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The rock era saw a few white female singers, like Janis Joplin, show they could sing the blues. But one who could outshine them all -- Jo Ann Kelly -- seemed to slip through the cracks, mostly because she favored the acoustic, Delta style rather than rocking out with a heavy band behind her. But with a huge voice, and a strong guitar style influenced by Memphis Minnie and Charley Patton, she was the queen. Born January 5, 1944, Kelly and her older brother Dave were both taken by the blues, and born at the right time to take advantage of a young British blues scene in the early '60s. By 1964 she was playing in clubs, including the Star in Croydon, and had made her first limited-edition record with future Groundhogs guitarist Tony McPhee. She expanded to play folk and blues clubs all over Britain, generally solo, but occasionally with other artists, bringing together artists like Bessie Smith and Sister Rosetta Tharpe into her own music. After the first National Blues Federation Convention in 1968 her career seemed ready to take flight. She began playing the more lucrative college circuit, followed by her well-received debut album in 1969. At the second National Blues Convention, she jammed with Canned Heat, who invited her to join them on a permanent basis. She declined, not wanting to be a part of a band -- and made the same decision when Johnny Winter offered to help her. Throughout the '70s, Kelly continued to work and record solo, while also gigging for fun in bands run by friends, outfits like Tramp and Chilli Willi -- essentially pub rock, as the scene was called, and in 1979 she helped found the Blues Band, along with brother Dave, and original Fleetwood Mac bassist Bob Brunning. The band backed her on an ambitious show she staged during the early '80s, Ladies and the Blues, in which she paid tribute to her female heros. In 1988, Kelly began to suffer pain. A brain tumor was diagnosed and removed, and she seemed to have recovered, even touring again in 1990 with her brother before collapsing and dying on October 21. Posthumously, she's become a revered blues figure, one who helped clear the path for artists like Bonnie Raitt and Rory Block. But more than a figurehead, her recorded material -- and unreleased sides have appeared often since her death -- show that Kelly truly was a remarkable blueswoman.

People have begun to discover just how good a blueswoman the late Jo-Ann Kelly was. That's led to a trawling through the vaults, which have turned up albums like this, of obscure compilation and unreleased cuts. Key to the Highway covers what's arguably her most prolific period, as her star was ascending and was at its critical height (although it should be noted that the 1974 end date in the title is very elastic -- there are six cuts from 1975, and two conversation pieces from 1988).

Second volume of female blues singer's works features British blues at its best - all 19 tracks have never been released before, feat. Dave Kelly, Tony McPhee & Bob Hall Recorded between 1966 and 1988.

14 track British blues collection is a mix of never before released & rare live & studio sessions. Features contributions from Fleetwood Mac's Danny Kirwan, as well as Keef Hartley, Bob Brunning & Bob Hall (tracks 9-14 are the last known live recordings).

This double CD by the best blueswoman England ever produced isn't new; it's actually a compilation from material already available on the Mooncrest label. But it's hard to criticize the recycling (unless you already own the other discs), as it provides a superb introduction to her raw style. Listening to the 45 tracks here you can conclude: In many ways, Kelly was everything Memphis Minnie aspired to be, an excellent guitar player, blessed with one of the most affecting voices in blues, and a huge compositional talent.

The set kicks off with four numbers taken from a rare Harlequin blues EP compilation, recorded with Tony McPhee in 1965. This was not Kelly's first session, she'd done an earlier one for Mike Vernon's Purdah label, but that remains unreleased, and thus this was the music with which Kelly was introduced to the world. Also featured are a pair of tracks from another scarce blues Harlequin compilation, this one released by the label in 1968, as well as a few more taken from other various rare collections. However, the bulk of the album boasts a stream of superb unreleased material, including no less than five songs recorded with guitarist Stefan Grossman during his U.K. tour in the summer of 1977.

The core band of Pete Emery, John Pilgrim and Mike Pigott are finely tuned, offering an impressive framework for that stunning voice.