blues
blues
        
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50 ESSENTIAL SOUL BLUES ALBUMS 1980-2024 (as of 11/6/2025) What is "Soul Blues"? Soul blues is a style of blues music developed in the late 1960s and early 1970s that combines elements of Soul music, R&B and Traditional Blues. This stylistic gumbo distinguishes itself from Traditional Blues (or "Contemporary Blues"), Blues Rock , Classic or "Retro" Soul music, Hip Hop and modern Southern Soul. According to allmusic.com "Artists who wanted to move stylistically beyond the three-chord confines of conventional blues forms found the rhythm & blues strain of the 1950s and the southern soul style of the mid-'60s far more to their creative liking. Soul-blues combines the best elements of the two and blends that with the standard blues band instrumentation -- sometimes augmented with an R&B-styled horn section". That's a pretty good summation. Naturally there are grey areas and judgment calls and perhaps there are some on this list. Think terms like "Soulful Blues" and "Soulful R&B". What is the difference between Southern Soul and Soul Blues? It can be murky, right? I think why I have/had been stuck on the term Soul Blues is because before I had come across the world of "Southern Soul" I was guided by the mainstream categorization "Soul Blues", which was something different from traditional 12-bar Blues. Soul Blues was used to describe music that combined Soul music with a 12 bar Blues pattern. A shuffle with a bump style. The Stax Records sound had so much to do with it. But Stax Records music is almost always called simply Soul music. It's all Rhythm & Blues and since Soul or Blues isn't limited to any region the amalgam Soul Blues does seem to fit. The term "Soul Blues" is, again, an all encompassing term. It's less specific. Some might say Southern Soul is too specific as it's describing Soul originated in the Southern USA. It pretty much did, right? And R&B is now clearly something different from Blues. You won't find Buddy Guy on today's R&B chart. It's either or both the Blues chart or simply the non-genre specific Billboard Top 200 Albums. The
Southern USA is the birthplace of Soul music and Blues for that matter. But when
you hear a traditional guitar-based Blues song nowadays most would just call it
the Blues But if you add horns to the mix it seems to also fit the Soul Blues
umbrella. Horns seem to be the key here. ***ONLY ONE PER ARTIST. **REFRESH THIS PAGE IN YOUR INTERNET BROWSER TO GET LATEST UPDATES** | |
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1.
Willie Dixon may have claimed it first but these days Mighty Mo Rodgers is the Blues. Perhaps nobody digs as deep into the art form to elucidate what it means for Black Americans and all humanity in general. Prior to this album Rodgers attended Cal State Northridge where he earned a degree in philosophy while simultaneously working as a staff songwriter for Chappell Publishing and Motown. He completed a Masters degree in Humanities with the thesis, "Blues as Metaphysical Music (Its Musicality and Ontological Underpinnings)". Mo Rodgers then made one of the most outstanding Blues albums since the pre-Disco years. That LP, "Blues Is My Wailin' Wall", was in many ways a soundtrack to an unmade documentary called "The History Of The Blues" or perhaps the movie version of his thesis. Case in point is the Spartan "Took Away The Drum" that explains how the Blues was born. Slave owners took away drums from slaves in the field who then began singing the Blues- the true meaning of feeling blues. And that's only the beginning. The poignant messaging doesn't detract from the fact it's a masterfully tuneful album with lean, mean midtempo Soul Blues ("Heaven's Got The Blues", "The Kennedy Song"), Deep Soul ("(Bring Back) Sweet Soul Music" and "Willie B. & Me") and much more. Masterpiece.
2.
The equivalent of a grand slam for Cray and modern blues as a genre.
This crossover blues masterpiece stormed the pop charts and went on
to sell in excess of two million copies- a rare feet in the 1980s.
The top 40 smash "Smoking Gun" was just one of many unforgettable
cuts. "Right Next Door (Because Of Me)" is a vivid blues about Cray
overhearing his neighbors fight over who the woman was cheating
with. Can you guess who?: "She was right next door and I'm such a
strong persuader/She was just another notch on my guitar/She's gonna
lose the man that really loves her/In the silence I can hear them
breaking hearts." The Memphis Horns add sugar to the funky groover "Ain't
Nothin' But A Woman", which contains another great lyric: "You can
give me an hour alone in a bank/Tell me a boat of lawyers just
sank/But it ain't nothin' but a woman" that keeps "young Bob" happy.
"I Guessed I Showed Her" is another highlight in an album packed
with them.
3. Blessed with some of the most gritty, potent vocal talent known to man Pickett entered the studio for only the second time since 1981 (A tepid, pop-slanted "American Soul Man" was released in 1987) with Jon Tiven and they bashed out a Soul Blues/Retro-Soul masterpiece. I should also add "underrated" as some top publications give rather Earthbound reviews of an ethereal LP.
4. Produced by the legendary Willie Mitchell with keyboardist and label mogul Ron Levy, Shannon delivers a masterpiece of Memphis Soul & Blues. Featuring members of the legendary Hi Records house band and recorded at Mitchell's Memphis studio, the album kicks off with two stunning mid-tempo Memphis soul burners co-authored by Mitchell: ("'Round Midnight" & "Baby I Will"), followed by a gritty blues called "Size 12 Shoes" A superior take on Leon Haywood's "The Streets Will Love You To Death" & the slow, sexually-charged blues "The Clock", plus juke joint blues "Honky Tonk" push this gem into the stratosphere. 5.
The best deep Southern Soul albums of the 90s until today. Johnny Rawls & L.C. Luckett had been playing together for years backing artists like O.V. Wright, Z.Z. Hill, Little Johnny Taylor, Blues Boy Willie, Latimore & more before they finally recorded a proper album together in 1994. The result? A masterpiece of retro-soul. The title track is unforgettable with it's insistent hook and pleading vocals. The O.V. Wright classic "I Don't Do Windows" sounds like a lost Sam & Dave hit with Johnny & L.C. serving up some gutsy singing. The track that seems to get the most praise is the southern soul-styled "Can We Talk It Over". Another gem is "Be Fair With People" (and everything will go your way). Track after track the cd delivers soulful singing, rich horns with a touch of blues and that says a lot since there's 14 tracks. It hold up a to z. Check out the O.V. Wright tribute at track number 14: "I'd Rather Be Blind, Crippled & Crazy/Ace Of Spades" medley. Anyone that enjoys deep soul/blues NEEDS this CD.
6.
Ellis Hooks was in New York in 1995 when he met producer Jon Tiven. Hooks accompanied another singer to an audition at Tiven's studio. Tiven didn't care for that singer but coaxed Hooks himself to audition. The result? Well it took a minute (seven years) but yonder came a marvelous debut of caustic Soul Blues and Soul by an old school-style singer- with rasp and sheer power that frightens these catchy melodies into submission. Being familiar with Hooks' career since this LP it seems probable that these songs are the result of years worth of writing (in the same way Graham Parker & The Rumour's perfect first album, "Howlin' Wind" seemed like a instant "greatest hits" album) leading up to this moment just for the sheer quality of them and what a hard act to follow this album became for Hooks. Songs like "Burnt By The Flame Of Love", "Gypsy Head", "Something For Everyone" and "Blaze Up This Town" are sizzling- all 13 cuts are even to this day riveting, fresh and among his very best. I can't help but (try) sing-a-long when I listen to this one. CATCHY. 7.
Robert Ward was a co-founder of the Ohio Untouchables, the band that later would become the Ohio Players. As the Untouchables he cut several singles and he and the band also were sidemen on Wilson Pickett & The Falcons sides before a long hiatus from the spotlight. His debut for Black Top in 1990 drew rave reviews. Ward updates a few of his 60s nuggets like "Strictly Reserved For You" and "Your Love Is Amazing" and writes a new cache of tunes for his remarkable comeback. 8. In the 1970s she racked up an impressive string of hits ("Trapped By A Thing Called Love" (#13 Pop/#1 R&B), "Now Run And Tell That" (#46 Pop/#3 R&B), "Man Sized Job" (#55 Pop/#4 R&B), "Love Me Right" (#80 Pop/#10 R&B), "Married, But Not To Each Other" (#16 R&B) & "What It Takes To Get A Good Woman" (#31 R&B). In the 1980s she settled into her Soul Blues shoes and was A-List all the way up 'til her death in January of 2018. "A Lady In The Street" (#23 R&B) was her first LP for Malaco and here LaSalle identifies herself as what many would consider an ideal woman: "I can be a lady in the streets/Freaky in the bedroom". Elsewhere she outdoes Anita Ward with "This Bell Was Made For Ringing", warns "Don't Mess With My Man" and covers Z.Z. Hill ("Down Home Blues").
9. Producer Fred James had asked: "How do you feel about making a deep soul album Charles, you know, songs with passion and fire and with a feel of the classic era when the sounds of Memphis and Muscles Shoals ruled". Mr. Charles Walker agreed and that is exactly what they did! This is deep southern soul & Blues with organ, horns, gutsy singing- the works; transporting you back to the days of Otis Redding, Sam & Dave, Percy Sledge and even James Carr in their prime. No that's not hyperbole. What is most surprising about the sure quality and classic sound of the music is that the majority of the album is original- from the heartbreaking title track, to the chugging blues of "One's Man's Poison" to horn-fueled "Love & Tenderness". There are a few great covers (Elvis Costello's "Allison", Percy Sledge's "It Tears Me Up"), but it's all Charles Walker. Who says they don't make'em like they used to?
10. One of Ron Levy's gifts to this world came by means of his Bullseye Blues label. It was/is Tutu Jones, a quick-triggered guitar stringer and explosive Soul Blues singer. Well, actually, Jones' first album was with JSP ("I'm For Real") but Bullseye gave him his highest profile. He recorded two fabulous albums for them and then when it should have been time for Jones to rise to the next level the label folded and Jones was inexplicably not picked up by another label. It would take 11 years for another Tutu Jones album (a mediocre "Live" album appeared briefly in 2005) and it is a corker! Released on Jones' own label "Inside Out" features ripping, rhythmic Blues and sweet Soul rollers drenched in horns filled in by icy guitar licks. "I Can Write A Book About You" is gloriously epic.
11. Burke gets the Joe Henry vintage-Soul treatment here and the results win a Grammy Award. Henry's sparse Burke-centric production emphasizes the best of of Burke's voice who delivers a performance a stellar on each cut, from the deep soul of "Don't Give Up on Me" and the blues-based swagger of Bob Dylan's "Stepchild" to the dramatic "The Judgement" (written by Elvis Costello) His voice is in superb shape, too, sounding no less powerful at age 66 than he did in his glory days, only with even more nuance than ever. Other key songs include Nick Lowe's "The Other Side Of The Coin" and Van Morrison's "Fast Train".
12. Though she's always soulful Koko Taylor is not normally categorized as Soul Blues since her milieu is usually classic Chicago-styled Blues shuffles, lumps and smoldering slow Blues but "From The Heart Of A Woman" has more to offer like her otherworldly great version of "I Wish I Were Blind". Best vocal she ever recorded. "If You Got A Heartache" is swinging 60s Soul ala Sam Cooke and she covers the stomping Little Milton hit "If Walls Could Talk".
13. Malaco Records is the new home for Little Milton and he starts off with one of the best of his career. "The Blues is Alright" is here in easily the best version on record- it is juke joint heaven. More upbeat soul blues goodies ("The Only Thing That Saved Me", "Comeback Kind Of Loving"), straight blues ("I'll Catch You On Your Way Back Down"), expertly sung ballads ("Misty Blue" & "Goodnight My Love") and there's even a tasty 70s-ish disco song called "Don't You Know"! This set kept the soul blues momentum started by Z.Z. Hill alive. Hill started a soul blues revival in 1980 with "Down Home Blues" for Malaco but died in 1984- the same year they signed Milton. Interestingly, the song "Fishing In The Right Stream" is nearly identical to Hill's "Shade Tree Mechanic". But Milton's talents far exceed those of Mr. Hill.
14. The legendary Hi Rhythm Section of the '70s joins Johnson on his comeback album "Back In The Game". Joined by drummer Howard "Bulldog" Grimes and the Hodges brothers (guitarist Mabon, bassist Leroy, and organist/pianist Charles). Johnson delivers ace covers of his own classic material and new composition on one of the strongest albums of his career. "Dipped in the Water" features his daughter Syleena Thompson
15. This is a 15-track compilation of material he recorded for Rounder Records 1984-1998 and it could be considered a "best of" package. That's not to say this is the best of that period as the tracklist was careful to include at least one track from each of the 11 albums Adams cut for the label and that leaves some great ones out ("She's Everything To Me", "The Real Me", etc..). What it does include is a cross-section of Johnny's various styles. You have blues ("One Foot In The Blues"), deep soul ("Even Now"), jazz ("Walking On A Tight Rope"), standards ("But Not For Me"), cabaret ("A Lot Of Livin' To Do"), pop ("Lover's Will"), even gospel ("Never Alone" with Aaron Neville). Plus there's a few tracks not on any of his albums- "I Don't Know" with Ruth Brown, "I'll Only Miss Her When I Think Of Her" with Alvin "Red" Tyler" and the unreleased Doc Pomus/Dr. John song "Happy Hard Times". 16. Sublime. Magnificent. Dazzling. (add superlative here). A few words to describe Bobby Wayne's supremely soulful "Hit That Thing!". A friend of mine and fellow critic told me to get a copy of this disc all the while praising it with nearly blithe drool and I'm now quite grateful (we Deep Soul/Blues geeks are a verbose bunch when we find a diamond). 100% organic backing. Tasteful female backups, organ, majestic horns, flawless rhythm and gritty vocals on 13 great tunes equals buy-it-now-or-forfeit-your-soul. 17. With a raspy alto exploding with emotion Bettye LaVette must have "buzzard luck" for her not to be better known. Of course that could change with this potent stew of sandpaper R & B, folk, soul & gospelish blues. Be forewarned this isn't saccharine sweet soul music replete with horns and an unremitting groove. In fact at times it's jarring and cacophonous but never boring. The material is drawn from an eclectic assortment of female singers but Lavette turns each track into her own. A torchy acapella version of Sinead O'Connor's "I Do Not Want What I Haven't Got" kicks things off before giving way to a jagged rendition of Lucina Williams' "Joy". Producer Joe Henry was behind Solomon Burke's dramatic comeback album "Don't Give Up On Me". Spare, dusky and traveling on a gravel road Henry's production is sympathetic and unobtrusive. LaVette's the centerpiece rather than studio wizardry. She can migrate from a gritty, manic number like "Joy" onto a delicate piano ballad like "Down To Zero" (written by iconoclast Joan Armatrading) and "The High Road" with ease. Henry strips away the chamber-pop pretensions of the unctuous Fiona Apple's "Sleep To Dream" down to a bluesy root and brings out the R & B in Aimee Mann's literate pop/rock confection "How Am I Different?".
18. One of King's better studio efforts has strong material like Robert Cray's "Phone Booth", Elmore James' classics "Dust My Broom" and "The Sky Is Crying" and Sir Mack Rice's "Firing Line". King's band is tight and Albert is in top form on this outing ripping vintage guitar fills and showing off that soulful, husky blues voice. Some might find the production a tad antiseptic but King still sounds tough.
19. It's Tad Robinson and Severn Records, what could go wrong? Nothing does as this is yet another richly created set of Soul and Blues we've come to expect. Robinson's yearning, elastic vocals are in full force and supported by some excellent songs. My pick is "Sunday Morning Woman" written by Robinson, Steve Gomes and Keven Anker. Gorgeous horns and slippery organ that shows opposites do attract or more accurately a good woman carries the weight neglected by a "Saturday night man". What a song and what a vocal performance. "Rained All Night" ain't far behind.
20. New Orleans native Bridges' professional career began in earnest when he briefly joined The Mighty Clouds Of Joy. It was short lived as he moved to Houston and became a police officer before going on the road with Big Joe Turner's Memphis Blues Caravan in the 90s. He then formed his own band and released his first album in 1998 ("Born To Be Blue") and has been recording ever since. "Rock And A Hard Place" contains both rollicking Texas-styled boogie, jump and more importantly horn-backed Memphis Soul Blues goodness like "I Can Never Forget". "It Will Not Stop", "Dance With You" and the Beachy "I'm Holdin' On". This by far has the most Soul content of any of his LPs.
21. This new Delta Groove Productions release, "Master Of The Game", is the epitome of deep-in-yo-gut Southern Soul, Staxy Funk and raucous Blues. Oh, and pardon me for neglecting to mention the co-star, master chord cutter Steve Edmonson. This guitarist and his band (Bill Singletary, Nick Otis, Carl Green and John Middleton) are a perfect match for Payne. Edmonson first worked with Jackie as producer on "Soulful Blues", a collaboration with Bay area guitarist Kenny "Blue" Ray. This lead to the first Payne-Edmonson outing, the mighty fine "Partners In The Blues". This new one is even better with ten dynamite originals and three choice covers. Picking a single must be migraine-inducing for these folks since so many cuts stand out. My picks would be "Sweet Landlady" and "A Fool Named Me". 22. "Heart & Soul" is a mix of midtempo Southern Soul & Blues, laced with horns, Cropper-esque guitar licks and raspy singing but it's as fresh and stirring as it was in the 60s. In fact the knockout "Missing You" is on par with Clarence Carter's "Slip Away", an obvious influence. The addition of sweet harmonica (Michael Kakuk) is an extra hook to what is already aq three and a half minute ear massage. "You're My Girl" is a quick booty shakin' romp featuring an extended guitar solo by Mike Killeen. "Still A Woman" is a classic Deep Soul ballad highlighting the earnest ache to Rawls seasoned voice. Perhaps the cut that'll garner the most attention is the driving "true real story" song "Damn Cocaine". A bass heavy chugger with a perfectly timed stop and start that describes a friend's descent into addiction. "You can have fortune and fame and still get hooked on cocaine". Fortunately the song has a happy ending. Rawls has made plenty good music throughout his career but as he himself says: "This is the real Johnny Rawls".
23. First Black Top record showed a wider audience what this talented soul/bluesman could do. Blessed with Al Green-like vocal chords and dexterous blues guitar finders, Clark and band tear through 12 cuts of smokin' Texas blues shuffles and sweaty soul. The disc begins with the coasting title track, a bouncy organ and horn-soaked hip-shaker and leads into the Memphis soul groover "I Want To Shout About It"- featuring a great sax solo from Mark Kasanoff. Clark shows off his pipes on the Isaac Hayes classic "Where There's Smoke There's Fire". But it's on track 4 when Clark brings the house down with the roadhouse blues shuffle "Cold Shot". This Clark co-write was one of fellow Texan Stevie Ray Vaughan's biggest hits. Clark reclaims the song with sharp guitar solos and throaty singing. The remainder of this terrific showcase features a blend of covers (Latimore's "Let's Straighten It Out", "Don't Make me Pay For His Mistakes") and Clark originals ("The Blues Is At Hand", "All I Can See is You"). A great listen.
24. Classic LP gave a huge boost to the stagnate soul/blues world when "Down Home Blues" blew up on juke boxes and urban radio. The genre has never been the same. The George Jackson staple is a flawless piece of goodtime soulful blues. Sit back, get comfortable, kick off your shoes and listen to some down home blues. How can you argue with that? Still, what helped the album climb to #17 on Billboard's R & B Albums Chart was "Cheatin' In The Next Room" (again by Jackson, this time with Robert Miller). A delicate soul melody with an exquisite horn arrangement. (Despite the objectionable infidelity theme) this is a real jewel that managed a #19 placing on singles charts. The other eight cuts here are none too shabby either. The poppin' R & B of "Right Arm Of Your Love" and "Givin' It Up For Your Love" are both credited to Swamp Dogg. There's also faithful covers of Little Johnny Taylor's "Everybody Knows About My Good Thing" and King Floyd's "Woman Don't Go Astray". Every blues collection should include this album.
25. She's overflowing with Soul and this album names her the "1st Lady Of Soul" but Ms. Trudy Lynn is one of the greatest female Blues singers the Earth has yet to produce. Powerful pipes and a confident swagger Lynn domineers every song she graces. This release is actually a "best of" compilation of sorts with a couple unreleased tracks like her explosive cover of Willie Dixon's "Wang Dang Doodle". The LP contains most of her best tracks cut for Ichiban like the slow Blues vocal showcase "Trudy Sings The Blues", the Deep Soul gem "Speak Now Baby" and rompin' stompin' live "Loose Lips". This is the ultimate Trudy Lynn.
26. George Lou Pride died soon after sessions for this, his final album, were completed. Label boss David Earl sat on the tapes for a year prior to giving this gift to the world. Pride penned four gems from the coasting, Soulful title cut and "We Can Do What We Want", the sexy, rollin' n' tumblin' "She Boom Boom Me" to the shuffle bumper "Love Come Got Me". There's also a tender version of "Daddy Don't Walk So Fast" made popular by Wayne Newton, and an understated take on Simply Red's "Holding Back The Years".
27. Coleman's best album displays all his strengths. The disc opens with typical humor on "She Ain't Ugly (She Just Don't Look Like Nobody Else)" and it's nice to know she "ain't no monkey 'cuz she's got feets just like alligator shoes". Of course while at the market to buy some tuna she was "picked up by the zoo". Gary don't care what you think about her "'cuz the little girl got somethin' I sure can use". But then he can brood like Bobby "Blue" Bland on the somber, minor-keyed "Dealin' From The Bottom Of The Deck". Humor wins out again however on "Food Stamp Annie", aka, "Ms. Welfare Queen", about a gal who gets 3 or 4 checks under different names. On the Staxy soul blues of the title cut Coleman gets flack from his woman because he's "a little financially embarrassed". She tells him "You can't buy me a hotdog and you wanna take me out to dine?!?". All joking aside this is a solid modern blues record. 28. Bobby 'Blue' Bland is without debate one of the greatest Blues singers of all time. He had an illustrious career that lasted over five decades until his 2013 death. He had a #1 R&B hit in 1957 ("Farther Up The Road") and went on to place 55 singles on Billboard's Hot R&B Songs chart. That final chart entry was the title track to "Members Only" (#54). Like other once popular chart toppers Johnnie Taylor, Denise LaSalle, Tyrone Davis, Little Milton and ZZ Hill Bland signed with Malaco Records, which calls itself "The Last Soul Company", and became one of the mainstays of both the Soul Blues and modern Southern Soul.
29. Texas Blues man Roy Gaines was a mega-talent and it's on display in spades on this set. High octane singing and guitar pickin'. Gaines played with and can play damn-near identical to the great T-Bone Walker. There's plenty of T-Bone shufflin' here but his Soulful voice really stands out on the slower numbers like "You Went Back On Your Word" and "You're Gonna Wish I Stayed". 30. 
Michael Burks "Make It Rain" (Alligator 2001)
Albert King disciple Michael Burks' Alligator albums feature that Blues Rock sheen the label likes to employ but at it's heart "Make It Rain" is Soul Blues in the Albert fashion. The brooding, Soulful title cut, "What Can A Man Do?" and "Don't Let It Be A Dream" highlight Burks' husky voice. "Got A Way With Women" and especially "Everybody's Got Their Hand Out" especially recall Albert's Funky Stax Blues. This is not to say Burks isn't his own man- he certainly is. 31. 
Earl Gaines
"Nothin' But The Blues" (Ecko 2008)
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.
32. Fantastic posthumous disc combines material Hinton was working on prior to his death plus songs recorded during but never released around the time of the 1978 "Very Extremely Dangerous" sessions. Jerry Wexler calls Hinton "a white boy who truly sang and played in the spirit of the great black soul artists he venerated." If had any doubts they will be alleviated here. Why staggering soulful cuts like "Hard Luck Guy" never made the record is beguiling indeed. Studio legends Spooner Oldham, Donnie Fritt, Dan Penn & more helped to finish the tracks after Hinton passed but you'd never guess. While Hinton's voice was certainly weathered on the 1995 tracks like the Otis Redding cover "Sad Song" in comparison to the full throttle "Here I Am" from '78, the record feels like a whole rather than a mix and match. The humorous "300 Pounds Of Hongry" is great country-soul, "I Can't Be Me", vintage Muscle Shoals soul, "What Would I Do Without You", a classic 60s-style Atlantic slowie and "I Got My Thang Together", a Southern rocker. 33. His best album. Travis Haddix is the perfect writer for Artie White. This time there are five Haddix compositions on this inspired disc ("Jodie", "Thinking About Making A Change", "Peeping Tom", "Turn About Is Fair Play" & "Nose To The Grindstone"). Another highlight is "Don't Pet My Dog" by Bob Jones. One of the keys to Artie's success here and further discs is his tight rhythm section named the "Machine Company" (Larry Williams, Ronnie Hicks, Lester Holmes & Kenny Hampton) and lots of horns that give the album a big band feel. Because Artie is backed by real musicians and unadorned production values this disc sounds as contemporary today as it did in 1990. The album also charted #74 on Billboards Top 100 R & B Albums Chart. 34 .
Bill Coday "Sneakin' Back"
(Ecko 1995)
Debut CD for Ecko contains a smokin' update of his signature hit "Get Your Lies Straight" and contains equally good blues & southern soul cuts like "Doctor Thrill Good", "Maybe I'm In Love With You", "Young, Fine, Sweet And Tender" & funny "Her Love Is Good Enough To Put In Collard Greens". A stunning comeback for Coday. Incredibly this was his first full length of all new material despite 40 years of performing and recording. 35. Davis recorded several singles for Duke Records in the early 1960s (including "Blue Monday", "Your Turn To Cry") but lack of hits caused him to drop out of the business for some two decades until his career was revived in 1989 with the release of his album "Check Out Time". Davis has a powerhouse voice that brings to mind Little Milton and James Peterson as do the arrangements. In 1988 Hammond Scott, a co-founder of Black Top Records, searched for and found Davis and promptly got him in the studio for this excellent album containing cover versions of songs originally recorded by Bobby Bland, James Carr, Little Milton, Earl King and others. There's also some of Davis's own compositions ("Your Turn To Cry", "What Else Is There To Do?", "Come By Here"). "The Black Top All-Stars" as it says on the record sleeve include guitarists Anson Funderburgh and Clarence Hollimon and the saxophonist Grady Gaines. In 1990, Davis was the guest vocalist on several tracks of the Hubert Sumlin album "Healing Feeling". Sadly, Davis died on stage in 1992, at the age of 53 just when he was enjoying his comeback.
36. 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". 37. If Roy Roberts continues putting out music this good we're gonna have to crown him "King Of Soul/Blues". Horn-fueled, Hammond B-3, melodic Memphis soul heaven played by musicians not machines. I'm not sure who's the bigger star of this show- Roy with his simmering soul singing (especially on "I'm Gonna Love You") and songwriting or the "MoFo Horns" (Rusty Smith & Scott Adair). But wait, check out that bassline on "Turn That Thing Around" by Andrew "Feet" Taylor. Maybe it's the rhythm section who deserves the most props? Right now I'm like a kid in a whiskey store, um, candy store. Song after song "Sicily Moon" shines. Speaking of this lunar love, Mr. Roberts has legions of Italian fans and this gem is an homage to them. What's amazing to me is how Roy is still able to come with such strong new songs after releasing some 7 LPs and producing/composing a host of others for artists the likes of Eddie Floyd, Chick Willis, Lou Pride & Floyd Miles. For those in the know- remember how good Roy's song "Burnin' Love" is? Well, this is like having 9 more cuts of the same cloth. 38 .
Sugaray Rayford "The World We Live In" (Transistor Sound 2017)
Needless to say Rayford's husky voice and the label's brand of musicians created a rollicking album. There was some R&B on that album along with Blues lumps, shuffles, acoustic pieces but no real Soul songs so I didn't include it on our "Best Of 2014" list. "The World We Live In" is the album I was hoping he'd make. The title cut features choppy verses and a gorgeous almost Jazzy chorus about the troubled times we live in. The leadoff cut is a Funky mover with a rip-roaring vocal and yes oh yes that tasty horn n' organ marriage. They were made for each other. I was floored by how much Rayford sounds like Benny Latimore on "What Do We Own", "Home Again" and "Keep Moving"-only harder edged. Then came the Latimore cover, "Dig A Little Deeper" and I exclaimed: "Aw yes. Gotcha". I ain't the only who noticed. Latimore should align himself with this same set of producers, pickers and players. 39. High energy rollicking funk, soul & blues set highlighted by the cheeky single "Dill Pickle & Peppermint Stick". Disc starts with a good upbeat blues, "Blues In Your Town." Garrett's soulful side shows on another uptempo number, "Mixed Emotions," which hints at "I Can't Get Next To You". The Muscle Shoals Horns pack a powerful wallop on this cut. The whole band really sounds tight on the title cut, with Garrett turning in one of his better vocal performances. Unfortunately, Ichiban folded soon after it's release and ruined it's commercial hopes
40. 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". 4 1.
Willie Walker & The Butanes "Memphisapolis"
(Haute 2006)
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.
42. 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.
43. Even if you don't recognize him by name if you're an avid listener of Contemporary Blues the past decade or so there's a chance you've heard Nulisch play the harmonica or sing. Prior to his solo career he was a member of Anson Funderburg's band and since 1981 has guested on projects by Otis Grand, Ronnie Earl, Kenny Wayne, Hubert Sumlin, Kenny Parker, Greg 'Finger' Taylor, David Maxwell, Hash Brown and perhaps most notably touring with and singing the vocals for James Cotton's "Fire Down Under The Hill". With Severn Records he has released five albums now of Soul Blues and hard Texas Blues with "Just For You" quite possibly the pinnacle. Like most Severn projects the production is top shelf on a set of covers and originals. 44. 
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" 45. 
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. 46. 
Barbara Carr
"Footprints On The Ceiling" (Ecko 1997)
Rollicking party blues album from this throaty blues belter. John Ward and company provide Carr with some good, sassy soul blues material in the Denise LaSalle vein, such as the cheeky "If You Can't Cut The Mustard (I Don't Want You Licking Around The Jar)", "The Bo Hawk Grind" & "Good Looks Can Get Him But It Takes Good Lovin' To Keep Him Home". Carr also shows her softer side on "Make Me Feel Like Like You Feel It Too" & "God Blessed Our Love", but it's juke joint jumpers like "We're Gonna Boogie" where Carr really shines. 47.  Johnny Jones & Charles Walker "In
The House" (Crosscut 2001)
Dynamite
live disc taken from the famous Lucerne Blues Festival in
Switzerland featuring Johnny Jones and band plus vocalist
extraordinaire Charles Walker. It's a set of energetic soul n' blues
augmented by a pristine sound quality- something these Crosscut
Records live albums are known for. The set opens with a humorous
delta-styled blues called "I Can't Do That" with Jones taking the
role of a "bum". Well, this homeless person makes no apologies for
his situation. "That 9 to 5 life just ain't where it's at/I can do
this but I can't do that!"......"folks they wonder how I wound up
here/With a sign in my had saying: 'I'll work for beer'....rushing
through life is a race for rats/I can do this I can't do that!".
Jones plays some mean blues guitar here and especially on the
testifying "Can I Get An Amen". Hammond B-3 man Billy Earhart gets
some praise too as his organ glides in and out and through most of
the tracks here. Walker especially shines on the slow, pleading
blues numbers "Slave To Love" & "Storm And Raining Blues". He then
growls out some throaty verses on the staxy groover "99,000 Watts Of
Soul Power" and that isn't much of an exaggeration either. Man I
wish I'd been there!
48. 
Billy Price Otis Clay "This Time For Real" (Bonedog/Vizztone
2015)
"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". 49. 
Little Buster & The Soul Brothers "Right On Time" (Bullseye Blues 1995)
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. 50. 
Curtis Salgado "Soul Shot" (Alligator 2012)
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. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------- (C) Blues Critic LLC 2025. 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 Mo Rodgers "Blues Is My Wailin'
Wall" (Blue Thumb 1999)
Robert Cray "Strong Persuader"
(Mercury 1986)
Wilson Pickett "It's Harder Now" (Bullseye Blues 1999)
Preston Shannon
"Midnight In Memphis"
(Bullseye Blues 1996)
Rawls & Luckett
"Can't Sleep At Night"
(Rooster Blues 1994)
Ellis Hooks "Undeniable" (Zane 2002)
Robert Ward
"See No Evil" (Black Top 1990)
Charles Walker "Number By Heart"
(Zane 2003) 
Tutu Jones
"Inside Out"
(Soultone 2009) 
Solomon Burke
"Don't Give Up On Me" (Fat Possom 2002)
Koko Taylor "From The Heart Of A Woman" (Alligator 1981)
Little Milton
"Playing For Keeps" (Malaco 1984)
Syl Johnson
"Back In The Game" (Delmark 1994)
Johnny Adams "There Is Always One More Time"
(Rounder 2000)
Bobby Wayne
Bettye LaVette "I've Got My Own Hell To
Raise" (Anti 2005)
Albert King "I'm In A Phone Booth, Baby"
(Fantasy/Stax 1984)
Tad Robinson
"Back In Style"
(Severn 2010)
Eugene "Hideaway" Bridges "Rock And A Hard Place" (Armadillo
2011)
Jackie Payne Steve Edmonson Band 
W.C. Clark 
ZZ Hill "Down Home" (Malaco 1982)
Trudy Lynn "1st Lady Of Soul"
(Ichiban 1995)
Lou Pride "Ain't
No More Love In This House" (Severn
2013)
Bobby 'Blue' Bland "Members
Only" (Malaco 1985)
Roy Gaines "Bluesman For Life" (JSP 1998)
Eddie Hinton "Hard Luck Guy"
(Capricorn 1999)
Artie "Blues Boy" White "Tired Of Sneaking Around"
(Ichiban 1990)
James "Thunderbird" Davis "Check Out Time" (Black Top 1989)
Maurice Davis
"The Right Way"
(Sims 2005)
Roy Roberts "Sicily Moon" (Rock House 2006)
Vernon Garrett
"Half Past The Blues" (Ichiban 1997)
Mighty Sam Mcclain
"Give It Up To Love" (Audioquest 1992)
Nappy Brown "Long Time Coming" (Blind Pig 2007)
Darrell Nulisch "Just For You" (Severn 2009)