroit Junior 	If I Hadn't Been High			4:07
1-18 	–Big Walter Horton 	Trouble In Mind			4:37

When I created Alligator Records, the very first promo piece to promote that very first Hound Dog Taylor album was headed "Genuine Houserockin' Music." That became our slogan, and we wear it proudly today. "Genuine" because the music we record is deeply rooted in the blues tradition (even when it pushes the standard definition of blues) and is created by musicians who have honed their songs not on synthesizers in their bedrooms, but in front of real audiences, responding to the emotional needs of their listeners. "House" instead of "theatre" or "arena" or "stadium," because our music is ultimately intimate, even when it's big and loud. It's not meant to be presented. It's meant to be shared between the musicians and the audience, like everyone at Florence's shared the music with Hound Dog Taylor. And "Rockin'" because it's designed to move you. Most of Alligator's records will move your feet or your body, but we've tried to make records that will move that other part of your soul. Sometimes that can mean music that cleanses your inner pain by pulling it out of you, the "hurts so good" that is so special to the blues. And sometimes it just means the pure release and fun of musicians pouring their energy into a great groove. ---Bruce Iglauer, alligator.com

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