On his first studio outing in eight years, the mythical Okie troubadour turns in a solid set of his trademark dusty blues tunes. What is not so typical, as with Travel Log from 1990, is that Cale steeps himself in technology and evokes the moods and frameworks of music that intersect with the blues or stand in opposition to them. The keyboards, drum loops, and horns on this record are as pervasive as the guitars. Needless to say, this requires an attitude adjustment on the part of the listener. This is not to say there aren't plenty of live musicians here; there are.

During the last quarter of the 20th century, and thanks largely to Eric Clapton's remarkable devotion to his memory, Robert Leroy Johnson posthumously became the most celebrated Delta blues musician of the pre-WWII era. Among numerous editions of his complete works and various anthologies that combine his recordings with those of his contemporaries and followers, J.S.P.'s The Road to Robert Johnson and Beyond combines many of his essential performances with those by dozens of other blues artists from Blind Lemon Jefferson and Henry Thomas to Muddy Waters and Elmore James. 105 tracks fill four CDs with several decades' worth of strongly steeped blues that trace the African American migration from the deep south on up into Chicago. This is a fine way to savor the recorded evidence, as primary examples from Blind Blake, Charley Patton, Son House, Charlie McCoy, Walter Vincson, Skip James, Ma Rainey, Tampa Red, Kokomo Arnold, Scrapper Blackwell, Leroy Carr, Lonnie Johnson, and Peetie Wheatstraw lead directly to early modern masters like Big Joe Williams, Sonny Boy Williamson, Big Bill Broonzy, Johnny Temple, Leroy Foster, Johnny Shines, Homesick James Williamson, Robert Jr. Lockwood, Snooky Pryor, Little Walter, and David Honeyboy Edwards, among many others.

This three-CD set documents some historic country-blues performances by the likes of Mississippi John Hurt, Skip James, Bukka White, Mississippi Fred McDowell and Mance Lipscomb. The urban side of things is well represented by Lightnin’ Hopkins, John Lee Hooker, Memphis Slim, Muddy Waters with Otis Spann, The Paul Butterfield Blues Band and The Chambers Brothers turning in a riveting rendition of “See See Rider.” Included here are 11 previously unreleased tracks. A must for acoustic-blues fans.

While it's no secret that guitar king Peter Green is obsessed with Robert Johnson, having done two previous recordings of his music, this box is in essence something else. There are three CDs included here, one of which is Hot Foot Powder, the first album by the Peter Green Splinter Group, which included guest performances from the likes of Otis Rush, Honeyboy Edwards, Dr. John, Hubert Sumlin, and Joe Louis Walker, among others. The second disc by the band, The Robert Johnson Songbook, featured mainly the Green band, though Free/Bad Company vocalist Paul Rodgers guests on a tune. Fans already have these without a doubt, so Snapper Music - with Green's blessing - assembled a 28-cut collection of original Robert Johnson recordings chosen by Green. Adding them all together in a box with a handsome booklet for a decent price makes it all worthwhile…

Just as the title implies, Raw is Bobby Rush at his most elemental: a man, his acoustic guitar, and his foot stamping out a beat on an amplified board. A little harmonica now and then, and a Dobro played with a bottleneck slide on the rollicking "Glad to Get You Back," but that's it for ornamentation. Although most of 13 songs are Rush originals, he also essays three standards, Larry Williams' early rock classic "Boney Maroney," Muddy Waters' "Good Morning Little Schoolgirl," and – fearlessly – "Howlin' Wolf" itself, which he slows down into a funereal dirge. Rush calls his music "folk funk," but in reality, Rush is the modern equivalent of the first country bluesmen, before the moves to Memphis and Chicago added full-band arrangements and electricity. But Rush isn't a hidebound traditionalist attempting to resurrect a past form for its own sake; Raw crackles with the energy of a musician who knows that he's working in the style that best suits his own personal gifts. This is a hundred times more listenable than yet another blues band plodding through a set of tenth-generation rewrites of "Sweet Home Chicago," and could well be the blues recording of 2007.

Time traveler Alvin Youngblood Hart's albums have darted from crusty Delta fingerpicking and hollering to Hendrixian hellfire to crunchy, primal rockin' blues, all with the ring of authority that comes from complete commitment to the music. This time, he's set the wayback machine to the early '30s, using guitars, mandolin, banjo, and a lot of heart to interpret tunes by Son House, Charley Patton, Skip James, Leadbelly, and others. Somehow, the dust of old Mississippi, the state where the Oakland-born musician now resides, seems to have gotten into his blood. Hart sounds like Parchman Farm's newest inmate as he wails and moans through "How Long Before I Can Change My Clothes," plucking notes from a National resonator guitar. Chiming out chords and quick runs on banjo, he makes Odetta's "Chilly Winds" seem like they're carrying the voices of lost ghosts, recounting their lives of misery under Jim Crow's wing. Hart tends to take many of these classics, like Patton's "Tom Rushen Blues" and Leadbelly's "Alberta," at slightly slower tempos, which gives him more time to squeeze gut emotions from his lightly graveled phrases and lets his pluck-and-drone playing work its hypnotic effect. Stark and impressive for the power Hart generates alone, this may be the acoustic blues album of the year.

When Taj Mahal and Keb' Mo' released TajMo in 2017 and toured the world, they fully intended it to be a one-off. Even as they resumed solo careers, neither could forget the merits of that partnership; they wondered if there was still magic between them in the studio. Room on the Porch answers in the affirmative. For the sake of creative possibility, they decided to write and record the material together in a studio. Over two weeks, Mahal, Mo', and their chosen collaborators worked in a Nashville studio and emerged with Room on the Porch, a solid set of seven originals and three covers co-produced by the pair. It's an intimate, warm, informal album full of laid-back good vibes and great songs.
The title-track opener, co-written with vocalist Ruby Amanfu, is a good-time acoustic rag blues buoyed by B-3, upright bass, fiddle, and resonator guitars in a welcome to a new guest and friend…

This rare December 1953 session was unusual for Terry in that his guitar accompanist was not Brownie McGhee, but Alec Seward, who had previously recorded as Guitar Slim in a duo with "Fat Boy" Hayes" (aka Jelly Belly). It's unusual only in the personnel, however. It sounds like typical Sonny Terry, as he works his way through original material, including standards like "John Henry" and other blues tunes like "In the Evening" (the song that would provide much of the basis for Robert Johnson's "Love in Vain"). You'd have to say that it's usually more interesting to hear Terry with his longtime partner McGhee than it is to hear him with Seward, but it's not terribly different. The trademark vocal and harmonica whoops, and hollers are in gear and running throughout the album, sometimes to exhilarating effect, as on the rapid "The Fox Chase (aka "Hound Dog Holler")"…

Arhoolie's Texas Sharecropper & Songster is a recording made in 1960, during the blues revival. Prior to the blues revival, Mance Lipscomb was an unknown, and his discovery was one of the positive byproducts of the revival. He was a great country-blues man, and this is perhaps his greatest effort, capturing him running through a number of traditional songs. Most of the songs are augmented by his jackknife slide guitar, and all feature his raw, haunted vocals, which make these classic songs sound timeless.

These recordings were made in 1960, when Sonny Terry and Brownie McGhee were in their prime. That is to say, when they were the most exciting entertainers out there. They were a spirited duo, so perfectly attuned they were like a single musical force, joined in perfect harmony even as their personalities clashed in joyous rivalry. Sonny wild, untamed, his free hand fanning the harmonica while his falsetto cries recalled fieldhollers of long ago. Brownie was more refined, his voice rich and domineering, decrying the unfaithfulness of women, the unkindness of strangers. He’d cast mock anguished looks at the disconcerting exuberance of his friend, then light up the room with a smile.
The excitement they generated in concert halls, nightclubs and on college campuses, has been unmatched in country blues of any period…

John Lee Hooker never abandoned his raw, gut bucket Mississippi-Delta-comes-to-the-city approach to the blues throughout his fifty-year career, and if he got a tad bit slicker towards the end of that career, it was only a tad and only by degree. There are innumerable Hooker collections on the market, and this two-disc set wouldn't be anything particularly special except that it actually charts through his entire history, beginning with the ageless "Boogie Chillen," which was recorded in 1948 and topped the R&B charts for Modern Records in 1949, through "Tupelo," which was recorded in 1993 and released on the Pointblank LP Chill Out in 1995.

The first solo release by contemporary blues-based artist Keb Mo' mixes a reverence for traditional country blues with more streamlined elements of commercial pop. Keyboards, bass and drums (in addition to Keb Mo's contributions on guitar, harmonica and banjo) flesh out breezy soul-inflected pop such as "She Just Wants To Dance" and the island flavored "Tell Everybody I Know." Though gears continue to shift, from organ-drenched gospel to hillbilly lite, Keb Mo' brings things back to the source with inventive homages to the blues altar, such as in his re-casting of two Robert Johnson songs.

As a bonus to accompany their annual calendar, Blues Images adds a disc of classic 1920's blues. Featuring Pre-War classics from Blues masters such as: Memphis Minnie and Kansas Joe, Willie Lofton, Henry Thomas, Blind Lemon Jefferson, Blind Blake, Mississippi Sheiks and others.