On the surface, yes, this is a blues album; mostly, though, it's a Joan Armatrading album-which means she'll follow blues forms and conceits wherever she damn well pleases. On "Liza," she takes the "Mannish Boy" groove across the tracks for a pick-up on the wrong side of town; on "There Ain't a Girl Alive (Who Likes to Look in the Mirror Like You Do)," she dresses down a rival; on "Play the Blues," she simply undresses herself to a juicy, contemporary soul groove; and on "Mama Papa," the album's finest and funkiest moment, she recalls her youth on the island of St. Kitts in lines that flash with truth: "Seven people in one room/No heat/One wage/And bills to pay. " It's also a guitar album: her blues chops, especially on the sprawling closer "Something's Gotta Blow," would give Robert Cray a serious run. Fiery as her playing can be, her blues riffs are mostly economical, concise, with evocative spaces between the notes. The same can't be said for the overall production values. Armatrading is still enamored with slick gimmicks: doubling and tripling her vocals and adding layers of echo on top of that, and synth pads and distortion that feel more bombastic than bright. Into the Blues is far from a return to form, but it still sends a tough, funky message. -Roy Kasten.

This guest-studded album relaunched Buddy Guy's career and set him toward the pinnacle of contemporary blues. Despite turns from Jeff Beck, Eric Clapton, Mark Knopfler and others, it's Guy who burns brightest-and loudest. He delivers roaring, exuberant performances of classic R&B ("Mustang Sally"), old-time blues ("Black Night") and house rockers ("Where Is the Next One Coming From"). Most poignant, though, is his seven-minute instrumental "Rememberin' Stevie", which not only rekindles the fiery spirit of his own youth, but pays sensitive tribute to his late friend and admirer Stevie Ray Vaughan. This is the blueprint for Guy's current performing style. -Ted Drozdowski Thanks to a long instrumental tribute to his late friend Stevie Ray Vaughan, and to a crowd-pleasing version of Wilson Pickett's "Mustang Sally," this album renewed the Chicago's blues legend's commercial power. After laying out his new straightforward credo on the title track, Buddy Guy improvises furiously on "Black Night" and "Five Long Years. " Some fans say the album was one of the few times Guy truly captured his live fury on record, but this 1991 album didn't even try to do that. It was simply an attempt to expose himself to a contemporary blues audience, and it worked. -Steve Knopper.

Of all the two-piece rock bands (Dresden Dolls, The White Stripes, The Kills, John & Jehn) out there making a royal racket, The Black Keys are by far the least affected by the last three decades of popular music, and evolution. Even more so than Jack & Meg. Which makes you check the album credits twice and then seek a second opinion-produced by celebrated uber-producer, superstar DJ and one half of Gnarls Barkley, the ubiquitous and really quite modern Danger Mouse?! No, your eyes do not deceive you, but thankfully neither do your ears. He may have brought a discipline and expensive sheen to Attack & Release, the riffing is buffed up real good, but this is essentially the same band that continues to live less of a life and more a Jimi Hendrix Experience. If there is a change it's that for the first time their foot is teased off the accelerator, with "Lies", "Remember When (Side A)" and "Oceans & Streams" loosening their shoulders and playing a more chilled brand of dusty sunset southern blues, adding in keys and new layers of texture (is that really a flute on "Same Old Thing"?!). There's still plenty of chance, on the massive Zeppelin-esque "Strange Times" and "Remember When (Side B)" for instance, to leave a boot mark though. More release than attack this time around, but the key still fits. -James Berry.

Seasick Steve is Steve Wold, a moustachioed American bluesman who, on Dog House Music, plays American roots music with the tight-belt economy and authentic spirit of the genre's originators (there's a lineage here, too - Steve was taught his first chords by Delta bluesman KC Douglas). A long-term street-dweller, Wold's instrumentation is simplistic in the extreme: a three-stringed trance guitar, a slide instrument known as 'the one-stringed diddy-bo', and the Mississippi Drum Machine, a wooden box that provides the most rudimentary percussion. In the true blues spirit, Seasick Steve sings his life. For an autobiography of sorts, head for 'Dog House Boogie', a phlegmatic timeline that commences at the age of four with his parent's divorce, and rambles off through several decades of vagrant living and downhome manners. 'Hobo Low' is perhaps the sharpest, best distilled take on Steve's drifter philosophy, his voice raising to quivering, booming peaks over sparse stabs of blues guitar. 'Save Me', meanwhile, sees the diddy-bo make an appearance - a taut, trembling twang that resembles an amplified rubber band. If this review makes Dog House Music sound bare-bones, well, it is - but everyone from blues aficionados to White Stripes fans should find something to love here. -Louis Pattison.

Clapton had already established himself as a guitar legend by the time he released Slowhand. His heroin habit long behind him, Clapton's songwriting mastery was fully evident on the album, particularly in the stunning ballad "Wonderful Tonight". It fully actualised all of the potential hinted at in his earlier "Promises", and Clapton trusted himself enough to slow things down. Some of his most expressive guitar work can be found throughout this album, not just within "Wonderful". Ironically enough, Slowhand is probably best known for the hit "Cocaine"-built upon a simple repeated riff, the song had Clapton's trademark smooth voice with its wear around the edges, and yet another stellar guitar solo. Flashy runs and licks were never the most integral part of Clapton's catalogue, his blues background being the primary source for his sound. Slowhand, with its phrasings, both guitar and vocal, established Clapton as the possessor of one of the most extensive vocabularies in rock. -Steve Gdula.

Predictably, given the drug problems which preceded its release, Clapton's second solo album proper seems to come and go in an opium haze of its own making. Oddly though, it suits him. As the history of rock attests, if you're going to get into one hard drug then you may as well make it heroin. Whereas cocaine feeds the ego and destroys judgement, heroin sublimates it and allows the artist to regress into his music. Which pretty much describes where 461 Ocean Boulevard is at. Because tracks like "Steady Rollin' Man" and US chart topper "I Shot The Sheriff" sound like they have all the time in the world, they make light work of putting the listener in a similar frame of mind. Best of all though is "Let It Grow", for many the kind of tender, foetal balladry which finds Clapton at his most quintessential. Inevitably, he cleaned up his act and sporadically attained similar heights. But for sheer mood and sense of moment, 461 Ocean Boulevard remains his masterpiece. -Peter Paphides.

Prior to the release of Aman Iman: Water is Life, it seemed that few people had heard of Tinariwen. Formed in a refugee camp in the southern Sahara desert, this Touareg band have released two previous albums since 2001, garnering awards and critical acclaim around the world. But 2007's Aman Iman: Water is Life is probably their best album yet. It's certainly the most accessible, particularly to music fans who would never dream of delving into world music. The circular rhythms of the bass and drums lay down a simple-almost hypnotic-beat, which is then given a rougher edge by the electric riffs of the band's four lead guitarists. It sounds like an even more primal, stripped down blues taken back to its roots (assuming, that is, that the roots of blues were sung in French and Tamashek). Throughout, producer Justin Adams (taking a break from his regular work as Robert Plant's guitarist in Strange Sensation) commendably avoids the high-gloss polish that too often plagues world music albums. This is rebel music in the true sense of the term. With Aman Iman: Water is Life, Tinariwen have created a rock album that's unique, vibrant and wholly original. Few Western bands can boast the same. [+]