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100 ESSENTIAL SOUL BLUES & RETRO-SOUL ALBUMS 1980-2024 51-100 * UPDATED FEBRUARY 2025 * ***BACK TO ALBUMS 1-50 HERE | |
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51. As soon as Mighty Sam starts to sing the gospel-breathed soul of the title track you are gonna wonder "Where has this guy been for so long?". McClain either wrote or co-wrote 9 of the 11 cuts here, like the melodious acoustic guitar gem "Here I Go Falling In Love Again" and the gritty blues shuffle "What You Want Me To Do" that features a great Booker T & The MG's-styled organ lick (Bruce Katz) and heavy guitar soloing (Kevin Barry). Another highlight is his moody reading of Carlene Carter's "Too Proud". 52. 
Willie Clayton "Gifted" (Malaco
2006)
Malaco Records dubs itself "The Last Soul Company" and with a roster that's included ZZ Hill, Dorothy Moore, Tyrone Davis, Little Milton, Johnnie Taylor and Denise LaSalle you can understand why. With the recent signing of Willie Clayton and Marvin Sease they're showing no signs of straying from that fertile Soul/Blues sound. If this release on Clayton is any indication Willie has found the right home for he reaches his full potential on "Gifted". The right songs. The right sound. The right performances. 13 tracks of modern Soul gold. The masterful Al Green-kissed "Going Crazy" from his last record ("Full Circle") was a portent of great things to come and "Gifted" is the fulfillment. Although he hasn't completely abandoned mainstream R & B (as evidenced by the sumptuous lead single "Boom Boom Boom") Clayton seems less concerned with connecting with the same audience that listens to a Pop artist like R. Kelly. Though quite listenable the Hip Hop pandering found in some of his his recent work is gone from this project. At it's heart "Gifted" is classic Southern Soul circa 1968 (ala Clarence Carter/Atlantic Records) albeit modernized (programming) for the present.
53. For all the fans and critics bemoaning Soul music's reliance on machines these days I present you with a pacifier. 100% organic, natural Deep Soul music (and original songs to boot!). We're talking Hammond organ, a horn section, rhythm section with a pulse and an authentic O.V. Wright-styled Soul shouter. Actually, Soul aficionados already know about Willie Walker & The Butanes. Their 2004 LP "Right Where I Belong" made waves on both sides of the Atlantic. Blues Critic Online placed it in the Top 10 Soul Blues CDs of said year. Well, nothing's changed as Willie, songwriter Curtis Obeda and the Butanes (John Lindberg, Virgil Nelson, Robb Stupka) are back with an equally gritty slab of raw, sweaty aural pleasure. It must be noted first that all 13 tunes are originals- so there's no godzillionth cover of "Respect Yourself" or "Mustang Sally" here- just some new relatives penned by Obeda. 54. 
James & Lucky Peterson
"If You Can't Fix It" (JSP 2004)
Father and son are in top form on this ripping album. Soulful, gritty and high energy on cuts like "Cripple Man", "Strange Things Happen Everyday", etc. James provides the soulful vocals and Lucky shows off his noted prowess on both guitar and keys.
55. At age 78 Mr. Napoleon Brown releases his Blind Pig Records debut, his first LP since his obscure 1997 New Moon disc "Who's Been Foolin' You", and it's an essential addition to his legacy, featuring some of the finest Blues musicians working today. Some of the notable names include Junior Watson, Bob Margolin, Jim Pugh, Sean Costello and John Nemeth. The full dozen cuts smoke, even the superfluous remakes of Nappy's two biggest numbers "Right Time" and "Don't Be Angry". I call them such being it's the fourth time he's committed them to record. Still, good versions. Better though are the new tracks like "Keep On Pleasing You", a big-bottomed shuffle with swinging licks by the Mighty Lester Horns, Mookie Brill on bass and a cocksure vocal from the Napster. Speaking of vocals you must experience the Deep Soul he exudes on the ballad "Give Me Your Love" (first cut for his little known "I'm A Wild Man" album). Nobody does it like this anymore! I got chills about 1:42 in when that icy B-3 made an appearance. Sold takes on Willie Dixon's "Who", Big Joe Turner's "Cherry Red" and Brown's own "Bye Bye Baby" and the Gospel "Take Care Of Me" are all perfect.
56. Terrific comeback album from one of the greatest Soul singers in history. The first cut, "You Got A Way With Love" is cut from the same cloth as "When A Man Loves A Woman" and "I'll Be Your Everything". Sledge's voice soars on the refrain. Other notables included the upbeat "Love Comes Knockin'", the yearning ballads "Why Did You Stop" and "These Ain't Raindrops" as well as excellent covers of "Dreams To Remember" and "First You Cry".
57. What separates a generic soul singer from a great soul singer is their ability to squeeze every bit of emotion you can from words. There's technique- singing from the gut (diaphragm), deep in the throat but there's also feeling that seems to pinch the vocal chords just a little tighter. Ronne Lovejoy could sell a song. He's a story teller and everything he sings sounds for real. The gorgeous title cut is a heart-tugging lament concerning an old time used to be. Anybody with a broken heart can relate. He sees her at the grocery store and she walks toward him and asks him, "Do I ever cross your mind?" Ronnie says: "Ah, not much just Monday through Sunday. I think about you all the time." Even more dramatic is the heartbreaking "Never Felt Like This Before", which lyrically reminds me of Percy Sledge's great "Take Time To Know Here". And if you can believe it- it's the same league! On the pleading "Take It Personal" he realizes what he had now that she's gone. This track features one of his best vocals and is a duet with Carol Bell who explains why she left him. But Ronnie still loves her...and turns out she still loves him too. Lovejoy wrote all 13 tracks on this wonderful album. Essential.
58. Much applause to the indomitable Ecko Records for this 106th cd release on the label. Ecko has some harsh critics in the mainstream Blues world for it's reliance on programming over the years but this loosely-titled "Nothin' But The Blues" manages to appeal to Southern Soul and 12-bar Blues fans alike. It opens with a ripping version of Gaines' signature song "24 Hours A Day". This is followed by the melodic slowie "Let's Call A Truce", containing one of Gaines' best vocals I've heard in years. Pity about Morris J's shrill background vocals though. Then we're back to some Downhome Blues ("Meat And Potatoes Man"). That's pretty much how it goes- a Blues number ("You Better Know Your Hole From Mine", "Cheat On Schedule") followed by a Soulful ballad ("Everything Sweet Reminds me Of You", "If I Could Do It All Over") and I'll grade them a B or better song wise on each (sans the blatant "Mississippi Boy"-ripoff "Good Old Country Boy"). There's real horns (arranged by Harrison Calloway) and a live rhythm section (no programs) yet John Ward still makes it sound like an Ecko LP. I'm talking the really good kind ala the first couple Bill Coday, Barbara Carr albums for the label. This translates to: Blues slobs won't complain and the chitlin' circuit will dig it as true Soul/Blues. Well done lads. 59 .
Buddy Ace "Don't Hurt No More" aka "Root Doctor" (Evejim 1988,1994)
The "silver fox" Ace was called. This is a great modern soul blues album with soon-to-be classic title track (LP title track was "Root Doctor") by Roy Hytower. Ace does two flawless soul covers in "Chokin' Kind" & "Pouring Water On A Drowning Man" showing his voice has aged well- with a Bobby "Blue" Bland rasp and Little Milton power. The highlight, however, is the aching "Don't Hurt No More". Ace only released two more LPs before passing. One of which was a tribute album to Bland entitled "From Me To You".
60. Who says you can't go home again? Soul legend William Bell made a name for himself via Stax Records from 1961-1974 with R&B hits like "You Don't Miss Your Water", "Everybody Love A Winner", "I Forgot To Be Your Lover", "Private Number" & "Loving On Borrowed Time". He also helped pen Albert King's timeless classic "Born Under A Bad Sign". While Bell enjoyed his biggest hit during a short stint on Mercury Records ("Tryin' To Love Two", a number 1 R&B smash and his only Top 40 Pop hit, #10) his most beloved work remains the Stax years. 32 years after he parted ways with the label he reunites with a terrific new album featuring that vintage Stax Records sound of horn-powered southern soul & funky rhythm & blues. "This Is Where I Live" is a ballad-heavy album. But "Poison In The Well" is a steady midtempo pounder with a swampy guitar line, the newly updated "Born On A Bad Sign" begins stripped down (hand claps, acoustic guitar) before riding a horn and organ wave on the way out. The title track is classic William Bell. One of those toe-tapping, head-bobbers with an irresistible refrain. Again, those glorious horns!
61. Former Stax co-owner Al Bell reached out for Watson when he started a new label, Bellmark, and launched Watson's short-lived comeback (Watson died in 1996). The title track is a pleasant shot of minimalistic Funk replete with Bluesy guitar licks. "Time Change" and "What's Up With You" are similar. "Never Too Late" and "It Takes 2" are more of his sweeping, Jazzy ballads. Watson doesn't get enough credit for his disparate vocal stylings and range. The album received a Grammy Award nomination and produced the minor hit singles "Hook Me Up" (#48 R&B) and "Bow Wow" (#89 R&B) 62. 
Arthur Adams
"Here To Make You
Feel Good" (Cleopatra 2019)
Touring as a member of singer Gene Allison's band, Adams found himself stranded in Dallas, where he dazzled the locals with his fancy fretwork. Relocating to L.A. in 1964, he began to do session work for jazz great Quincy Jones, and cut singles for the Bihari Brothers' Kent label and Hugh Masekela's Motown-distributed Chisa imprint. His late-'60s R&B sides for the latter were co-produced by Stewart Levine and featured support from most of the Crusaders. Adams' 1970 debut LP for Blue Thumb, "It's Private Tonight", was co-produced by Bonnie Raitt and Tommy Lipuma. Adams continued to record solo albums through the late '70s, but by the '80s he retreated from the forefront, only occasionally moonlighting as a session guitarist for various groups. In 1992, he wrote two songs for B.B. King's "There Is Always One More Time" album and 1999 saw Adams's first solo release in 20 years with "Back on Track", which featured King as a guest guitarist. From there he continued recording strong albums culiminating in his best effort to day, "here To Make You Feel Good". Sweet, soulful singing ("Sweet Spot", "Forgive Me") and propulsive grooves ("Tear This House Down Tonight", title cut) have become his style and this album delivers the gorgeous "Sweet Spot"
63. If they gave an award for "Best Album Title" this might have it. Even better- the music contained inside lives up to it. The last I heard from Gilmore was via two mid-90s Ichiban discs produced by William Bell. Both had their moments but were uneven overall. I remember thinking Gilmore could make a dynamite record and he's proved me right with "Ghosts". This potent, Soulful set is an inspired session of modern electric Blues with Soul. Opening with "Ghosts Of Mississippi", a brilliant piece written by Graham Wood Drout, with Gilmore and band hitting thick and muscular ala Albert King's "Born Under A Born Sign". Gilmore's pinched, slightly raspy voice and tart guitar licks get All Star support from Drout on bass, Cam Robb's skins and icy keyboards courtesy of Bob Abernathy. Drout provides two more above average cuts, including the the Rhumba-rhythmic "Blues All Over You" & the humorous "The Hawk" with Gilmore personifying a hawk. Another highlight is the moving ballad "All My Love" featuring some churchy organ and a emotive vocal by the big man. The weathered charm of Gilmore's voice reveals vulnerability and earnestness.
64. Lucky Peterson was born as Judge Kenneth Peterson; December 13, 1964 in Buffalo, New York. Peterson's father, bluesman James Peterson, owned a nightclub in Buffalo called The Governor's Inn. The club was a regular stop for fellow bluesmen such as Willie Dixon. Dixon saw a five-year-old Lucky Peterson performing at the club and Peterson "under his wing." In 1969 he recorded his first album, "Our Future: 5 Year Old Lucky Peterson". Viewed as a child prodigy, Peterson got to perform on "The Tonight Show", "The Ed Sullivan Show" and "What's My Line?" in 1971, singing "1-2-3-4", a cover version of "Please, Please, Please" by James Brown. The song reached #40 on the Billboard Hot R&B Songs chart. In 1984 the now 19 year old issued "Ridin'" on Isabel Records but "Double Dealin" from 2001 was where he hit a peak. Excellent songs and performances abound (the title track, "Sommoth Sailing", "When My Blood Runs Cold" and "3 Handed Woman" are especially notable).
65. The King did his best studio work in the 60s and 70s and struggled a bit in the 80s and most of the 90s with some contemporary at the time production choices (1983's "Blues N' Jazz" and 1991's "There Is Always One More Time" are his only essential LPs from that period) but scored a critical comeback with his back to basics "Blues On The Bayou" LP in 1998. But even better was 2000s "Makin' Love is Good For You". Like "Bayou" here's another cache of mostly excellent cover choices and a few King originals backed by a tight band of pickers and players with King displaying his singing and fiddlin' strengths. Some of the highlights are the steady rollin' "Makin' Love Is Good For You" and "I Got To leave This Woman" and A.C. Reed's humorous "I'm In The Wrong Business". It's darling to hear the "king of the Blues" sing tongue-in-cheek lyrics like ""Should have been a boxer/Makin' the movie "Rocky 3/I would be a star Like the wrestler Mr. T/Should've been like Michael Jackson/When I was the age of five/But chose this guitar/Now I'm broke and can't survive".
66. The title refers to Bonds' recording history. He gets popular seemingly every 20 years. He scored his first hit in 1960 with "New Orleans" (#6 Pop) and managed several others over the next couple years before falling off the charts. Well 21 years later Bonds was back on the charts with "This Little Girl" (#11 POP) thanks to Bruce Springsteen. Despite a strong follow up album that produced the hit "Out Of Work" (#26 Pop) Bonds wasn't able to keep the momentum. Here we are 20 odd years later and Bonds releases this album in hopes of another comeback. His hilarious duet with Phoebe Snow, "Bitch/Dumb Ass", is worth the price of admission alone. Yep about a dog and a donkey. Springsteen and Southside Johnny assist Bonds on the rocking "Can't Teach An Old Dog (New Tricks)" and Bonds shows how Soulful his voice is on a terrific take of Otis Redding's "Dreams To Remember". 67. 
Franklie Lee "Standing At The Crossroads"
(Blues Express 2006)
Lee's 1984 LP "The Ladies & The Babies" (and it's great title cut) is a minor classic of modern Soul/Blues despite the fact there's only been a handful of records since. The very same producer of the "Ladies" sessions, Dennis Walker, is back on board for "Standing At The Crossroads", quite simply a career best for Lee. In truth, this new one resembles Lee's first Blues Express disc "Here I Go Again" more than "Ladies"...only better! Sweaty electric Blues with a hurricane of Soul sung by a good ole' Blues shouter. Lee's a Gospel-inflected singer who intentionally strains his voice for effect, testifying as he does on slow burners like "That's What It's Doing To Me", "Prayer For Peace" & "Mary Don't You Weep". His impassioned performance on "Peace" is especially poignant considering he lost both a son and a daughter in the Iraq conflict prior to recording this disc. 68. 
Maurice Davis
"The Right Way"
(Sims 2005)
Right from the gorgeous country soul opener "I Woke Up" you feel the authenticity. A genuine organ, guitar, bass, drums band with luscious horns this cut sets the tone for on soulful experience. This is a perfect soul song- one of the best of the decade. This mood continues over the next cuts, "Her Memory Keeps Knocking" and "Letting Go", on the parallel roads that Southern Soul and country music travel. Davis already has some 4 records under his belt (his most recent being "A Fool For You" on Mardi Gras) but this one easily surpasses them all. While the first half consists of stately soul heaven (songs written by Tim Davis, Ricky Ryan, EW James & Billy Lawson), Maurice and band kick off their shoes for some sturdy blues shuffles (written mostly by Maurice) on the second half. "I've Been Had", "Trouble", I'm No Fool" all give Maurice a chance to do some cutting with his axe. There's even a darn good cover of the ubiquitous "I'm A Blues Man". I let out a sigh when I saw it listed...until I heard it and gladly make room for this version. The set then closes with two Davis originals- most notably the gritty slow blues "If I Had A Chance To Love You". 69. 
Travis "Moonchild" Haddix
"Winners Never
Quit" (Ichiban 1991)
Polished soul blues set once again shows off his great songwriting. The lovely "Winners Never Quit" needs to be covered by somebody. It's a hit song. Haddix' comical side comes to the fore on "Better Than Nothing" where he overhears his woman say he "ain't Billy Dee but he's better than nothing!" Hee hee. Ouch! The excellent, pure slow blues "Beggin' Business" has already been covered by Michael Burks and Artie "Blues Boy" White. Haddix' brand pop-funk-blues is here via "Something In The Milk Ain't Clean". The opener "Homeslice", which is hard to categorize, glides on a midtempo groove somewhere between funk & R & B.
70. "This Time For Real" is a worthy showcase for these two soulful gents consisting entirely of smart covers. I say "smart" because we aren't forced to hear the godzillianth version of "Mustang Sally" or "My Girl". In fact other than Sam & Dave's "You Got Me Hummin'", Clay's own "All Because Of Your Love (#44 R&B)" and The Spinners' "Love Don't Love Nobody" this 12 song set features deeper catalog songs I wager aren't terribly familiar. I myself assumed 4 or 5 were originals so whomever selected these numbers knows their music history better than I. I was unacquainted with but enchanted by Percy Wiggin's Country-fried "Book Of Memories" and the vulnerable "I'm Afraid Of Losing You" originally cut by Quiet Essence on Hi Records circa 1972. One of the most moving and faithfully arranged covers is Los Lobos' "Tears Of God". This deep lilting slowie is one case where the cover version completely eclipses the original. Price and Clay wrench your innards with dueling bittersweet, aching phrases on top of icy organ and under luxuriant horn fills. Gorgeous. And speaking of horns Mark Earley (saxes) and Doug Woolverton (trumpet) absolutely slay on the swinging "Somebody's Done Changed My Sweet Baby's Mind" and the Funky rhythm & blues stomper "Going To The Shack".
71. Lavelle's a "black widow spider (who) wants to weave you in my web" as she sings on the terrific "Black Widow Spider". "It Haven't Been Easy" is one of only three studio albums so far by the underrated Lavelle White. Born in Amite City, Louisiana she relocated to Houston, Texas, at the age of 15, and started to perform in that city's blues clubs with the guitarist Clarence Hollimon. Her break came when Johnny Copeland recommended her to Don Robey, the owner of the Duke and Peacock record labels. She was then billed as Miss La-Vell. White recorded fourteen tracks, releasing a number of singles for Duke, between 1958 and 1964. These included "If I Could Be with You" and "Stop These Teardrops". She toured the USA when her recording contract expired. Although not returning to te studio for many years she continued to perform, sharing stages with many musicians, including Bobby 'Blue' Bland, Sam Cooke, Otis Redding, Junior Parker, Aretha Franklin and Jerry Butler. Her debut album, "Miss Lavelle", was released in 1994 when White was 65. She has been nominated several times for a Blues Music Award and in 2006 was inducted into the Texas Music Hall of Fame. 72. First for Ecko is suited for "Shot" and features a big southern soul hit in "I'll Take The Risk". There's also ripping versions of his classics "I Like Your Style" & "Boogie Down On The Weekend". The set also contains what may be his finest moment, "Times Are Tough". The lyric: "Times are hard. Time are tough. Even Tarzan is mad about the world's situation. They stole his vine! His only means of transportation." Despite the humor there's an earnestness to the track that's truly Soulful.
73. In April of 1996, at the annual New Orleans Jazz and Heritage Festival, Shannon announced from the stage that he was giving up his job as a cab driver to play blues full-time. He didn't look back touring extensively around the U.S., Europe, and Canada. His debut LP, "A Cab Driver's Blues" received widespread acclaim. After two further albums ("2nd Blues Album" & "Spend Some Time With Me") Shannon hit his peak creatively with "Memphis In The Morning". Full of humor and his idiosyncratic Funky Blues with one toe dipped in New Orleans. Among the standouts are "S.U.V.". Lyrics: "Been seeing these new vehicles running round/Ain't got no trunk and/standing way up off the ground/Now i know they was made for climbing mountains/And driving in the snow/But everyone i see tryin to run over me/When i'm driving to the grocery store/I'm sick of these s.o.b.'s driving these s.u.v.'s/Trying to run over me when i'm in my beat up car". The song was picked "Song Of The Year" in the Living Blues Critics Poll of 2002. And it's just one of twelve well-conceived songs.
74. Quality songwriting boosted by a boiling, rhythmic bottom on song after song of Memphis Soul Blues bliss. After Shields played the King Biscuit Blues Festival in Helena, Arkansas in 1986, he was asked to record a single for the Rooster Blues label. This in turn led to his first album for Rooster Blues, "Portrait" released in 1993. The debut was rated one of the best Blues albums of the year by various publications. Shields then recorded and released two middling CDs ("Tired of Waiting" (1996) and "Blues Is On Fire" (1997)) for the London-based JSP Record label. This, his second Rooster Blues album, "Midnight Delight", was released in 2000 and is by far his best. Only two more albums have followed these past 17 years. Most recent is "Code Blue" in 2017.
75. Being accepted as a Soul and/or Blues singer with Soul despite being white is quite an achievement. Deal with it. It's fact. I would reckon Salgado and any Caucasian singer that aspires to tread on this holy ground knows it. Salgado does have the chops and "Soul Shot" is the best I've heard from him. Seven, thankfully obscure, covers and four originals on this rollicking album with plentiful horns and organ- a match made in heaven. Bobby Womack's "What You Gonna Do?" and the soaring "Let Me Make Love To You" are stone cold knockouts. 76. 
Donnie Ray
"Don't Stop My Party" (Ecko 2006)
Donnie Ray has arrived. He's had some hits in the past ("Let's Go Dancing", "I'll Be Good To You") but his albums were only flirting with greatness. On "Don't Stop My Party" he pops the question. 11 cuts of pure cream. Right from the drum intro of track 1 ("Is It Your Place Or Is It Mine?") all the way through the closer the quality is relentless! Ray, a decent record producer on his own, wisely gives the job to hit man John Ward who again provides that "big" sound Ecko is known for. Ray & his fellow songwriters must've had their Wheaties n' whiskey when composing these tunes. There's more hooks in here than Bill Dance's tackle box. "Is It Your Place", "Something 'Bout The Music", "Don't Stop My Party", "Back Up And Try It Again" (Curtis Steele, Daryl Wilson) & "Sexified" (Raymond Moore, Ward) may cause a booty-shakin' pandemic. Sometimes things just click in the studio. 77. 
Charlie Jones "The Ultimate Charlie Jones" (Ambush
2009)
Despite the title this isn't a "greatest hits" album but an all new collection of modern day Southern Soul. This is of the "deep" variety with none of those contemporary R&B/Hip Hop flourishes becoming increasingly popular. It's a damn shame Jones isn't more well known. It may be old fashioned but it's timeless. 78 .
Eddie Holloway
"Soul N' The Blues: The Greatest Hits" (Empire Musicwerks 2005)
Eddie's one of those cult artists that you'll hear and say to yourself: "why the heck haven't I heard of this guy?!?". With a rich voice on par with Joe Simon and Roy C (and add latter day James Carr), Holloway had released three soul & blues albums that hit on the street but didn't get enough press. This generous compilation could rectify that. I say "generous" because even though a total of 31 tracks appeared on the discs "I Had A Good Time", "Hollerin' N' Poppin" & "Shake N' Bump", there were only 26 actual songsreleased as several made more than one appearance. "The Greatest Hits" picks the sweet 16 from this bunch making it the definitive Holloway portrait thus far. A mix of down home Memphis soul wailers and percolating dancers. While not all cuts are Grade A material ("Slippin' On My Love" is generic programmed filler) his best known singles, "I Had A Good Time", "Pop That Koochie" and "Shake N' Bump" are all here as are terrific covers of "When Something Is Wrong With My Baby", "Chokin' Kind", "Nine Pound Steel", "I Found A Love" & "If Loving You is Wrong (I Don't Want To Be Right)". Being that Holloway's discs are either out of print or difficult to find this collection and it's bargain price is essential. Roy C fans should definitely grab this now. 79.  Chick Willis
"I Won't Give Up" (Deep South Sounds 2002)
Producer Johnny Rawls backs Chick with that distinctive rhythmic pulse and horn foundation he's known for- heavy on the bass- aiming to shake the hips. Rawls also provides 6 of the ten cuts here like the driving "Won't Give Up" & southern soul roll of "Got To Find A Cure". But Chick himself provides the album's centerpiece with the lovely "Hattie", which has a heart-tugging surprise ending.
80.
81. This is one of the best modern "Southern Soul" albums of the decade. Mostly due to Memphis-born Booker Brown's roaring, Soul shoutin' voice that invokes comparisons to Wilson Pickett! I kid you not this guy has a classic Soul voice- emotive, raspy and well, full of "passion of love". Sure live horns and real players is always preferred (the guitar licks are organic) but as far as "synthetic" production goes this is superb- a big bottom sound produced by Percy T Friends and the ubiquitous Morris J. Williams. Percolating, vibrant- at times scorching- Southern Soul dancers like "Backyard Party", "Passion Of Love" (in two versions), "Cuchie Cuchie" & "I Need Your Love" are all knockouts. On the slow Deep Soul tip Brown sinks his teeth into Quinn Golden's "Still Lonely" and the gospelish "Same Thang" with an impressive duet turn by Linda Govan. 82. If Sam Cooke were alive today perhaps he would make an album like this. Omarr has the voice and learned the phrasing of the late Soul titan (he often puts on a dynamic tribute show). "The Greatest Song", however, contains original songs inspired by Cooke-written mostly by Carl Marshall. Real instruments were used on this album. Showing the versatility of the Southern Soul market the swinging "Everybody's Dancin'" became a bit of a hit, charting on the SBR Top 25. Omarr is especially wonderful on ballads evidenced by the title cut, "Give Me Your Love", "Still My Love Grows" and the Bobby Conerly-conceived "Everybody Needs Somebody Sometime".
83. He was born with sight but developed glaucoma at age of three. By the time his vision was completely gone, he was fluent on six instruments, including the guitar. Born in Hertford, North Carolina, he moved to Westbury, Long Island at age sixteen. In 1961, Buster composed his first original song "Looking For a Home" while living in Glen Cove. Al Kooper covered "Looking For A Home" on his 1970 album "Kooper Session", released on Columbia Records. In 1995, Buster recorded his Bullseye release, "Right On Time". This release brought him a W.C. Handy Award (now "Blues Music Awards") nomination, and a runner-up award for Living Blues magazine's Critics' Award. Buster's voice is a Soulful marvel on this LP.
84. Hands down his best LP for Malaco Records features everything you want from a Malaco album. Soulful singer. Check. Horns. Check. Great songs. Check. "Country Woman" is Soul blues perfection. "I'm An Old Dog" is the best down home blues effort since ZZ Hill.
85. He's done it again. It took him five years but this makes three homers in a row. He has a very distinctive sound that could potentially run out of new variations or "songs" if you like so it's to his credit it still sounds fresh and invigorating. Hunter's career dates back to 1986 as leader to a group with one of the worst band names I've heard, "Howlin' Wilf & The Vee-Jays". Hunter was paying his dues in small clubs when he grabbed the attention of Van Morrison who asked him to sing on his 1994 live album "A Night In San Francisco" and then the studio album, "Days Like This". In return Morrison lent his voice to two tracks on Hunter's (he started using his own name at this point) 1996 LP "...Believe What I Say". In 2006 word of mouth crossed the pond and made his mark in the U.S. with "People Gonna Talk", which was nominated for a Grammy. His 2008 album "The Hard Way" was #7 on our Top 10 Retro-Soul/Soul-Blues Albums For that year. "Minute By Minute" sounds exactly like the logical successor.
86. Born on December 21, 1943, Washington was born and raised in New Orleans. In 1962, the 19-year-old Washington landed his first major gig, playing guitar with New Orleans soul legend Lee Dorsey. He spent two years in Dorsey's road band, and in the mid-'60s, he began playing with a local combo called the All Fools Band. He also spent time backing soul diva Irma Thomas and gigging with David Lastie's Taste of New Orleans Band. Near the end of the '60s, Washington started playing alongside another noted New Orleans R&B singer, the great Johnny Adams; the two proved to be a solid match, and Washington worked with Adams on-stage and in the studio for 20 years. Washington cut his first solo album, "Rainin' in My Life", for the small New Orleans label Hep Me Records but his greatest project came courtesy of Rounder Records, who released 1986's "Wolf Tracks". "On The Prowl" features the best cuts he recorded for Bullseye Bues including the creeping "I'm Tiptoeing Through", gliding "It Was Fun While While It Lasted" and stomping "You Got Me Worried". There's a decent cover of Tyrone Davis' "Can I Change My Mind?" but vocally Washington reminds one of the great Ray Charles.
87. The title track is a classic pop/ soul song- an upbeat jam with a Marvin Gaye-like vocal. The sheer quality of these 11 songs is special- slow soul wailers like "Old Feeling" & "Last One" and toe-tapping, head-bobbing ear candy like "Trouble Maker", "Dirty Lover" & "Home Recka"- this truly is a "lost" retro-soul classic. Hopefully, some label will re-release this. The album was produced by Marshall Jones. 88. 
Quinn Golden "A Little Sumpin Sumpin" (Ecko 2001)
This is terrific Contemporary Southern Soul music with a big sound, countless hooks and soulful singing. It's called "southern" because it's root is Memphis where some of the most brilliant soul music was created. The appeal of this "Southern Soul" is universal, however. "Sumpin' Sumpin'" is a prime example of what that sound has become. Though the subject matter can be iffy there's no denying this is pure ear candy. At least there's the sweet n' faithful "You're Every Woman" to balance the infidelity theme. The title cut is simply one of Quinn's very best and "I'm Gonna Be A Man About" is an answer song to Ronnie Lovejoy's classic "Sho Wasn't Me". Quinn got nabbed cheating and he ain't going to say "Sho' wasn't me". Why? Because she has the "goods" on him and he's "gonna be a man about it" and admit to it. Perhaps the opener "I Was Cheating On You" could serve as that confession. Once again John Ward wrote or co-wrote, produced and sequenced the cuts here.
89. A good ole classic soul album from Mississippi's Sam Cooke, Eddie Leon. Actually Leon's voice is smoother but he certainly has some of those Cooke inflections to his voice, especially on "I'll Come Running Back To You". "Let Me Back In Your Arms" is a dynamite maiden cut of the nine here. A groovin' shuffle bumper with sweet female backups and an impassioned vocal from our man Eddie. The arrangements made me think of Harrison Calloway and a quick perusal of the liners confirmed my suspicion (along with Freddie Young). Nearly as good is "Kiss And Tell", with a refrain dripping with Memphis molasses, and Frank Hutch's "Love Power". Ace songwriter Tommy Tate penned the five other tracks here (two with Cookie Palmer, one with Calloway) like the gorgeous "Just A Woman's Way", previously done by the late Johnnie Taylor. Eddie cut his teeth opening for Taylor, in addition to the likes of B.B. King, Tyrone Davis, The Temptations and Lenny Williams. The mellifluous "Nothing Without Your Love" and "She's Out Of Sight" are also worthy of mention. Personally I'd like to hear Eddie funk it up just a notch next time around as "Let Me In Your Arms Again" is almost too smooth but that's just a matter of taste. This is only his second record but Leon sounds like he's been around for years and may there be many more to come.
90. Roy-C has been fiercely independent and defiant ever since he first appeared on the radar. His career stretches back to 1958 where as a member of the Genies he scored a minor hit single with "Who's That Knocking" (#72 Pop). His first triumph under his own stage name came courtesy of "Shotgun Wedding", which stormed the U.K. Top 10 (#6) and was a Top 20 R&B (#14) hit stateside. Later Roy recorded three albums for Mercury including "Sex & Soul" before getting fed up with labels and going independent with his own Three Gems imprint commencing in 1984. It was in 1989 when Roy recorded this modern Soul classic. The record contains the 8 minute epic "Saved By The Bell (Infidelity, Georgia"), a humorous and at times absurd tale of adultery. 91. 
Various Artists
"Evejim's Collector's Edition Vol 1" (Evejim
1996)
Fabulous modern soul released on Leon Haywood's Evejim label features the great "The Streets Will Love You To Death" by Clay Hammond (also "License To Steal") and choice tracks from Little Joe Blue ("Dirty Work", "Big Leg Woman"), Buddy Ace ("Root Doctor", "I Kicked The Habit") and Jimmy McCracklin ("Games Too Strong", "Aw Shucks"), 92. A full ten years since his last album and we see Hammond's feathery, aching voice has aged well as evidenced on this contemporary soul disc. The opener, "I Kissed Her Gone", is a lovely, melancholy slowie. From there Hammond croons through a mix of original ballads and up-tempo tunes like the slinky, bluesy feel on "Wife Woman And Hoochie" and the stripped down, old school feel on "I Don't Believe", a wonderful ballad. "Wife, Woman & Hoochie" has a clever twist. Just when you are rolling your eyes thinking Clay needs three women to keep him satisfied he tells you all three are one woman. Songs about fidelity are an all too rare and pleasant find in the genre. 93. Prior to Razor & Tie's release of the fabulous tribute album, "Adios Amigo: A Tribute to Arthur Alexander" (which featured a diverse set of artists like Elvis Costello, Robert Plant, Corey Glover and Zucherro (!), the label released this excellent set of new versions of some of Alexander's hits and new songs. There's no "Anna (Go To Him)" (#10 R&B Billboard) or "You Better Move On" (#24 Pop Billboard) but some of the great ones are here from the title track, to "Everyday I Have To Cry" to "In The Middle Of It All". More important there's new songs co-written with Donnie Fritts like "If It's Really Got To Be This Way" and "All The Time". As always Alexander's voice is warm and smooth. 94. 14 strong original jams comprise the debut CD for Black & Tan Records by Delta-based Blues dynamo Billy Jones. Equal parts Soul-drenched R & B, Funk and Mississippi Blues the immodestly-titled "Tha Bluez" is one of the biggest surprises of the year for me. I was familiar with Jones' merely fair (and often synthesized) independent release "Suspect For The Blues" so I wasn't expecting such a great sounding album. "Tha Bluez" has the same pent up hunger and youthful vigor that pub rocker Graham Parker had when he released his classic 1976 album "Howlin' Wind". Years of angst, sweat and tears encapsulated in a set of songs that felt like an instant "greatest hits" by an unknown artist. Parker may seem a strange reference but the way Parker brought his white hot blue-eyed R & B to the Rock world is how this Billy Jones disc enters the Blues world today (despite being 52!). It's not a new art form but a fresh amalgam of popular styles. Listen how he meshes an Eric Clapton-esque guitar lick into a sexy, falsetto-sweetened Soul song like "Come Back Tonight" or the thumping bass n' drum backbone of "I Like It Like That", followed by ominous piano, in what's a brilliant piece of minimalist Funk, then back around to the Staxy Soul Blues piledriver "Da' Cemetary Bluez" where he squeezes out some (Albert) King-sized guitar lines. 95. McMullen returns with another set of Soul Blues grit, UAC (Urban Adult Contemporary) R & B and a bit of Sam Cooke shag. From the opening kick of the Memphis mover "Midnight Rendezvous" you know you're getting what you want from this project. It's also a rather programmable number not surprisingly pitched as a single. "Don't You Wanna Party" is a Funky bit of piano-lead Funk that made me check the credits for the Producer. Some cat named Jimmy Underwood. Jimmy knows how to produced McMullen. He also wrote or co-wrote nine of the ten cuts. "We Belong Together" is a stunning Deep Soul ballad that makes us critics swoon. McMullen testifies mightily. The title track is what I would imagine Sam Cooke would sound like if alive today. While the slow marching "After This Night Is Gone" is what I wish Bobby "Blue" Bland still sounded like today. Great horn horn arrangement (uncredited). The airy sound is either an intentional throwback or perhaps an indicator this is some obscure session that's just now seeing the light of day. Whatever the case I'm glad it's here. And you will be too. 96. Dynamite modern soul blues album features improved versions of his hits "Trapped" & "17 Days Of Loving", plus new gems like the smooth title track, "I'm Gonna Tell My Wife (And My Woman Too)", a sequel to "Trapped". The production is immaculate this time with real musicians and plenty of horn-laden southern soul like George Jackson's "Bucket Of Blood" & anatomically correct "Double D". It's to Sim's credit that he can take a classic like Johnnie Taylor & ZZ Hill's "Mr. Nobody is Somebody Now" and do it justice. 97. Three big southern soul hits this time, especially his definitive take on Ronnie Lovejoy's "Sho' Wasn't Me". Other keepers are the somewhat lecherous (older guy young girl) "Sugar Daddy" and sensual "Kiss You (Where I Miss You)". The plastic production is weak on Sly & The Family Stone's "Family Affair", however. Just as before Tyrone's timeless voice makes it all worthwhile. 98. Blake's second outing for Valley Vue is even stronger. Again he covers all the bases in the soul/blues realm. Good straight-up blues ("Laundromat Blues", "As The Years Go Passing By" & "High Steppin' Mama"), strong soulful slowies ("Don't Wanna Blow My Chance With You" & "Just One Of Those Things"), midtempo Memphis soul ("I'm Into Something", "Girl I'm In Love With You" & "Caught In The Wrong Again") & funky blues ("Low Down Dirty Blues"). Six songs came from the prolific pen of Bob Jones. 99. Hayes has straddled the lines between Blues, Soul, Jazz and later Southern Soul throughout her career. She is one of precious few artists that have been able to make a mark in mainstream Blues as well as the Southern Soul markets. Hayes was born in Mississippi but relocated to Missouri after marrying St. Louis Radio Hall Of Famer Bernie Hayes, who started his independent record label Mission Park in order to issue Uvee's recordings. Uvee's first LP was released in 1984. The 7-track album was entitled "I.C.U.U.V." and introduced the world to a smooth, sometimes sultry singer with a unique, identifiable timbre. In 2009 Uvee signed with the fledgling CDS Records label, which issued a 17 collection (yet again) of both new and previously-released tracks. The label chose her duet with Otis Clay, a cover of Johnnie Taylor's "Play Something Pretty" (also the album's name), as the first single but it was the follow up, "Maintenance Man", that put Uvee on the map in Southern Soul. Boosted by WDIA out of Memphis in late 2010 the song has gone on to receive extensive and consistent airplay
100. Being that most of Rush's La Jam records were hit-and-miss affairs, a compilation of the very best tracks is a welcomed endeavor. Still, the track selection isn't perfect as several mediocre tracks ("Bertha Jean", "Shakey Ground") appear in place of superior efforts ("Hurry Home", "Bad Mother For Ya"). Still you do get the cream of the crop like "Sue", "Wearing It Out", "Be Still", "A Man Can Give It", "Buttermilk Kid" all on one album. Buy this along with "Sue" and you got almost all you need from this period of his career. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------- ***BACK TO ALBUMS 1-50 HERE OR....See The Top 50 Southern Soul, Rhythm & Blues Albums HERE (C) Blues Critic LLC 2023. All written material found on this website is the property of Blues Critic and may only be used with permission and full accreditation (either "Blues Critic" or "Dylann DeAnna of Blues Critic") given plus a link to this website. |
Mighty Sam Mcclain "Give It Up To Love" (Audioquest 1992)
Willie Walker & The Butanes "Memphisapolis"
(Haute 2006)
Nappy Brown "Long Time Coming" (Blind Pig 2007)
Percy Sledge "Blue Night" (Pointblank 1994)
Ronnie Lovejoy
"Think About You All The Time" (Ace
1996)
Earl Gaines
"Nothin' But The Blues" (Ecko 2008)
William Bell
"This Is Where I Live" (Stax 2016)
Johnny "Guitar" Watson "Bow Wow" (Bellmark 1994)
Joey Gilmore
"When The Gods Of Africa
Meets The Ghosts Of Mississippi" (Bluzpik 2006)
Lucky Peterson "Double Dealin'" (Blue Thumb 2001)
B.B. King "Makin'
Love Is Good for You"
(MCA 2000)
Gary 'U.S.' Bonds "Back In 20" (MC 2005)
Lavelle White "It Haven't Been Easy"
(Discovery 1996)
Lee Shot Williams
"Hot Shot" (Ecko 1996)
Mem Shannon
"Memphis In The Morning" (Shanachie 2001)
Lonnie Shields
"Midnight Delight" (Rooster Blues 2000)
Curtis Salgado "Soul Shot" (Alligator 2012) 
Johnny Jones & Charles Walker "In
The House" (Crosscut 2001)
Booker Brown "Passion
Of Love" (East West 2004)
Vel Omarr
Little Buster & The Soul Brothers "Right On Time" (Bullseye Blues 1995)
Latimore "You're Welcome To Ride" (Malaco 2000)
The James Hunter Six "Minute By Minute" (Daptone/Fantasy
2013)
Walter
"Wolfman" Washington
"On The Prowl" (Bullseye Blues & Jazz 2000)
David Brinston
"Hit And Run" (Jomar 1996)
Eddie Leon "Let Me In Your Arms Again" (Leon 2002)
Roy C "Rock Me All Night" (Three Gems 1989)
Clay
Hammond
"I Kissed Her Gone" (Evejim 2003) 
Arthur Alexander "Lonely Just Like Me" (Razor & Tie 1993)
Bill
Jones "Tha'
Bluez" (Black And Tan 2006) 
Leon McMullen "Can I Take You Out Tonight?" (Sound Mindz 2008)
Carl Sims "M & M Man"
(Waldoxy 2001)
Tyrone Davis
"Relaxin' With Tyrone" (Malaco 2000)
Cicero Blake "Just One Of Those Things" (Valley Vue 1993)
Uve Hayes
"Play Something Pretty" (CDS 2009) 
Bobby Rush "The Best Of" (La Jam 1999)