Tom Clarke’s Ten Favorite Roots and Blues Albums of 2024
Tom Clarke’s Ten Favorite Roots and Blues Albums of 2024 capture the soul and essence of a genre steeped in tradition yet brimming with contemporary innovation. From raw, acoustic storytelling to electrified grooves that push the boundaries of blues, Clarke’s picks celebrate the diversity and depth of roots music. This year’s list includes both legendary artists continuing to redefine their sound and emerging talents carving their place in the scene. With powerful lyrics, soulful instrumentation, and timeless themes, these albums reflect the enduring relevance of roots and blues in modern music.
Cris Jacobs used to lead The Bridge out of Baltimore, a wide-open roots group celebrated for a string of variety-packed albums and potent concerts. For whatever reasons, they ended their run 13 years ago. Ever since, Jacobs seemed to search for his place as a solo artist. Judging by One of These Days, with its incredibly written songs and spirited performances as chock full of heart and soul as bluegrass-rooted music gets, he found it. That the Infamous Stringdusters back the highly expressive singer makes it all that much better. Their pairing inspires songs that range from the opening locomotion of “Heavy Water” to “Everybody’s Lost,” the tender ballad at the close. One of These Days nears perfection, as good as this kind of music gets.
Acclaimed singer, songwriter, and guitarist Warren Haynes has released the most accomplished of his now four full-fledged solo albums. The songs on Million Voices Whisper vividly marry Haynes’ love of Muscle Shoals-styled soul music with his long experiences leading the rock band Gov’t Mule and his tenure with The Allman Brothers Band and associations with members of the Grateful Dead. These songs all brim with deep conviction, yet offer wide, easy appeal. Haynes and his band of ace players have made a plush, edgy rock album for the ages. His reunion on it with fellow guitar star and former Allman Brothers bandmate Derek Trucks in their first studio collaboration in 20 years provides spectacular guitar fireworks, and promise.
To state that no other music artist on earth exists like Randall Bramblett may seem a stretch. But every song on Paradise Breakdown proves it. For 50 years, Bramblett has written metaphor-rich vignettes that consider personal to global thoughts, twisting facts delectably, while retaining the truth. A singer, saxophone, and keyboard player, he leads his band through snappy rock melodies enveloped in auras deepened by his Georgia roots. Bramblett has never made a less than excellent album and Paradise Breakdown contains a slate of perhaps his best songs yet. On Paradise Breakdown, the southern music icon is ageless in voice and exciting in every contemporary way that matters.
Naked and truth and blues and guitar all define this record, and the artist. As does immense talent and understanding. On this deceptively simple blues collection, Tinsley Ellis presents extraordinary, real blues music. Something he has done in large part with a band in incendiary fashion. But Naked Truth marks a point in Ellis’ 40-year-long passion and avocation that shows him taking stock in exactly the right way. On this mixture of shimmering new and classic blues and folk tunes, Ellis plays either straight acoustic or slide guitar and sings in a weather-beaten but endearing voice. They called this kind of thing “Unplugged” back in the day, but Tinsley Ellis may be as plugged in and rocking as he ever has been here, on Naked Truth.
Little Feat has been on a fireball roll since guitarist and lead singer Scott Sharrard joined the band fresh off a decade-long stint as Gregg Allman’s guitarist and music director. The Grammy-nominated Sam’s Place, the band’s first studio album in 12 years, is titled for longtime percussionist Sam Clayton, who sings all these blues gems and one new song like a man possessed, and Sam Phillips, the legendary Sun Studios owner whose family’s Memphis studio hosted the sessions. Their storming take on Willie Dixon’s classic “Mellow Down Easy,” with guest harmonica player Michael “the Bull” LoBue, alone makes this album a must. Bonnie Raitt’s duet with Sam on Muddy Waters’ “Long Distance Call” sure sounds mighty fine as well.
Come for Greensky Bluegrass, in exceptional form here, their songwriting and techniques on Iceland Sessions born in bluegrass but raised in a family of ingenuity and style. Stay for Holly Bowling, a truly superior pianist in the vein of Chuck Leavell via her strong, stately touches. Together, they are enthralling. These four excursions were wound out in a tiny, remote studio in an idyllic setting while Greensky and Bowling played shows in Reykjavik last year. Beauty rides an intense wave in these songs and jams. “Born Again” ponders an eternal question while being a delectable piece of bluegrass crack candy. Collectively, the Reykjavik shows amount to a killer Greensky retrospective with Bowling taking it all up several notches.
Widespread Panic hit the studio for the first album in nine years and came out with eleven new songs of their characteristic rock, jam, and soul, enriched and enlightened by time and experience. Released in June and November as separate 32-minute vinyl albums, each spotlights the grip-your-seat singing and playing that the band is noted for. Intricate and fierce patterns of notes by pianist John Hermann and guitarist Jimmy Herring translate into melodic, irresistible hooks. From the topical, pedal-steel-countrified “Life as a Tree,” to the monster riffing and jamming in “Halloween Face,” and to a suitable and irresistible rendition of Warren Zevon’s “Keep Me in Your Heart,” these songs will all fascinate those listening.
Although they came up on different Texas paths, Hayes Carll and The Band of Heathens intersected at a perfect spot in time, destined it would seem. What a soulful and earthy, ass-kicking and just plain fine country time Hayes and the Heathens delivers. Terrific turns of phrase light up every original song on this debut collaboration. “Ways abound to get under the ground, but nobody dies from weed” are among the endlessly witty lyrics in the opening song, an anthem for those who like to toke. The group moves confidently amid Townes Van Zant and Steve Earl territories and shower several numbers in Beatle-esque melody and shimmering harmony singing. A surprising, exciting release now taken on the road.
The wonderful California singer and mandolinist AJ Lee has lately been remaking classic old radio hits in glistening bluegrass style with the Brothers Comatose—and making a viral stir with them. But Blue Summit remains her baby, and their third album, City of Glass, should break AJ Lee & Blue Summit wide open to most any ears. This bluegrass music oozes a special kind of allure, the songs imaginative but straightforward gorgeous, matching in quality the way Lee sings. She simply stuns with her voice. The band evolved from the Tuttle family band, and among all the hotshots present is Molly Tuttle’s brother Sully on guitar. The rapidly accelerating, brilliant future of bluegrass music resides right here in these lovely, vital songs.
These songs are as banged up and dusty as a ’59 Coupe De Ville pulled from a barn, bumping then through desert trails on the way to a rocking roadhouse, glimmering stars above. Dayton started raising Cain nearly 30 years ago as a roughneck “outlaw” country artist on a mission. He has taken some wild turns along the way, making hay recently with the blues and beyond guitar phenom, Samantha Fish. They work exceedingly well together, but the songs on Dayton’s Hard Way Blues are a step up, defining a singer, songwriter, and guitar player that clearly does not want to be defined. Dayton’s blistering song “God ain’t Makin’ No More of It” becomes an understatement in listening to this album.
Tom Clarke is a seasoned music reviewer and journalist with a passion for uncovering the soul of roots and blues music. With decades of experience in the industry, Clarke has earned a reputation for his insightful critiques and deep appreciation of the genres that shape the cultural and emotional fabric of modern music. His writing has been featured in leading music publications, where his ability to weave historical context with contemporary relevance resonates with readers and musicians alike.
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