Robert Cray always flirted with gritty Southern soul, but it wasn't until Sweet Potato Pie that he made a full-fledged soul-blues record in Memphis. Cray hasn't abandoned blues, but he's woven punchy horns and sexy rhythms into the mix, resulting in one of his stronger records of the '90s. The material remains a bit uneven, but his taste is impeccable – few blues guitarists are as succinct and memorable as he, and the soul settings of Sweet Potato Pie only confirm that fact.

Much can be said about the late Amy Winehouse, one of the U.K.'s flagship vocalists during the 2000s. The British press and tabloids seemed to focus on her rowdy behavior, heavy consumption of alcohol, and tragic end, but fans and critics alike embraced her rugged charm, brash sense of humor, and distinctively soulful and jazzy vocals. Her platinum-selling breakthrough album, Frank (2003), elicited comparisons ranging from Billie Holiday and Sarah Vaughan to Macy Gray and Lauryn Hill. Interestingly enough, despite her strong accent and vernacular, one can often hear aspects of each of those singers' vocal repertoires in Winehouse's own voice. Nonetheless, her allure had always been her songwriting – almost always deeply personal but best known for its profanity and brutal candor.

Another overly polished effort that nevertheless packs a punch on many selections. Walker's songwriting is considerably less prominent, with only three self-penned tunes on the disc this time. Otis Blackwell's pulsating "On That Power Line" and the Don Gardner & Dee Dee Ford dustie "I Need Your Lovin'" receive spirited revivals, and there's an acoustic duet with James Cotton, "Going to Canada."

When Bobby "Blue" Bland was recording for Malaco in the '80s and '90s, many blues experts asserted that he was past his prime - and they were right. Bland had done his best work for Duke in the '50s and '60s, and his voice wasn't what it once was. But the blues/soul singer was still capable of delivering a worthwhile album, and he still had a loyal fan base. In fact, the singer was a consistent seller for Malaco, which could generally be counted on to give him good or excellent material to work with. Recorded when Bland was in his late fifties, Midnight Run isn't remarkable but is generally decent. The production of Tommy Couch and Wolf Stephenson is rock solid, and Bland is soulful and satisfying on the amusing "Take off Your Shoes," the reggae-influenced title song, and arrangements of Bill Withers' "Ain't No Sunshine" and the Mel & Tim hit "Starting All Over Again."

This 1991 release, along with Years Of Tears from 1993, amply demonstrate the enduring power of Bobby Bland, a most singular blues singer. Justly hailed for his '50s records on the Duke label, Bland remained a powerful presence over the ensuing decades. As with all of his recordings for the Jackson, Mississippi-based Malaco label, the bulk of the songs were penned by Malaco's in-house writers. One of the set's only numbers from an outside source is the opening "Ain't No Love For Sale" by John Barranco.
With his characteristic snorts and growls, it's clear from the outset that Bobby "Blue" Bland is in command. Portrait is his usual mix of bluesy shuffles, ballads, and soulful stomps. And any album that's got a song called "She's Puttin' Something In My Food" has got a leg up on the competition…

Shemekia Copeland continues to prove herself as one of the strongest young talents in the blues on this disc. While the material itself isn't as strong as that on her stellar first album, she still invests her all in tunes like the blasting "Not Tonight" and the romantic "Love Scene."

With her mix of blues, soul, and rock, plus the just tangible presence of her native Mississippi gospel background, Zora Young can be a powerful performer when the material is there. On the best cuts from Tore Up from the Floor Up, her third album and second for Delmark, she shows a kind of hard-earned wisdom and an assurance in her vocals that rises well above mere shouting, and tracks like the moody, dynamic "Toxic" and the romping title tune (both of which are Young originals) show her to be a solid songwriter as well. She also turns in fine readings on a pair of covers, turning atmospheric on Muddy Waters' "Two Trains Running" and giving B.B. King's "I'm Gonna Do the Same Thing They Did to Me" a saucy, determined sheen…

All the songs played in Chicago blues clubs don't necessarily have 12 bars. Many of Chicago's blues singers are also R&B and/or rock singers, and Zora Young is a prime example. Based in Chi-Town but originally from Mississippi, the expressive singer provides an enjoyable, if derivative, blues/soul/rock mix on her 2000 date Learned My Lesson. Young is far from a blues purist - while "My Man's an Undertaker" and Young originals like the humorous "Pity Party" are straight-up urban blues, she confidently detours into soul and rock territory on "Girl Friend" (another Young original) and sweaty performances of Ike & Tina Turner's "Nutbush City Limits" and Chuck Berry's "Living in the U.S.A." Meanwhile, Young draws heavily on her gospel background on a passionate version of Percy Mayfield's "Please Send Me Someone to Love"…

Whenever Johnny Adams does a repertory album, it's as much his own showcase as a forum for the spotlighted composer. Even Percy Mayfield's lyrically brilliant works don't hamper Adams from displaying his special magic; his treatments on the session's ten tunes range from excellent to magnificent. Adams is gripping on "My Heart Is Hangin' Heavy," nicely bemused on "The Lover and the Married Woman," and convincing on the title track and "Danger Zone." Although he's done numerous Rounder vehicles, Adams hasn't yet turned in a dud.

The combination of King and the well-oiled Philly rhythm section that powered hits by the O'Jays, Spinners, and Stylistics proved a surprisingly adroit one. Two huge hits came from this album, the Stevie Wonder/Syreeta Wright-penend title track and "I Like to Live the Love," both of them intriguing updates of King's tried-and-true style.

The sixth album by New York's Holmes Brothers is another all-spirituals set - though not in the traditional sense of the word. Produced by pop singer Joan Osborne (before she was a superstar, Osborne woodshedded with the Brothers and developed a fine rootsy singing style of her own), who was there in the Manhattan trenches with the band, this set goes a long, long way to capturing raw, excruciating grooves. With the a trio of singers as soulful as any group Memphis or Motown ever produced, the Holmes Brothers take it to the gut each and every time. This set opens with Ben Harper's "Homeless Child," and let's just say after the deep, grease-fire funk the vocalizing creates, Harper should never play it again. This song now belongs to the Holmes Brothers…

The Holmes Brothers deliver a mix of joyous blues, funk, R&B, and soul that resonates deeply with hope and personal redemption, a sort of sturdy and comforting secular roots music informed by the trio's precise, gospel-based vocals. Brotherhood continues to update that signature sound, featuring eight new Holmes Brothers originals and imaginative covers of songs by Ike Turner, Ted Hawkins, and the great Stax Records songwriting team of William Bell and Booker T. Jones.

If there is one place where Kaz Hawkins' talent is perfectly expressed, it is the stage. This album recorded at the Summer Camp Festival in Brezoi, Romania is irrefutable proof. Having become one of the most important blues festivals in Europe, Brezoi has long crowned Kaz Hawkins as one of its queens, with the Northern Irishwoman being one of the headliners of the event each year. This public recording of 12 tracks is a new stone in Kaz Hawkins' musical edifice which is growing day by day to now approach the summits of the genre. A pure treat.

Blues has always been a music of comebacks, and Chick Willis is making strong, resurgent moves with this independently released album containing many of his original songs. Into his 53rd year playing music professionally, the guitarist and vocalist stays true to urban blues while making a contemporary pathway doused with soul and a little bit of a dirty-minded attitude. The music is horn-driven, fun for listening or dancing, and has all of the savvy and street smarts any veteran of this music should have. It seems his voice has not diminished one iota, while his songs suggest he's still enjoying life to the fullest. Of the six tracks written by Willis, the rocking shuffle "Houdini Blues" refers to "freakin'" things, but is more on track with a partner who tends to disappear, much to his chagrin…

50 - Just Warming Up! Is the new album from American blues legend and multi-instrumentalist Lucky Peterson - one of the most riveting performers of the modern blues era. A searing lead guitarist, a rich and powerful organist, and a first-rate vocalist, Lucky's musicianship effortlessly translates gospel, rock, and jazz into a 21st century blues. Many reminisce about the bygone days of the blues, but it's flame still burns hot here in the hands of Lucky Peterson!