Of the multitude of R&B labels to have come from the Windy City, Mercury Records can proudly claim to be among the most diverse. Their roster expanded beyond talent in and around Chicago and over time they enlarged the scope of their releases into the genres of country, pop, and rock & roll. The two-CD Midwest Blues (1996) contains prominent material drawn from the archives of the imprint's first decade (1945-1955), focusing chiefly on local and regional artists. At first, Mercury's primary emphasis was urbane jump, jive, and orchestral counterparts to the comparatively raw Delta style that had seeped up from the southeastern United States. The contents are presented in a chronological fashion, commencing appropriately enough with the boogie-woogie shouter "It's Just the Blues" by the Four Jumps of Jive, whose membership boasted bassist Willie Dixon. This is followed by seminal sides by vocalistSippie Wallace, featuring support from pianist Albert Ammons & His Rhythm Kings on Wallace's co-composition "Bedroom Blues." Performances by the trio led by guitarist/vocalist T-Bone Walker are underscored by an early reading of "My Baby Left Me," with pianist/vocalist Marl Young & His Orchestra providing the accompaniment. The pair of disparate Dinah Washington selections includes an upscale big-band arrangement of "Joy Juice" circa 1946 and the markedly different bawdy double entendre of the rural and relaxed "Long John Blues" (aka "Dentist Blues"). Among the additional essentials on Midwest Blues are primal platters by Eddie "Cleanhead" Vinson ("Railroad Porter Blues" and "Gonna Send You Where I Got You From"), Sunnyland Slim ("Mud Kickin' Woman," "Gin Drinkin' Baby"), Memphis Slim ("No Mail Blues," "Drivin' Me Mad" -- with vocals by Terry Timmons -- and "Train Time"), and lesser-known acts such as Myra Taylor, Ray Snead, and Sax Mallard, whose aggregate was graced by pianist Roosevelt Sykes during this era. Last but certainly not least are three distinct caches of Big Bill Broonzy -- one on electric guitar as a leader of the Fat Four, as well as another highly charged offering with Broonzy instrumentally augmented by bassist Ransom Knowling and a final batch backed by the Big Little Orchestra, the latter turning in a definitive take of "Southbound Train." The Robert Jr. Lockwood titles, which have been previously difficult to locate on compact disc, are a major coup for inclined parties. His covers of "Dust My Broom" -- purportedly learned from Robert Johnson -- and Big Boy Crudup's "I'm Gonna Dig Myself a Hole" are alone worth the price of admission. The superior audio quality is further incentive for collectors and the curious alike to find not only Midwest Blues, but the other three anthologies extracted from the Mercury Blues 'n' Rhythm Story (1945-1955) eight-volume box set.