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!

E.C. Scott is a superior blues and soul singer who is in prime form throughout this set. She is also a talented and witty lyricist, as can be heard on her tribute to "Money" (which should become a standard), "He Ate the Apple," and a song called "This Ain't Yo Daddy's Kind of Blues." Scott's band, Smoke, supports her perfectly, with Bill Ireton contributing some blazing guitar solos. Little Milton makes guest appearances on "Just One of Those Days" and "If I Can Borrow Some of Your Love," but E.C. Scott is certainly strong enough to carry this set by herself. The Other Side of Me is one of her finest and most stirring recordings to date.

Cousin to the late blues ballad singer Chuck Willis, Robert "Chick" Willis is primarily beloved for his ribald, dozens-based rocker "Stoop Down Baby." The guitarist cut his original version in 1972 for tiny La Val Records of Kalamazoo, MI, selling a ton of 45s for the jukebox market only (the tune's lyrics were way too raunchy for airplay).
Willis left the military in 1954, hiring on as valet and chauffeur to cousin Chuck, then riding high with his many R&B hits for OKeh Records. At that point, Chick's primary role on the show was as a singer (he made his own vinyl debut in 1956 with a single, "You're Mine," for Lee Rupe's Ebb Records after winning a talent contest at Atlanta's Magnolia Ballroom), but he picked up the guitar while on the road with his cousin (Chick cites Guitar Slim as his main man in that department)…

Soul singer extraordinaire E.C. Scott comes back from her 1995 debut with perhaps even a stronger album the second time at bat. Ten of the 11 tunes on here emanate from her prolific pen (the only cover is her interpretation of the Eurythmics' "Missionary Man"), and her earthy, engaging style is heard to great effect on the opener, "Steppin' Out on a Saturday Night," the bouncy shuffle "Don't Touch Me," the slow blues "Lyin' and Cheatin'" and the title track. Her time is impeccable, her phrasing straight and true, and every vocal on here is chock full of deep feeling; as a modern-day example of a soul-blues album, this one's about as good as the form gets.

E.C. Scott has a voice that is perfect for the 1960s soul/R&B-type songs that she performs. She has plenty of power, is in tune, is quite expressive, and shows an impressive amount of versatility. On the modestly titled Masterpiece, which is a bluish R&B set, the singer wrote or co-wrote all but one of the dozen songs. Scott stars throughout the program (including sometimes overdubbing her voice as a "choir"), is assisted by a fine cast of musicians, and on "Too Good to Keep to Myself" shows that she can excel as a pure blues singer too. Superior party music.

The title is descriptive of why Ernest deserves a royal title, as his punchy vocals are blues laden with a splash of soul. Also, the title serves as the central theme of the material which runs the gamut of emotions ranging from heartbreak ("Tell Me the Reason," "Better Days," and "Cryin' for My Baby"), doubt ("I'm Not the One"), preference to escape life's problems ("Black Bag Blues"), disgust ("I Resign"), jealousy ("In the Dark"), desire ("Sadie"), and remorse ("Forgive Me"). Ernest's musicians are proven blue(s) bloods, some of them being Paul Bryant (Robert Lucas), "Jimmy Rip" (Mick Jagger), and Lester Butler. Jagger's contribution, "Better Days," was originally slated for one of Jagger's solo albums, but then rightfully deeded to Ernest's pipes. Other well-chosen royal subjects come from songwriters/artists Junior Parker, Charlie Musselwhite, and Hound Dog Taylor…

Mighty Joe Young from 1976 is the the crown jewel in Young's discography. Many of his finest originals – "Need a Friend," "Takes Money," "Take My Advice (She Likes the Blues and Barbecue)" – reside in their most memorable recorded forms on this worthwhile set.

Tragically, singer King "Ernest" Baker only got to hear the final mixes of this album, Blues Got Soul, before he was killed in an automobile accident a few days later. Ernest was a fiery vocalist in the soul/blues vain of Little Milton or Bobby Bland, incorporating a mixture of gospel and gritty funk inspiration. While Ernest had been performing off and on throughout his life, he decided after retiring from his job with the Los Angeles County Sheriff's Department to continue pursuing music. It's a shame that his career ended just as he was making promising steps forward. Highlights include the Ernest originals "Suffer and Stay," "Fallin' Down on My Face With the Blues," and the haunting Tom Waits-penned "House Where Nobody Lives."

Live Wire/Blues Power is one of Albert King's definitive albums. Recorded live at the Fillmore Auditorium in 1968, the guitarist is at the top of his form throughout the record - his solos are intense and piercing. The band is fine, but ultimately it's King's show - he makes Herbie Hancock's "Watermelon Man" dirty and funky and wrings out all the emotion from "Blues at Sunrise."

One of the most powerful and distinctive voices in blues and R&B, thanks to his steady stream of classic singles during the '50s and '60s. Bobby Bland earned his enduring blues superstar status the hard way: without a guitar, harmonica, or any other instrument to fall back upon. All Bland had to offer was his magnificent voice, a tremendously powerful instrument in his early heyday, injected with charisma and melisma to spare. Just ask his legion of female fans, who deemed him a sex symbol late into his career.

Keyboardist Tony Z uses the Hammond B-3 organ blues sound and style to paint a new tapestry of music on this disc. The groove on this album is immensely fortified by the formidable presence of Cornell Dupree on guitar, Bernard Purdie on drums and Chuck Rainey on bass as the rhythm section. But instead of aping the tunes and styles of B-3 masters like Jimmy Smith, Jimmy McGriff or Groove Holmes, Tony comes to the plate with a batch of his own songs for this album. With Lenny Pickett emoting soulfully on saxophone and a two-song guest turn from Kim Wilson on harmonica, this session goes into realms previously uncharted by your Hammond B-3 practitioner, retro or otherwise. Highlights include "Voodootize Me Baby," "All Alone," "You Ain't Who You Think You Are" and "Communicate."

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.

Homesick for the Road provides a showcase for three fine blues singer/guitarists. The recording is clean and crisp, as is typical of the Telarc label, and the music cooks from start to finish. This disc provides an excellent introduction to each performer, with ample opportunities for each to shine. Debbie Davies brings to mind Bonnie Raitt, with her appealing vocal timbre and bluesy delivery. The youthful Benoit sings with an authority beyond his 31 years, making Screamin' Jay Hawkins' classic "I Put a Spell on You" his own. Kenny Neal has the scruffy, soulful delivery of a man who knows what the blues are all about. His "I've Been Mistreated" sounds like a late '60s slice of Muscle Shoals soul. All three of the co-leaders are excellent guitarists, and the band is solid and tight. Homesick for the Road rolls down the car window for an enticing look at three relatively young performers carrying the blues torch into the future.