South of I-10 is the fourth studio album from Sonny Landreth. The album features his first collaboration with Mark Knopfler. Sonny Landreth's screaming slide guitar plows right into you and carries you along on its feral journey. This CD opens going for your guts and never quits, though at times its touch is more caressing than careening, as in "Cajun Waltz." This CD got a lot of airplay yet never got tiresome, the true test of good music. A wide variety of slide guitar styles, backed by an extremely tight rhythm section and various other New Orleans musicians adds to the pleasure of the album. This music combines the best of zydeco, New Orleans R&B, Cajun, and rock & roll into one mood-elevating experience. Listen to "Mojo Boogie" next to "C'est Chaud," then go on to "Shootin' for the Moon"; there is no letdown, but there is great variety. A must-buy.

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.

Sonny Landreth's screaming slide guitar plows right into you and carries you along on its feral journey. This CD opens going for your guts and never quits, though at times its touch is more caressing than careening, as in "Cajun Waltz." This CD got a lot of airplay yet never got tiresome, the true test of good music. A wide variety of slide guitar styles, backed by an extremely tight rhythm section and various other New Orleans musicians adds to the pleasure of the album. This music combines the best of zydeco, New Orleans R&B, Cajun, and rock & roll into one mood-elevating experience. Listen to "Mojo Boogie" next to "C'est Chaud," then go on to "Shootin' for the Moon"; there is no letdown, but there is great variety. A must-buy.

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.

The 2010 issue of Mississippi Blues by Sonny Landreth on the Fuel 2000 imprint is not a new album, nor is it a representative compilation of his oeuvre. In fact, the set is a complete repackage of the album entitled The Crazy Cajun Recordings originally issued on CD by Great Britain’s Edsel in 1999. The material dates from 1973 and 1977, recorded with the famed Huey P. Meaux (aka the Crazy Cajun) when he wasn’t touring with Clifton Chenier as part of his Red Hot Louisiana Band. These 20 tracks range from Landreth’s Lafayette, LA-styled take on the acoustic Delta blues solo and with a band that included a mandolin player, an electric bassist, and a drummer to his early electric experiments playing a meld of Cajun-flavored soul, rock, and R&B. The electric slide guitar fury evidenced on his own records from the 1980s onward is all but absent here, but the acoustic slide work is particularly plentiful – check his reading of “I Know You Rider,” “Lazy Boy,” and the stomping “Prodigal Son”.

Jamaican-born bluesman Kirkland has always stretched the boundaries of his music and on this outing moves further into contemporary waters. Guest stars abound on this album, and Kirkland's idiosyncratic guitar work is answered and abetted by appearances from Tab Benoit, Sonny Landreth, Kenny Neal, Cub Koda, Christine Ohlman and G.E. Smith, as well as driving work from drummer Jaimoe and organist Richard Bell. The material is all over the road, but particularly noteworthy as highlights are Kirkland's take on Elmore James' "Done Somebody Wrong," "Snake In the Grass," "Nightgirl," and the title track.

Following a few years after Levee Town, an album tightly focused on a specific place and time, Landreth dedicates The Road We're On to the more intangible magic of the blues. The music this time scans a vast panorama, from the Texas shuffle of "All About You" and zydeco pulse of "Gone Pecan" through the tub-thump beat of some Bayou dive on "Juke Box Mamma." Aside from a couple of cuts on which he plays standard guitar, Landreth fills this album with wizardly slide work: A shimmering lick at the end of "A World Away" provides the most gorgeous sonic moment, though his extended jam on the environmental call to arms "Natural World" sustains a high level of intensity through several choruses. On most of these tracks Landreth performs in a raw trio setting, almost all the time recording live; on "Hell at Home" he even keeps the scratch vocal, rather than overdub a fresh version, because the four-beat groove, reminiscent of "Walking Blues" on Paul Butterfield's East-West, is so in-the-pocket.

Levee Town is the 5th studio album by Sonny Landreth. Released on Sugar Hill Records Oct. 17, 2000 and re-released in an Expanded Edition on Landreth’s own LandFall Records April 21, 2009. This is slide guitar wizard Sonny Landreth's most ambitious work, and true to form it comes with no glossy fanfare (even the packaging is sepia tinted), just straight-ahead, well-crafted songs played with his usual intelligent, heartfelt playing. Like the photos that are easily passed over due to the quiet subtly of the sepia tones, the intricacy of his guitar work can easily be overshadowed by the flash that is inherent in the slide guitar. He takes the time here to do a number of acoustic songs and shows that there is more to him than a loud flash.

This is music from the Saturday night dances in Louisiana; the hot and sweaty have a good time dancing, drinking, and looking at all the people. Do not look for the Royal Albert Hall production on this CD, as on his stunning South of I-10 with its myriad "guest artists." The feel for this music is shown by someone who grew up with it. Listen to the respect and feeling he gives to Clifton Chenier's "If I Ever Get Lucky." Try to keep your body and feet from bouncing to the beat of "Sugar Cane" or "Little Linda." Doesn't your eye start to look around for a dance partner, even though you're in your living room? There is solid playing throughout this CD even though the sound is a bit thin at times and the big-name guests are nowhere to be found. It is a solid effort that spans the musical boundaries of all of Louisiana. Cajun, zydeco, blues, and country are all blended together so they are no longer confining, but a homogenous mix. A solid effort.