Lonesome Sundown (his real name was Cornelius Green) had a little bit more Delta and Chicago blues in him than most of his Louisiana labelmates who recorded for producer J.D. Miller. Not that Sundown's sound isn't solidly in the so-called swamp blues tradition, but where Slim Harpo, Silas Hogan, and the other Excello artists worked from a laconic, Jimmy Reed-like shuffle, Sundown quickened the pace (at least for an Excello act) to a nastier level, and with Miller's reverb-laden production, ended up sounding a little bit like Jimmy Reed on speed, particularly on tracks like "Don't Go." Not that Lonesome Sundown couldn't do the patented Louisiana blues shuffle when he chose to, as his signature tune, "I'm a Mojo Man," shows, or even improve on the pattern, as with the loose-limbed and brilliant "I'm a Samplin' Man," but he seemed most at home doing more standard blues fare like the modern-sounding "My Home Is a Prison"…

Tab Benoit is a Louisiana-based singer, guitarist, and environmental preservationist who first appeared on the Southern blues scene in the early 1990s. His Cajun-inflected blues-rock sound won international notice on 1992's Nice & Warm and three more albums for Justice Records. He signed with Telarc for 2002's Whiskey Store with Jimmy Thackery, and his own Wetlands, a blues meditation on the complex, imperiled environment of southern Louisiana. A highly versatile player, Benoit's singing voice has drawn comparisons to Otis Redding's, while his playing style readily reflects the influences of Albert Collins, Albert King, and Jimi Hendrix. 2003's Sea Saint Sessions offered a star-studded guest list that included Cyril Neville and George Porter, Jr. 2007's Power of the Pontchartrain registered with audiences internationally. 2010's Medicine won three Blues Music awards. Benoit stopped recording for 14 years to devote himself to protecting Louisiana's wetlands. In 2024, he returned with the self-produced I Hear Thunder on his own Whiskey Bayou label.

Marcia Ball's strong western Louisiana, eastern Texas roots run strongly through So Many Rivers, and she has increased the range she covers. Solid in the foundation of her piano playing and phrasing, she is rooted rock-solid to the rhythms by the drumming of Tom Fillman and the bass of both Don Bennett and Yoggie Musgrove. There is also the production work of Stephen Bruton, who also added his otherworldly guitar work to the mix. Marcia Ball's voice has only gotten finer with the passage of time, and the collaborations with Irma Thomas and Tracy Nelson have also added a lot of potency to her voice and handling of a song. She has assembled a crack group of musicians here that gives her freedom to take those chances that make So Many Rivers stand out from the crowd…

A witty, imaginative songwriter, crisply concise guitarist, and convincing singer, Baton Rouge Larry Garner is the proverbial triple threat - and a good bet to rise to blues stardom in the immediate future. His major-label debut is a wondrous collection filled with songs that don't embrace simple cliches ("Four Cars Running," "Another Bad Day," and "Shak Bully" are anything but routine). "Miracles of Time" is almost pop-soul in its structure, while "Rats and Roaches in My Kitchen," Garner's lowdown tribute to swamp blues pioneer Silas Hogan, benefits from Sonny Landreth's burrowing slide guitar.

These are Landreth's earliest known recordings, half of them made in a single afternoon 1973 when he was just 22 years old, the other half recorded in 1977. They display Landreth in the wine of his youth, looking outward for inspiration, sounding more generally Southern than uniquely Louisianan. If you are seeking an album of Louisiana music, I suggest you look elsewhere. But if it is the long-lost first album of an acknowledged slide guitar king you seek, perhaps the finest of his generation, look no further. It is in your hands.

One of America's best known, most beloved roots artists, releases a career-defining album produced by Steve Berlin of Los Lobos. Marcia is simply on fire throughout 'Shine Bright', with a rollicking array of piano-fueled roadhouse romps seasoned by her incomparably soulful balladry. Tracks include nine new Marcia originals, plus brilliant takes on the music of Ray Charles, Ernie K-Doe and Jesse Winchester. Producer/saxophonist Berlin guests on five tracks. "Rollicking, playful, good-time blues and intimate, reflective balladry…her songs ring with emotional depth."

Tab Benoit is back. While he's rarely been absent from the road, it took 13 years for him to follow the globally acclaimed Medicine, produced and co-written with Anders Osborne. Benoit hasn't been stuck creatively; it took him that long to free himself from a horrible record deal. Justice Records issued his first five albums while his reputation spread internationally due to the blues guitarist and songwriter's innovative playing style. When the label folded in the late '90s, his contract and catalog transferred to Vanguard, then Telarc, then Concord, without his consent. He was unable to extricate himself from it, and simply refused to issue another album without adequate compensation.

When he wasn't busy siring progeny (the Neal household produced ten kids, most of them seemingly now playing the blues), Raful Neal was staking his claim as one of the top harpists on the Baton Rouge blues front. Unfortunately, until recently, his discography didn't reflect that status - but albums for Alligator and Ichiban have righted that injustice.
Neal wrote the majority of the sides on this satisfying disc himself. His supple band includes two sons, Raful, Jr. on guitar and Noel on bass, and Lucky Peterson on keys.

Music has been present in Hugh Laurie’s career in some form or another since the days of Fry & Laurie, even working its way into House, the American television series that turned him into an international star in the 2000s. Without House, Laurie would never have been granted the opportunity to record an album like 2011’s Let Them Talk, a full-blooded immersion into American blues via New Orleans, shepherded by acclaimed roots producer Joe Henry and featuring such Big Easy heavy-hitters as Allen Toussaint, Dr. John, and Irma Thomas. To his enormous credit, Laurie never sounds like a dilettante among this group; he holds his own, working his way into the marrow of the songs, playing credible piano throughout the record. Which isn’t to say that he quite makes this selection of standards his own, either…

Winter Time Blues collects some of Lightnin' Slim's later singles for the Excello label, and while it might be hard to believe, these tracks sound positively lush when placed next to his earlier sides. Not that anything here is too fancy, but these songs at least have recorded basslines (the early singles were just Slim on electric guitar and vocals, accompanied by a drummer and a harmonica player, usually Lazy Lester) and the occasional added wash of an organ for texture. Truthfully, part of Slim's appeal is his nerve-bare starkness, and these later tracks show less of that, although the chilling bayou voodoo of "I'm Evil," included here, makes it one of his most powerful songs.

Louisiana slide master Sonny Landreth takes his time between releases – his last studio disc of original material was five years prior to this – but when they arrive, the wait seems justified. For the debut album on his own Landfall records, Landreth calls in marquee name guitarists Eric Clapton, Mark Knopfler, Robben Ford, Eric Johnson, and Vince Gill to bolster the visibility factor. Rather than focusing on guitar duals, Landreth wrote songs that incorporate their styles, and occasional vocals, organically into the material. There are plenty of stunning solos of course, but they are integrated into the tunes that stand up just fine without the six-string fireworks. The album's title is a double entendre as "reach" is a body of water and also describes Landreth inviting his guests to be part of the project.