By Ed Kopp

The year 2000 marks a century since blues music became a defining feature of the American cultural landscape. As we stand at this temporal crossroads, the blues seems healthy, but its future looks uncertain.

On the one hand, there's good reason to believe the 12-bar form can thrive well into the 21st Century. Many white people have embraced the blues, associating the music with good times and barbecue. The music still constitutes the foundation of rock, country, jazz and R&B.

But there are contrary signs that do not bode well for the music's future. While some critics view the blues as a cultural treasure, still others see the form as a relic from an earlier, less sophisticated era. And except for pockets of enthusiasm in several cities and the rural South, the inventors of the blues -- African-Americans -- have largely abandoned the genre. I'm not talking about artists; I'm talking about fans.

If there was a positive blues trend in 1999, it was the emergence of those talented offspring: Muddy Waters' son Big Bill Morganfield, Luther Allison's son Bernard Allison, Johnny Copeland's daughter Shemekia Copeland, and John Lee Hooker's daughter Zakiya Hooker. If any sign bodes well for the future of the blues, it's that these soulful young people chose to follow in their fathers' footsteps.

Several other trends were notable in 1999. Thanks to the swing craze, jump bands across America found steady work. Spurred on by continued strong sales for Keb' Mo's 1998 CD Slow Down, acoustic blues grew in popularity. The year was also kind to blues veterans B.B. King and John Lee Hooker, both of whom had big-selling albums. In fact, the King of the Blues charted five different albums last year, and his 1998 release Deuces Wild went gold. Still, King finished behind baby-faced newcomers Jonny Lang, Susan Tedeschi and Kenny Wayne Shepherd in single-CD sales. This youthful triumvirate shared the top of the Billboard blues charts with the late, great guitarist Stevie Ray Vaughan, whose Greatest Hits Volume 2 finished #2 in total sales behind Lang's Wander This World.

Unfortunately, fate didn't smile on every blues artist in 1999. Gone are Frank Frost, Joe Williams, Lowell Fulson, Katie Webster, Mighty Joe Young, Curtis Mayfield, Doug Sahm, former Drifter Johnny Moore, "Cow Cow Boogie" singer Ella Mae Morse, zydeco star Beau Jocque, and R&B saxophonist Fred Ford, to name but a few.

While we should never forget these talented artists, perhaps the best way to commemorate the past year is to remember all the great music recorded in 1999. Listed below are our favorite blues releases from the past year. Let's hope 2000 is half as much fun!

Favorite Blues Releases of 1999

1. Clarence "Gatemouth Brown - American Music, Texas Style: No bluesman swings harder than Gate.

2. Earl Hooker - Simply The Best: Great compilation from the legendary Chicago guitarist, including some of his best instrumentals.

3. Mike Henderson & the Bluebloods - Thicker Than Water: This band sure knows how to boogie. Terrific barrelhouse piano playing by John Jarvis.

4. U.P. Wilson - On My Way: Classic 1988 album from a guitarist who deserves wider recognition.

5. Kid Ramos - Kid Ramos: Eclectic release from a fine L.A. guitarist and member of the Fabulous Thunderbirds.

6. Joe Louis Walker - Silvertone Blues: A raw and emotional blues album; traditional without sounding antique.

7. Lightnin' Slim - The Best Of Lightnin' Slim: Classic tunes from the father of the swamp blues.

8. Jay McShann with Duke Robillard and Maria Muldaur - Still Jumpin' The Blues: Kansas City legend McShann still revels in that netherworld between blues and swing.

9. Buckwheat Zydeco - The Buckwheat Zydeco Story: A 20-Year Party: Catchy, danceable tunes from one of Louisiana's most compelling performers.

10. Various Artists - Chicago, The Blues, Today! : Classic three-disc set that turned '60s rockers on to the blues.