With songs by Gladys Bently, Eric Bibb, Shemekia Copeland and Kenny Wayne Shepherd, Blind Boys of Alabama and Kirk Franklin
A couple of years ago President #45 claimed he had “made Juneteenth very famous…nobody had ever heard of it.” Utter nonsense, of course. Happily his successor signed legislation to make Juneteenth a federal holiday, enshrining June 19 as the national day to commemorate the end of slavery in the United States. Nevertheless, more than 30 states have not as yet authorized the funding to allow state employees to take the day off and it’s been said that not enough people know about the holiday to make the effort worthwhile. This, in spite of the fact that In June 2022, the percentage of Americans who said they knew about the holiday, was around 60%, rather than the 37% of the previous year. Still…60% isn’t terribly good, is it? – I mean, this Irishman knows about it!
Anyway, the day is also sometimes called “Juneteenth Independence Day,” “Freedom Day” or “Emancipation Day.”
Juneteenth celebrates the 19th June, 1865, when Union soldiers read the announcement in Galveston, Texas, that all enslaved African-Americans were free, two months after the South has surrendered in the Civil War, and more than two years after Lincoln’s Emancipation Proclamation. It is African-Americans’ Independence Day and has traditionally been celebrated with barbeques, parades and parties.
It’s an important day, it seems to me, not only for African Americans but for the whole country. Historian Kate Masur says that “Juneteenth…should serve not only to remind us of the joy and relief that accompanied the end of slavery, but also of the unfinished work of confronting slavery’s legacy.”
Down at the Crossroads celebrates Juneteenth with four songs. The first is Juneteenth Jamboree, recorded by Gladys Bentley, a Harlem singer, well known in the 1920s and 30s, who hits a note of celebration and joy.
There’s no shirking, no-one’s working Everybody’s stopped Gums are chompin’, corks are poppin’ Doing the Texas hop
Eric Bibb’s album Dear America, he says, is “a love letter, because America, for all of its associations with pain and its bloody history, has always been a place of incredible hope and optimism.” [check out our terrific interview with Eric here] In the title track, he addresses the open wound of America’s racial divisions in a way that is both personal and hard hitting. His simple appeal is, that although the “temperature’s rising”
“Don’t let hatred’s fire burn you and me”
Shemekia Copeland and Kenny Wayne Shepherd recently joined forces with Robert Randolph on steel guitar and veteran blues drummer Tony Coleman to record Hit ‘Em Back, a song which addresses divisiveness and anger within the greater blues community. Copeland said, “I don’t want my music to come from a place of anger because when it does, no one hears you. Let’s educate; let’s open people’s eyes; why can’t we be united?”
The song appeals to our common humanity and the power of love as an answer to division:
Don’t care where you’re born Don’t care where you been The shade of your eyes The color of your skin We all join together
Hit ‘em back Hit ‘em back with love
Our next Juneteenth celebration song, is the Blind Boys of Alabama singing Luther Dickinson’s Prayer for Peace. The song celebrates progress made, but bemoans continued racial division. The song wishes we all could be “color blind.” In the voices and harmonies of the Blind Boys of Alabama, it’s another appeal to our common humanity. [check out our interview with Jimmy Carter here]
The innocence and love seen in our children’s face Makes me pray ignorance and hate disintegrate into space Shall we pray Pray for peace.
And finally here’s the “Black national anthem” in the United States, a hymn written as a poem by James Weldon Johnson. This is a truly inspirational song, and Kirk Franklin and this fabulous choir, really hit the heights.
God of our weary years God of our silent tears Thou who has brought us thus far on the way Thou who has by Thy might Led us into the light Keep us forever in the path, we pray Lest our feet stray from the places, our God, where we met Thee
“Blues is the news we can use to survive in a world on fire”
For nearly thirty years, Corey Harris has been at the forefront of blues interpretation, fusing jazz, reggae, gospel and Caribbean influences to traditional blues. Along the way he has recorded and played with artists like B.B. King, Taj Mahal, Buddy Guy, R.L. Burnside, Ali Farka Toure, and others, performing throughout North and South America, Europe, Africa, and Australasia. He starred in Scorsese’s Feel Like Going Home and collaborated with Billy Bragg on the Mermaid Avenue album series.
He’s a W.C. Handy Blues Award winner, has an honorary doctorate in music and was awarded the MacArthur Fellowship Award for Genius.
Insurrection Blues, his new album, is a fantastic collection of traditional blues songs performed with passion, rawness and fine guitar picking. The album was recorded in May 2021 in
Abruzzo in Italy, where Corey lived during the pandemic before returning to the United States. The album also features contributions on a couple of tracks from harmonica player, Phil Wiggins, and the mandolinist Lino Muoio.
Down at the Crossroads got the opportunity to chat to Corey about the new album and about his music in general.
He told me, first of all, that he’d wanted to show his roots and let people understand know where he’s coming from. “I’ve done a lot of different excursions over the years,” he said, “but this is my foundation. So, I wanted to re-inscribe that into people’s memory banks; that this is what it’s about.”
So you’ll find interpretations of songs by the likes of Rev. Gary Davis, Mississippi John Hurt, Skip James and Charlie Patton, all performed with passion by a skilled guitarist and singer.
In dealing with such a wide scope in the tradition, I wondered how he goes about selecting a particular song and then making it his own?
“I try and be faithful to the form of the song, how it’s supposed to be played and the recognizable licks, if you will, but at some point, you can’t ever play it just like the version you’re learning – at least I can’t. So that’s where my own creativity and character comes in. Because, you know, you’re gonna sound like you!
“In these the traditional songs, I really try and be faithful to the musical presentation of the song, how it’s sung and the rhythm, unless I’m really trying to do something that is adding to it and doing a totally different version – but I normally don’t do that. Some artists will take, say, a Skip James tune and make it totally different, but I’m not really into that. I’m really into trying to interpret a song through my own filter if you will.”
Corey Harris has been performing, rootsy, bluesy music for a long time now. I asked him what is it about this music that is so important to him.
“Well, I would say that this music connects us to our ancestral heritage in America. And it also opens eyes to the realities of what we’re dealing with. You know, the blues is like our CNN, it is what is happening. It’s the news, you know what I mean?
“So, with the times as they are, I just really felt it was important to get back to the basics about the strengths in the culture, and that’s why I was looking at the different song forms and the different varieties within that culture. Nowadays a lot of times, in the popular context, people assume black culture is gonna be hip-hop, or Lil Uzi Vert or something, but it’s actually quite deeper than the commercial varieties we’ve been conditioned to accept. So, I wanted to show really where it’s coming from, and try and do a survey, not only of how I see the music, but of the last hundred and fifty or so years of it.”
This coheres with what Harris has previously said of Insurrection Blues, that it “is an unflinching look at desire and destruction in 21st century America…as an African American living in America, as a descendant of slaves that built this country, I am looking at the survival mechanisms that have existed for people to persevere in difficult times. And when we think about that, the blues always comes to mind.”
“Yeah. There’s a tendency in the popular press and even in academia, to typify the blues and say it’s this sad music about being drunk and losing your woman. But it’s actually so much more than that. And so, I just want to show that the blues is a textbook for life. It’s just like any other great art, it describes the condition of man and woman in all the different situations in life. So that’s what I’m trying to show. Also, that this is a rich tradition and it’s not anything that can be easily diluted or reduced into simple song forms and like, a skinny tie and a hat, you know what I mean? It’s more than that. And that’s what I wanted to show.”
The blues, clearly, grew up in the context of terrible injustice suffered by Black communities. But, I suggested to Corey, the music and the form, and the spirit seems to be something that has a very broad application and appeal, so that there are all sorts of people all around the world who feel drawn to it.
“Well, you know, we all struggle. That’s why we’re here, to struggle and to overcome, as human beings. We can all relate to that journey of struggle and overcoming, in our own way, because it’s not all equal and not all the same. We all have our own different little histories, but we all have that same feeling of, you know, it’s hard, but finally, I’m victorious. Let’s look back and celebrate how hard it was.”
The blues always seem to have that double edge about them – a lament for the way things are, but hope that things might get better. You see it in so many of the songs, where the singer seems to be able to sing his or her way out of the blues feeling.
“That’s it, being able to see the sun on the horizon and being able to get that strength you need to see the next day and to persevere and to keep going. This is the tradition. It wasn’t a tradition that people did for money. There was no profession back in the days with the ancestors of blues singers, blues performers – I’m talking, like, before the Chitlin’ circuit, before the recordings of the twenties, before Mamie Smith. There was no occupation of blues singer, people did it because they had to, because this is what their culture showed them – how you can deal with the things that the world is giving you, all the oppression and all the Black codes, the lynching, you know, all of that. So, this is a tool for survival is the way I see it.”
Harris was profoundly disturbed (along with most other right-thinking people) about the events in Washington at the beginning of 2021. He has said, “When I saw the insurrection, I saw how race and history collided there.” So Insurrection Blues directly channels his feeling about all this – “I felt there was a duty, a responsibility, to use the craft to say something.”
As I listened to the album, any message of resistance is not very explicit. Somebody could listen to the album and miss that. So I wondered, for Corey as an artist, how explicit or otherwise does he feel he needs to be about issues that he feels are important?
“Well, I think it depends on how you feel at the time emotionally. There are some issues that kind of speak for themselves, and you can make a commentary very easily on them. With the insurrection, depending on your political persuasion, you’re gonna see that event through drastically different spectacles, you’ll have a different perspective. And also, depending on your ethnic origin, with your ethnic history in America, you’ll have a very different perspective on this event. So yeah, there’s some resistance in it, because just the act that I’m here alive is proof that there was resistance.
“Because the system wasn’t built so that I would thrive. But also, this project is like an analysis of where we’ve been, where we are and what might happen in the future. If you listen to the record, there’s an interlude to the song Insurrection Blues, which is some audio of the actual crowd at the insurrection. And then after there’s the sound of thunder and lightning; and then the sound of rain, to symbolize that there needs to be sort of a cleansing. This is a storm, and then after a storm, the clouds go away, the sun comes out and things are fresh and clean. So, that’s what we’re going through. We’re going through a purging right now.”
Prefaced by this short interlude, the title track, Insurrection Blues (Chickens Come Home to Roost), becomes a powerful commentary on the infamous storming of the Capitol, such a symbolic emblem of American democracy. As the storm fades and the rain washes things clean, Insurrection Blues kicks in, a minor key blues. The lyrics are not explicit, but the repeated, ominous minor key riffs on the guitar are the repeatedly intoned, “it’s time to get wise” and “chickens come home to roost” make the point well enough.
It comes right in the middle of the album, and although the songs on either side might just be taken as enjoyable interpretations of acoustic guitar blues numbers, Harris has cleverly drawn attention to his African American blues tradition as pointing to both the struggles and the survival of his community.
On a more general note, I asked Corey about the re-emergence of acoustic blues back in the 1990s when he was starting out. Before that there had been a lot of electric blues for several decades.
“Yes, there was a renaissance of acoustic blues. I think the Columbia Records release of the Robert Johnson box set around 1990 had a lot to do with that. And then, shortly after that Keb’ Mo’ came out with his record on Sony’s OKeh Records – it was on a major label and made a big splash. So those two things had a lot to do with it. And then just by happenstance, I came along, Alvin Youngblood Hart came along and so did Guy Davis. And people were realizing, wow, black people still play the blues and they still play acoustic blues! And they realized that this is part of their culture. So it was a great confluence of events at that time.”
And what is the popularity of blues music, particularly in the United States. What, I wondered, is Corey’s sense of the people and the demographic listening to this music and the more traditional forms of it?
“My sense is that there are people my age – I’m in my early fifties – and older who are listening to this music and coming to these shows. The blues market is still people who buy CDs at shows. They’re not really downloading as much as other genres yet. So we’re kind of oldies but goodies blues people, as far as the fans go!” Harris is encouraged, though, by some of the younger talent coming up, like Jontavious Willis and Buffalo Nichols, whom he referred to as “a really monster guitar player.”
Along the way, Corey Harris has played with a lot of wonderful artists from both North America and Africa. I was very interested to hear about his experience of playing with B.B. King in the 1990s.
“I opened up for BB about 75 times around the world, over the years from about ‘95 until about 2005. I was around him quite a lot over the years and what I observed was he was very professional. He put the music on a level where you just had to respect it because the way that it was presented was first class. And very well mannered, very diplomatic, well spoken. You know, it was really like royal, like he was aptly named. You really felt, wow, I’m with somebody who’s putting their art on the top shelf. And so you felt inspired being around him because you felt wow, I got to raise my standards.
“He was someone who came from nothing, but he just dedicated himself to his craft. He studied a lot, he practiced a lot and he elevated his craft so that you just had to respect it for what it was. That’s what I really loved about him. And then he engaged people really well – he talked to you like you mattered and he was interested in you. He was a good people person. Just great being around him and you know, his stories – he had stories about hanging out with Satchmo in the fifties. He said Satchmo used to cook him bread, beans and rice backstage! And he had stories about hanging out with Miles Davis and Charlie Parker. And thinking of that, he used to tell me, ‘Stay away from drugs!’ But I’m like, don’t worry. I don’t do drugs!”
Corey Harris is a multi-talented guy. Not only is he a successful and talented musician, but he’s the author of several books and is currently doing a PhD (he already has an honorary doctorate in music).
“I’m in the music department in the University of Virginia and I’m studying all sorts of different things. Some are things that I didn’t know a lot about, for example, 17th and 18th century classical music. But my main thrust is music of black resistance. So that could include anything from capoeira to blues, to jazz to music associated with Santeria. So I’ve really whittled it down. But that’s what I’m really interested in – black music of the Americas, of the Atlantic, of the black diaspora.”
As well as studying, Harris is teaching as well, working with university classes along with renowned jazz writer Scott DeVeaux. All of this is sure to find its way into future Corey Harris performances and recordings.
At the moment he’s planning an album in collaboration with Cedric Watson. “He’s a great Louisiana, old-school Creole player who plays a violin and a push button accordion. He also plays banjo, so he’s an excellent talent. We’re going to do a duet record. We both speak French, so we’ll do some French songs and some Creole songs, so, it’s gonna be good!”
And Corey has a book just recently published, Blues People Illustrated.
“People can buy that on my website at Nattyworks.art. It’s fifty-one blues artists, men and women, the cool, all-traditional blues artists, mainly those who were active from the 1920s through the blues revival of the sixties. Each artist has a drawing of them and I’ve written a biography of the artist and included a complete discography as well. So it’s a kind of reference book.
“So those who don’t really know about the specific genre of traditional acoustic blues, the pre-war, can learn about people like Son House, Tommy McClennan, Bessie Smith and Ma Rainey. And even little-known people like Hacksaw Harney, Precious Bryant or John Jackson. I talk about people that I knew as well – Cephas And Wiggins are in there, and Brownie and Sonny.”
One worth checking out as well as the terrific Insurrection Blues.
Here’s our roundup of fifteen of the best of Americana music in 2021. There’s some tasty fare here for sure. However you want to define Americana (you probably know it if you hear it), these albums are all classy records by artists at the top of their game and are music you want to listen to. (btw, if you’re looking for blues, check out our Best Blues Albums of 2021.)
Here they are in alphabetical order, rather than ranked.
American Aquarium, Slappers, Bangers & Certified Twangers Volumes 1 & 2 Two ten song collections of classic 1990s country, covers of songs by Trisha Yearwood, Mary Chapin Carpenter, Patty Loveless, Faith Hill, Brooks & Dunn, and others. The pedal steel is never far away from these toe-tapping melodies – what’s not to like?
Jackson Brown, Downhill from Nowhere The music is reliably good throughout, with fine musicianship and song arrangements, featuring superb, less-is-more guitar work by Greg Leisz and Val McCullum. The lyrical content, as always, is superbly crafted by a master songwriter, often with a nice synthesis of the personal and the political. For more on the album, click here.
Hayes Carll, You Get It All Carll’s gritty, world-weary vocals never fail to draw you in, in this superb set of eleven songs. It’s unapologetically a country singer-songwriter record, all telecaster, pedal steel and occasional fiddle. Clever lyrics and memorable melodies throughout make it very listenable-to. Look out for the duet with Brandy Clark.
Jimmy Carter, Blind Faith Jimmy Carter, the last original member of The Blind Boys of Alabama, remarkably at 87 has released his first solo album, Blind Faith. He said he wants this album to be “a ray of hope and encouragement.” In nine songs which encompass gospel, blues, country and roots music and yet cohere wonderfully, Jimmy Carter’s positive outlook on life and faith shine through. The music is great, the lyrics and inspirational. Catch our interview with Jimmy here.
Steve Earle and the Dukes, JT Earle’s lament for the tragic loss of his son. All the songs are Justin’s apart from the final “Lat Words,” a poignant goodbye from his father. There’s nothing morbid or downbeat about the album however, and musically, it’s hugely enjoyable.
John Hiatt & Jerry Douglas, Leftover Feelings A rewarding set of songs from Hiatt and Dobro master Jerry Douglas. Hiatt taps a rich vein of song-writing skill and experience in a mixture of ballads and blues songs with compelling stories. The combination of Hiatt’s always interesting voice, Douglas’s jaw-droppingly good guitar work and eleven good tunes makes for a hugely enjoyable experience.
John Hurbut and Jorma Kaukonen, The River Flows Wonderful album of acoustic roots music in two volumes, the first thirteen songs which include classics from Bob Dylan, Curtis Mayfield, Ry Cooder and the Byrds, and the second live versions of a number of the songs. Hurlbut takes the vocals and rhythm guitar and Kaukonen backs it up beautifully with some exquisite solo work. Here’s our interview with the remarkable Jorma Kaukonen.
Jamestown Revival, Fireside with Louis L’Amour Texan folk-rock duo’s tribute to legendary Western author L’Amour comprises six songs which reflect six of his short stories. Each is quite brilliant, lyrically and musically, performed simply with beautiful harmonies. It’s an album I’ve returned to again and again.
Sean McConnell, A Horrible Beautiful Dream Grammy nominated singer, songwriter and producer McConnell here showcases his wonderful vocals and song-writing. Honest searching lyrics which cover love, justice and faith, and melodies and arrangements that just draw you in. One of the best voices in modern Americana.
James McMurtry, The Horses and the Hounds McMurty, one of Texas’s finest songwriters, delivers ten songs of vividly-told stories, full of carefully drawn characters. He’s a fiction writer, like his dad, Larry, just a different medium. But the music’s great, as well, with some fine guitar work by David Grissom and, of course, McMurtry’s languid vocals. “This James McMurtry album is really great. It blew me away,” said Jackson Browne. That ought to be enough for you.
Maria Muldaur, Let’s Get Happy Together Let’s Get Happy Together captures the note of hope we’re all looking for, not only in its title but in the exuberance and joy of the songs. The album “is a historic project that pays reverence to many of the early New Orleans women of blues and jazz,” recorded by Maria with Tuba Skinny, a group of traditional jazz musicians. Don’t miss our great interview with Maria here.
Emily Scott Robinson, American Siren This is one beautiful country album, featuring terrific three-part harmonies, songs of loss and love and the exquisite voice of the siren herself, Ms Scott Robinson. Her songs are well crafted stories, wonderful vehicles for her sharp wit and observation. Best of all, it’s just hugely enjoyable.
Blackberry Smoke, You Hear Georgia This band does Southern country rock and does it awfully well. This their seventh studio album, produced by Dave Cobb, is filled with energy, rockin’ guitars and rasping vocals. Get out your air guitar, get up and boogie!
Christina Vane, Nowhere Sounds Lovely Nowhere Sounds Lovely is a terrific amalgam of blues, bluegrass and country. She’s a wonderful talent – a skilful guitar picker and slide player, a fine songwriter and a beautiful singer. Intelligent, classy, and, most importantly, hugely enjoyable. Here’s our full review.
The Wallflowers, Exit Wounds Their first album in nine years and it’s classic roots-rock, unmistakably The Wallflowers. Great melodies, Dylan’s distinctive rasping voice and good old bass, guitar, drums and Hammond driving the songs. And the added value of Shelby Lynne on four of the tracks. No attempt here at modernizing, and why fix it if it’s not broke? It’s terrific.
What a great year it’s been for blues albums. Whether it’s acoustic blues, blues rock, traditional, modern, gospel or funk, there’s been something for everyone. Some artists – like Eric Bibb, Guy Davis and Corey Harris – have included important social commentary in their music; we’ve had great music from a bunch of…well, let’s say mature musicians, like Dion, Alabama Slim, Elizabeth King and Hans Theessink; and some terrific output from young musicians, like Christone Ingram and Selwyn Birchwood, who are making it clear that the blues are alive and well.
We’ve chosen our top 25 albums – arranged in alphabetical order, rather than ranking them. Enjoy!
Here’s our top 12.
Dear America, Eric Bibb Dear America is a collection of thirteen Eric Bibb originals, all testament to his outstanding song-writing skill, ear for a good tune and top-notch guitar chops, but what makes Dear America such a great album – and an important album – is not just the music but the nuanced social commentary and challenge he presents. But like every Eric Bibb album you listen to, there’s a thread of hope and joy that comes through strongly. Here’s our interview with Eric.
Joanna Connor, 4801 South Indiana Avenue An absolutely top-notch set of blues rock that clearly has a Chicago blues heritage, yet sounds completely fresh and modern. Connor’s killer slide guitar and vocals are augmented by some characteristically fine guitar work by Joe Bonamassa and a tight-knit top-class band. Superbly produced, and packed with raw, high-energy musicianship. Check out our interview with Joanna.
Paul Cowley, Long Time Comin’ Paul Cowley is an outstanding musician, a fine guitarist, with a deep appreciation for the acoustic blues tradition. Long Time Comin‘, has 12 acoustic blues songs, 5 traditional songs from the likes of Charlie Patton, Blind Boy Fuller and Blind Willie McTell and 7 originals. It’s outstanding, and hugely enjoyable. We talked to Paul about the album here.
Dion and Friends, Stomping Ground Another great blues album from the erstwhile wanderer, Dion. As with his last album, he’s collaborated with a bunch of his friends – probably a list of your favourite artists. They’re mine, anyway – Bruce Springsteen, Patti Scialfa, Keb’ Mo’, Mark Knopfler, Joe Bonamassa, Eric Clapton…It’s the blues, but it’s positive and upbeat, and it’s an album you’ll return to again and again.
Corey Harris, Insurrection Blues Corey Harris’s 20th album is what acoustic blues is all about. Fourteen traditional blues songs performed with passion, rawness and fine guitar picking. The spirit of the blues breathes in every song. This is a rich feast of acoustic blues, all the more satisfying for presenting the tradition with freshness and originality, and for showing its relevance to current times. Check out our full review here.
Christone Ingram, 662 There’s never a dull moment in the album, with a nice blend of styles and approaches to the songs – to his guitar and singing skill, add song-writing too. Ingram’s singing throughout is outstanding and his guitar solos glorious. At the end you’re left wanting more. If he can keep up the quality shown in this release, Christone Ingram has a stellar career ahead. Highly recommended. Here’s our full review
Catfish Keith, Land of the Sky Catfish Keith’s full range of acoustic guitar pyrotechnics are on display in his 20th album, Land of the Sky – picking, plucking, pinching, bending, sliding, harmonics-ing, on his wide collection of guitars, which include parlours, full-size 6 strings,12-strings, Nationals and a ukulele. It’s a feast of hugely enjoyable guitar fare for any guitar, blues, roots or just music fan. Our full review is here.
Gary Moore, How Blue Can You Get If you buy one blues album this year, this is it. A set of eight songs, some previously unheard and unreleased, from the Moore family archives, will move you, excite you, get you on your feet, and make you regret all the more that Gary Moore is no longer with us. Released on the tenth anniversary of Moore’s passing How Blue Can You Get proves, if there was ever any doubt, that Gary Moore was a master of the blues. Check out our full review here.
Alabama Slim, The Parlor Approaching his 82nd birthday, close to seven feet tall, and typically dressed in an impeccable tailored suit, Alabama Slim has given us a perfect, classic blues album which recalls the boogie of John Lee Hooker. It’s delicious, pared-back, but tasty fare from a man whose soulful and oh-so-cool vocals are served up in a wrap of sweet guitar groove from Little Freddie King, Slim’s cousin. Here’s the link to our full review.
Joanne Shaw Taylor, The Blues Album Taylor’s incredible guitar chops are well in evidence, but it is perhaps her singing that stands out on this album. At turns intensive, gritty, raw and husky, she makes these songs her own, grabbing your attention, and wresting every ounce of emotion out of the music. Joanne Shaw Taylor has made a huge statement with The Blues Album, and take it from me, it’s an album you will want to play repeatedly. Here’s our full review.
Hans Theessink and Big Daddy Wilson, Payday It feels like payday for all of us who get the opportunity to hear this fine album from two blues artists at the top of their game. Hans Theessink and Big Daddy Wilson join voices and blues spirit for sixteen songs of exceptional acoustic blues. It’s joyous stuff, the songs driven by Hans’s sure and characteristic rhythmic finger-picking and the lovely harmonies and melding of baritone and tenor voices. Check out the full review here.
Christina Vane, Nowhere Sounds Lovely Sit up and take notice of Cristina Vane, whose Nowhere Sounds Lovely is a terrific amalgam of blues, bluegrass and country – a thoroughgoing bluesy Americana, you might say. Whatever way you want to describe it, she’s a wonderful talent – a skilful guitar picker and slide player, a fine songwriter and a beautiful singer. And here’s the full review.
And the next baker’s dozen
Joe Bonamassa, Time Clocks It’s heady stuff, with complex arrangements, full orchestrations, bending of genres and a breathless energy from the first song to the last. All the ingredients of his previous work are here – the blues basis, the guitar solos, his soulful vocals, the attention to detail in the production – but this is a bold step forward, a cinematic palette of modern rock guaranteed to both surprise and delight. Our full review is here.
Selwyn Birchwood, Living in a Burning House Fresh modern blues, featuring Birchwood’s bluesy voice, and top-notch guitar and lap steel playing. Thirteen original energetic songs with a blues rock sound, with a jazzy feel at times. Birchwood is quite a talent and this is his best album yet.
Tommy Castro, A Bluesman Came to Town A blues “concept” album from the veteran bluesman, who’s “never made the same album twice.” Tracking the progress of a blues artist with all the ups and downs of the itinerant musician’s life, it is classic stuff, solid, no-nonsense blues from a man whose gritty vocals and searing guitar solos reach right down inside you.
Guy Davis, Be Ready When I Call You Great songs, featuring Guy’s distinctive, growly vocals and rhythmic guitar work, good humour and engaging stories. More than just blues musically and most of the songs have a hard-hitting strong social commentary going on. An outstanding release from Davis and M.C. Records. Read our great interview with Guy here.
Chris Gill, Between Midnight and Louise A stripped-down recording, just two microphones, a small amp, no overdubs and a lot of love for the blues. Relax on the back porch as Gill takes his acoustic, resonator and cigar box and performs nine originals and Virgil Brawley songs. It’s finger picking good, good old-fashioned acoustic blues played with considerable depth and passion. Here’s the full review.
Government Mule, Heavy Load Blues Warren Hayes’ vocals and guitar work, some nicely placed organ and horns, and thirteen fine solid blues songs combine in what is a hugely satisfying album. There are covers of songs by Howlin’ Wolf, Elmore James, Junior Wells, Tom Waits and the Animals, as well as originals from Hayes. 78 minutes of great blues, and you get an extra 50 minutes worth if you go for the 2 CD deluxe offering.
Mark Harrison’s sixth album, The Road to Liberty, showcases his adept story-telling and clever lyrics, his knack for composing a catchy tune, and his never-less-than-engaging performance as a singer and guitarist. He’s hard to pigeon-hole, not quite blues, but the blues are never far away. This is a collection of songs that transport you to another place, make you contemplate the world around and, as well as that – most importantly – entertain you. Read our great interview with Mark here.
Colin James, Open Road Over the years, Colin James has racked up 20 studio albums and a sack-full of awards, and yet is relatively unknown. Put that right straight away by listening to this terrific album of blues covers and originals from a very fine singer and guitarist. Consistently good and hugely enjoyable.
Kelly’s Lot, Where and When Kelly Zirbes’s band, which hails from the Los Angeles area has been plying its trade for the last 25 years, mostly as a blues rock outfit. Where and When sees them stripping things back, performing 11 acoustic blues songs with resonator-slide guitar and Zirbes’s gritty voice to the fore. It’s fabulous stuff, six originals written by Kelly and rhythm guitarist Perry Robertson that evoke the blues of a bygone age and five reworked traditional blues songs, including a terrific version of Robert Johnson’s Stones in My Passageway.
Elizabeth King, Living in the Last Days Wonderful set of bluesy gospel songs from gospel singer King 50 years after she stopped performing and recording professionally. It’s a funky, bluesy, soul-filled pot of rich gospel fare, an album full of great songs, music that touches you, and Ms. King’s powerful vocal performance. It’s a gift for us all. Check out our interview with this amazing woman.
New Moon Jell Roll Freedom Rockers, Vol 2 Classic old-school recording from a kind of blues super-group, the musicians sitting together in a circle in the studio and playing amongst the microphones. It’s a joyous exploration of the blues, with great heart and soul. A fine tribute to Jim Dickinson and a huge treat of an album for all of us. Full review here.
Elder Jack Ward, Already Made Jack Ward was a successful Stax recording artist, but, remarkably, has never made an album – until now. At a lively 83 years old, he has released a fabulous album of bluesy, soulful gospel songs. The ten song program features the warmly-recorded winning ingredients that are becoming a trademark of Bible and Tire’s patented Sacred Soul sound, from Ward’s spirited vocals to the crack studio band laying down the grooves behind him. We talked to Jack about the album here.
Carolyn Wonderland, Tempting Fate Glorious ten song tribute to her scorching guitar skills and rockin’ vocals. As well as blues, there’s some country, some Tex-Mex, and a whole lot of heart. The guitar work on the album is outstanding – all you’d expect from a Carolyn Wonderland record, but hot though it is, the her vocal performance in this album – the range, the dynamics, the emotion on this album – seems better than ever. And here’s our interview with Carolyn.
It’s been a great year so far for blues albums. Whether it’s acoustic blues, blues rock, traditional, modern, gospel or funk, there’s been something for everyone. We’ve chosen our top 15 albums – arranged in alphabetical order, rather than ranking them. Enjoy!
Selwyn Birchwood, Living in a Burning House
Fresh modern blues, featuring Birchwood’s bluesy voice, and top-notch guitar and lap steel playing. Thirteen original energetic songs with a blues rock sound, with a jazzy feel at times. Birchwood is quite a talent and this is his best album yet.
Joanna Connor, 4801 South Indiana Avenue
An absolutely top-notch set of blues rock that clearly has a Chicago blues heritage, yet sounds completely fresh and modern. Connor’s killer slide guitar and vocals are augmented by some characteristically fine guitar work by Joe Bonamassa and a tight-knit top-class band. Superbly produced, and packed with raw, high-energy musicianship. Check out our interview with Joanna here.
Paul Cowley, Long Time Comin’
Paul Cowley is an outstanding musician, a fine guitarist, with a deep appreciation for the acoustic blues tradition. Long Time Coming, has 12 acoustic blues songs, 5 traditional songs from the likes of Charlie Patton, Blind Boy Fuller and Blin Willie McTell and 7 originals. It’s outstanding, and hugely enjoyable. Here’s our great interview with Paul.
Steve Cropper, Fire It Up
Legendary guitarist, songwriter and record producer delivers his first proper solo album since 1969. Thirteen well-constructed songs, with a terrific band, excellent guitar work by Cropper and an outstanding vocal performance from Roger Reale. Check out our full review here.
Guy Davis, Be Ready When I Call You
Great songs, featuring Guy’s distinctive, growly vocals and rhythmic guitar work, good humour and engaging stories. More than just blues musically and most of the songs have a shard-hitting strong social commentary going on. An outstanding release from Davis and M.C. Records. Guy spoke to us about this important album.
Robert Finlay, Sharecropper’s Son
Finlay’s rasping, soulful voice is distinctive and memorable, and shines on this terrific album of blues, gospel, soul, and R&B. Produced by Dan Auerbach, the album evokes Finlay’s life of struggle and determination. Finlay is one of those musicians helped by the Music Maker Relief Foundation and his first album only appeared in 2016. Auerbach says simply, “Finlay is the greatest living soul singer.” To judge by this album, he’s not wrong.
Chris Gill, Between Midnight and Loiuse
A stripped-down recording, just two microphones, a small amp, no overdubs and a lot of love for the blues. Relax on the back porch as Gill takes his acoustic, resonator and cigar box and performs nine originals and Virgil Brawley songs. It’s finger picking good, good old-fashioned acoustic blues played with considerable depth and passion.
John Hiatt with the Jerry Douglas Band, Leftover Feelings
A rewarding set of songs from Hiatt and Dobro master Jerry Douglas. Hiatt taps a rich vein of song-writing skill and experience in a mixture of ballads and blues songs with compelling stories. The combination of Hiatt’s always interesting voice, Douglas’s jaw-droppingly good guitar work and eleven good tunes makes for a hugely enjoyable experience.
Kelly’s Lot, Where and When
Kelly Zirbes’s band, which hails from the Los Angeles area has been plying its trade for the last 25 years, mostly as a blues rock outfit. Where and When sees them stripping things back, performing 11 acoustic blues songs with resonator-slide guitar and Zirbes’s gritty voice to the fore. It’s fabulous stuff, six originals written by Kelly and rhythm guitarist Perry Robertson that evoke the blues of a bygone age and five reworked traditional blues songs, including a terrific version of Robert Johnson’s Stones in My Passageway.
Elizabeth King, Living in the Last Days
Wonderful set of bluesy gospel songs from gospel singer King 50 years after she stopped performing and recording professionally. It’s a funky, blues, soul-filled pot of rich gospel fare, an album full of great songs, music that touches you, and Ms. King’s powerful vocal performance. It’s a gift for us all. Check out our great interview with the wonderful Ms King.
New Moon Jell Roll Freedom Rockers, Vol 2
Classic old-school recording from a kind of blues super-group, the musicians sitting together in a circle in the studio and playing amongst the microphones. It’s a joyous exploration of the blues, with great heart and soul A fine tribute to Jim Dickinson and a huge treat of an album for all of us. Our full review is here.
Gary Moore, How Blue Can You Get
If you buy one blues album this year, this is it. A set of eight songs, some previously unheard and unreleased, from the Moore family archives, will move you, excite you, get you on your feet, and make you regret all the more that Gary Moore is no longer with us. Released on the tenth anniversary of Moore’s passing How Blue Can You Get proves, if there was ever any doubt, that Gary Moore was a master of the blues. Our full review is here.
Reverend Shawn Amos, The Cause of It All
“I want to bring the ancestors into the room,” said Amos of this set of blues classics by the likes of Willie Dixon, Muddy Waters, John Lee Hooker, Howlin’ Wolf, and Little Walter. The songs are stripped to the bone, with Amos on harmonica and vocals, and his longtime collaborator Chris “Doctor” Roberts on guitar. Check out Amos’s hair-on the-back-of-your-neck-raising vocal performance on the wholly acoustic Hoochie Coochie Man.
Alabama Slim, The Parlor
Approaching his 82nd birthday, close to seven feet tall, and typically dressed in an impeccable tailored suit, Alabama Slim has given us a perfect, classic blues album which recalls the boogie of John Lee Hooker. It’s delicious, pared-back, but tasty fare from a man whose soulful and oh-so-cool vocals are served up in a wrap of sweet guitar groove from Little Freddie King, Slim’s cousin. Check out our full review here.
Christina Vane, Nowhere Sounds Lovely
Sit up and take notice of Cristina Vane, whose Nowhere Sounds Lovely is a terrific amalgam of blues, bluegrass and country – a thoroughgoing bluesy Americana, you might say. Whatever way you want to describe it, she’s a wonderful talent – a skilful guitar picker and slide player, a fine songwriter and a beautiful singer. We reviewed this excellent album here.
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