In the liner notes of Sloe Gin, emerging guitar great Joe Bonamassa explains that one of his objectives is to experiment with acoustic elements he first encountered while listening to Rod Stewart's earliest work. "I think the heavy blues and acoustic mix well together," he writes, and the inviting variety of the disc's 11 tracks-from the rousing electric rave-up of the title track to the closing, tabla-propelled acoustic instrumental-persuasively underscores his point. Bonamassa is a major talent with a growing following, and as his fan base inevitably expands it may become difficult for him to keep everyone happy. Hardcore blues devotees no doubt will yearn for Bonamassa to stay perpetually plugged in, but in the long term that would be a disservice to his broad range of skills. Bonamassa rocks formidably and convincingly on "Dirt in My Pocket" (a bristling original composition), the title track (well suited for air guitar), and his Clapton-esque rendering of John Mayall's "Another Kind of Love. " Yet his softer works suggest that he sounds a little more comfortable and natural-vocally, at least-on the acoustic tracks. His retooled version of "Around the Bend" (his first take on this original composition is found on an earlier release) is an engaging, pastoral gem, and his paean to his upstate New York home ("Richmond") is perhaps this disc's most memorable selection. Bonamassa knows the blues (at the time of this release, he was the youngest member on the board of the Blues Foundation), but he also knows how to rock and how to sagaciously, artfully ease off the gas. -Terry Wood.

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.

One of ZZ Top's great gifts is its concision; even in the side-long-jam era of the 1970s, the Texans almost always fit 10 cuts on their albums. Surveying two decades of their output, Greatest Hits isn't the perfect overview you might expect, but it's still a pretty darn good driving album. The disc goes easy on the pre-Deguello stuff surveyed on their earlier best-of, and seems to digitally boost the drums on tracks like the 1975 "Tush". Still, later cuts like "I'm Bad, I'm Nationwide" and "My Head's in Mississippi" are full-on triumphs of this trio's very weird, very blues-drenched sensibility. -Rickey Wright.

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. [+]

Joel and Ethan Coen have long established themselves as film stylists without peer: from Blood Simple to Fargo, their movies have never been less than fascinating, and there has never been any question that their films could not have been made by anyone else. In T-Bone Burnett, the producer of the soundtrack for O Brother, Where Art Thou?, they have finally met their match: Burnett's work in assembling a collection of pieces for the Depression-set film is as skilled and entrancing as the film itself. Despite the presence of Emmylou Harris, Gillian Welch, Alison Krauss and bluegrass legend Ralph Stanley, the stars here are the songs themselves, a host of traditional songs augmented by archival recordings. The collection is also a showcase for a host of lesser known and forgotten bluegrass masters: The Cox Family, collaborators with Krauss; Norman Blake, a sideman for Bob Dylan and June Carter Cash; country gospel group The Whites, who once counted Ricky Skaggs as a member (and who, here, cover the Carter Family); and young bluesman Chris Thomas King among them. All bring life to their songs, and the results are sublime-and, at times (Krauss and a choir's take on "Down To The River to Pray", Blake's instrumental version of the oft-repeated "I Am A Man of Constant Sorrow"), downright entrancing. Some of these songs can be found on Alan Lomax collections. If you enjoy this album, we also highly recommend the Harry Smith Anthology of American Folk Music and Woody Guthrie's Asch Recordings series. -Randy Silver.

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.

Largely, er, "inspired" by German director Wim Wenders' classic fable Wings of Desire, this heavenly melodrama features a high watermark for overwrought modern pop-song scores. U2's "If God Will Send His Angels" might just certify their on-the-sleeve spirituality as moribund, while Alanis Morissette's radio hit "Uninvited" conjures the frightening spectre of Led Zeppelin's "Kashmir" (fronted by a teenage Celine Dion-in-training), making the efforts of vets Jimi Hendrix, John Lee Hooker, Peter Gabriel, and Eric Clapton sound downright Mancini-esque by comparison. Veteran composer Gabriel Yared finds himself ghettoized on the disc's final tracks, but then he only scored the film. -Jerry McCulley.