Blues Roadhouse

Billy Price — “Random Madness” — Get Hip Records

For decades, Billy Price has been nurturing the classic soul music that has inspired his own career, filtering the work of its innovators through his own musical sensibilities.

And the Pittsburgh-based singer has done it extremely well, performing regionally, nationally and internationally, with 21 albums, CDs and DVDs to his credit. He’s been a Pittsburgh blues and soul icon for the past half-century.

Price’s album “This Time for Real,” with Chicago soul singer Otis Clay, received a 2016 Blues Music Award for best soul blues album. He was nominated 11 times for BMAs between 2019 and 2025 and won the 2024 Bluebird Reviews Lifetime Career Award in the U.K. His most recent recording, “Person of Interest,” was nominated for 2025 BMAs for Soul Blues Album and Album of the Year.

But in the past ten years or so, Price seems to have taken to heart a question posed by one of those soulmen whose work he has performed with considerable style: “Can I Change My Mind,” recorded by soul singer Tyrone Davis in 1968, and later covered by Price in an album with that title. The most recent answer to that question is his latest album, the smoothly soulful and deeply personal vitality of “Random Madness.”

Price, always an articulate spokesman for his music, explains the shift in his music in a recent interview with Michael Limnios on his Blues Gr blog: “It wasn’t until late in my career—sometime in the new millennium—that I started working earnestly on songwriting, and as time has passed, the music I’ve created and presented has begun to evolve beyond imitative conventions of blues and soul toward something more personal and idiosyncratic.”

In other words, his soul, his music.

Price says that the success of his previous album, “Person of Interest,“ motivated him to “continue developing my songwriting, largely with my longtime writing partner Jim Britton, keyboard player in the Billy Price Band.” Price is co-writer of all 11 tracks on “Madness.”

Joining Price to make this music are his long-time band: Dave Dodd (drums), Tom Valentine (bass), Ian Arthurs (guitar), Jim Britton (keyboards), Eric Spaulding (sax), and Joe Herndon (trumpet). Joining that core group are Steve Delach (guitar), album producer Tony Braunagel (drums), Reggie Watkins (trumpet), Sean Jones (trumpet) and Delana Flowers, Willa Katy Cotten and Carmen Miller (background vocals).

In that Limnios interview, Price says: “I allowed myself and the band to stretch beyond the musical and lyrical constraints of the styles in which we have typically worked, and I expect that there will be some number of listeners whose expectations will be jarred by this recording. At the same time, I am as proud of this album as of anything I’ve ever done before.

“The songs on “Random Madness,” from lighthearted to confessional to serious, are the most personal of my career and the natural evolution of what Tony (Braunagel) and I started with “Person of Interest.,” Price says.

This “Madness” music should only be jarring to listeners in the sense that its Price at his apex — the use of the veteran Billy Price Band, the smart, articulate songwriting, and Price’s smoothly mature and soulful vocals combine to lift the album into rarified soul ranks. Recording the session at The Vault studio in Pittsburgh helped to keep everything grounded. “It was important to me to be able to work at home with the band I’ve been playing with for decades, Price says.

Those horns that he’s used for decades to establish the Billy Price kick off the first album track, the bright, R&B flavored “I Was A Fool,” with its apologetic lyric: “Good intentions die at the gates of Hell / My epitaph will be, “He thought he meant well.” The first taste of background vocals from Delana Flowers, Willa Katy Cotten and Carmen Miller is delicious, promising good things ahead.

“I Got That Dog in Me” is a funky warning about short-tempered ways: “I’m always sniffin’, I’m always on guard, yeah I’m looking for a poodle in every backyard.” “Hungry Ghost,” is a rhythmic lament on unrequited love. “I Said What I Said” highlights a funky groove, and “Curiosity” is a wistful refrain: “What is it you’re after, what is it you’re trying to see? / Oh, if I knew the answer, you’d be the first to know / What you see is what get, I’m not putting on a show.”

“Rent Free” is a jazz-inflected highlight, with its effervescent music a counterpoint to its melancholy memories of lost love: “In the years since we parted / I never think about what used to be /I have no regrets, canceled all the debts / But you’re still living in my mind rent free.”

“Creature of Habit” is a defiantly upbeat defense of his personal defects: “You won’t find people skills on my resumé / And with a creature of habit / Bad habits don’t go away.” A spoken-word warning and lyrical guitar lines add to the mood. “Exit Strategy” struts out offering good advice: “When you’re up against the wall / Your hands will not be tied / If you have an exit strategy.”

“Dirty Knee Revelation” is a soulful, gospel-drenched quest for meaning, with gorgeous background vocals: “Burned all my bridges, ran out of hope / Searching for an answer at the end of my rope.” The background vocals.” There’s a hint of Latin rhythms on “Stickers On My Suitcase,” with its invitation to explore: “So if you’re up for an adventure / I’ve had my share / My offer’s on the table / Try me if you dare / Stickers on my suitcase, oh baby / We can get them anywhere.”

The anthemic title song, “Random Madness” opens with a hot blues spark from trumpet great Sean Jones and then leans into its aching refrain: “Tomorrow’s loss, yesterday’s gain / Equal measures of pleasure and pain / When the noise dies down, all that remains Is random madness.” It’s a finale.

Billy Price has been shaping his life in soul music for a large chunk of his 76 years. “Random Madness” is the eloquent result, with its always-soulful groove and its slyly perceptive lyrical insights.

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Here’s an excellent recent interview with Price by Michael Limnios at Blues Gr.

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Here’s the video of “I Was A Fool” from the album:

Tracklist: 

1. I Was a Fool – Billy Price, Jim Britton (3:24)  
2. I Got That Dog in Me – Billy Price, Jim Brit (4:18)
3. Hungry Ghost – Billy Price, Jim Britton, Tony Braunagel (4:45)  
4. I Said What I Said – Billy Price, Jim Britton (4:40)  
5. Curiosity – Billy Price, Jon Tiven, Sally Tiven, Tony Braunagel (4:05)  
6. Rent Free – Billy Price, Jim Britton (3:38)  
7. Creature of Habit – Billy Price, Jim Britton (3:33)  
8. Exit Strategy – Billy Price, Fred Chapellier, Tony Braunagel  
9. Dirty Knee Revelation – Billy Price, Jim Britton, Jackie Ondrik (5:04)  
10. Stickers on My Suitcase – Billy Price, Jim Britton (4:33)  
11. Random Madness – Billy Price, Jim Britton (4:44)  

Musicians:
Tom Valentine – bass
Dave Dodd – drums
Jim Britton – keyboards
Ian Arthurs – guitar
Eric Spaulding – saxophone
Joe Herndon – trumpet
Tony Braunagel – drums
Steve Delach – guitar
Reggie Watkins – trombone
Sean Jones – trumpet
Background vocals — Delana Flowers, Willa Katy Cotten, Carmen Miller

The 2026 Blues Music Awards were announced at ceremonies May 7 at the Cannon Center for the Performing Arts in Memphis. Here’s a list of all the nominees, with winners in bold.

The BMAs are generally recognized as the highest honor given to blues musicians and are awarded by vote of Blues Foundation members.

The Blues Foundation also announced new inductees into the Blues Hall of Fame: Kenny Neal, Bob “Steady Rollin’” Margolin, Henry “Ragtime Texas” Thomas, Rosco Gordon, Barbara Lynn and Marcia Ball. (Read about the inductees here.)

Acoustic Blues Album

• Catfish Keith — Sugar for Sugar – Vol. 1 2025 Summer Sessions
• Doug MacLeod — Between Somewhere and Goodbye
• Erin Harpe — Let The Mermaids Flirt With Me: A Tribute to Mississippi John Hurt
• Hudspeth & Taylor — Kimuziki Live in Des Moines
• Johnny Iguana — At Delmark

Acoustic Blues Artist

• Catfish Keith
• Doug MacLeod
• Eric Bibb
• Kevin Burt
• Rhiannon Giddens

Album of the Year

• Blood Brothers (Mike Zito & Albert Castiglia) — Help Yourself
• Bobby Rush & Kenny Wayne Shepherd — Young Fashioned Ways
• D.K. Harrell — Talkin’ Heavy
• Larry McCray — Heartbreak City
• Tommy Castro & The Painkillers — Closer To The Bone

B.B. King Entertainer of the Year

• Castro Coleman (Mr. Sipp)
• Rick Estrin
• Ronnie Baker Brooks
• Ruthie Foster
• Vanessa Collier

Band of the Year

• Anthony Paule Soul Orchestra
• John Nemeth and the Blue Dreamers
• Southern Avenue
• Tedeschi Trucks Band
• Vanessa Collier Band

Best Emerging Artist Album

• Brody Buster — Redemption
• Allison August — August Moon
• Sean McDonald — Have Mercy!
• Robbin Kapsalis — THE BLUES IS IN THE HOUSE
• Kyle Rowland — NOT HOLDING BACK!

Blues Rock Album

• Blood Brothers (Mike Zito & Albert Castiglia) — Help Yourself
• Devon Allman — BLUES SUMMIT
• Kent Burnside — Hill Country Blood
• Tom Hambridge — Down The Hatch
• Walter Trout — Sign Of The Times

Blues Rock Artist

• Ana Popovic
• Kenny Wayne Shepherd
• Kirk Fletcher
• Tommy Castro
• Walter Trout

Contemporary Blues Album

• Brandon Santini — Which Way Do We Go?
• Carolyn Wonderland — Truth Is
• D.K. Harrell — Talkin’ Heavy
• Monster Mike Welch — Keep Living Til I Die
• Southern Avenue — Family

Contemporary Blues Female Artist

• Carolyn Wonderland
• Danielle Nicole
• Ruthie Foster
• Samantha Fish
• Vanessa Collier

Contemporary Blues Male Artist

• Brandon Santini
• Castro Coleman (Mr. Sipp)
• Chris Cain
• Christone “Kingfish” Ingram
• D.K. Harrell

Instrumentalist – Bass

• Benny Turner
• Larry Fulcher
• Michael “Mudcat” Ward
• Rodrigo Mantovani
• Scot Sutherland

Instrumentalist – Drums

• Chris Layton
• Chris Peet
• Derrick D’Mar Martin
• Tom Hambridge
• Tony Braunagel

Instrumentalist – Guitar

• Chris Cain
• Christoffer “Kid” Andersen
• Derek Trucks
• Joanna Connor
• Ronnie Baker Brooks

Instrumentalist – Harmonica

• Billy Branch
• Bob Corritore
• Brandon Santini
• John Nemeth
• Kim Wilson

Instrumentalist – Horn

• Greg Piccolo
• Jimmy Carpenter
• Mark “Kaz” Kazanoff
• Regi Oliver
• Trombone Shorty

Instrumentalist – Piano (Pinetop Perkins Piano Player)

• Anthony Geraci
• Bruce Katz
• Dave Keyes
• Jon Cleary
• Marcia Ball

Instrumentalist – Vocals

• Candice Ivory
• Danielle Nicole
• John Nemeth
• Shemekia Copeland
• Susan Tedeschi

Song of the Year

• “Mile After Mile” — written by Brandon Santini & Jeff Jensen
• “Bye Bye Blues” — written by Larry McCray & Charlie Walmsley
• “Can’t Catch a Break” — written by Tommy Castro & Christoffer Andersen
• “Upside” — written by Tierinii Jackson, Tikyra Jackson, Ori Naftaly, Dylan Altman & Marshall Altman
• “Who Was That?” — written by Emmett Ellis Jr. & Kenny Wayne Shepherd

Soul Blues Album

• Dave Keller — La Brea
• Jimmy Burns & Soul Message Band — Full Circle
• Johnny Rawls — Make Them Dance
• Tad Robinson Band — Soul In Blue
• The Soul of John Black — Soul Salvation

Soul Blues Female Artist

• Annika Chambers
• Candice Ivory
• Kat Riggins
• Thornetta Davis
• Vaneese Thomas

Soul Blues Male Artist

• Alabama Mike
• Curtis Salgado
• John Nemeth
• Johnny Rawls
• Tad Robinson

Traditional Blues Album

• Bobby Rush & Kenny Wayne Shepherd — Young Fashioned Ways
• Buddy Guy — Ain’t Done With The Blues
• Charlie Musselwhite — Look Out Highway
• Maria Muldaur — One Hour Mama: The Blues of Victoria Spivey
• Roomful Of Blues — Steppin’ Out

Traditional Blues Female Artist (Koko Taylor Award)

• Diunna Greenleaf
• Eden Brent
• Maria Muldaur
• Rhiannon Giddens
• Teeny Tucker

Traditional Blues Male Artist

• Billy Branch
• Jimmie Vaughan
• John Primer
• Jontavious Willis
• Rick Estrin

International Blues Album

• Brandon Isaak — Walkin With The Blues
• Honeybear, the Band — I Was Wrong
• Hubert Dorigatti & Blues harp masters — Poor Boy
• J.T. Lauritsen & The Buckshot Hunters — Still be friends
• The Angelique Francis Band — Not Defeated

The CD Woodbury Trio — “Bulldog” — Lightning In A Bottle Records

Clint “CD” Woodbury is a rare find: He’s a multi-talented guitarist, a versatile vocalist and a crafty songwriter.

He’s been thriving in the Pacific Northwest blues scene for years – the Seattle-based Washington Blues Society has honored him with thirteen Best of the Blues awards and inducted him into its Hall of Fame in 2022. Woodbury’s two previous studio albums, “Monday Night!” and “World’s Gone Crazy” charted on international independent radio. He’s performed with countless artists, transforming from a highly valued sideman into the leader of his own band – The CD Woodbury Trio.

With his latest album, “Bulldog,” Woodbury unleashes his multiple talents on a finely crafted set of three smart originals and eight inventive covers that collar his blues, roots and rock sensibilities. His two bandmates, bassist Robert Baker and drummer Bill Ray, help Woodbury lay down sounds that range from a power trio to countrified acoustic blues. The originals are cleverly spun tales, while the covers summon up the spirit of their eclectic origins. Woodbury has transformed that spirit into his own unique creations.

Woodbury slashes open the session with “Wicked Grin,” by Michael Pickett and Gary Nicholson, a mean and evil blues about a man whose “wicked grin” signals his desire to avenge his wronged woman — with a razor.

Woodbury’s muscular guitar introduces Albert King’s “Born Under a Bad Sign” and keeps its spirit alive throughout this classic blues. “Little Sister” was a 1961 hit for Elvis Presley, and Woodbury eases the rocker into a bluesy shuffle featuring harp by Bill Davis. It’s always worth mentioning that this song is another in a long line of great songs with Doc Pomus’s name attached.

The trio adds a funky upbeat note to Bobby “Blue” Bland’s “I Wouldn’t Treat a Dog (The Way You Treated Me),” with a sparkling guitar solo midway. Gaslight Road is Woodbury’s easy-rocking commentary on contemporary deception. “You say it didn’t happen, you tell me to let it slide, said ‘who you gonna believe, me or your own lying eyes,’ cause we’re livin’ on gaslight road … where the truth goes to die.”

Woodbury captures the lyrical heart of Cream’s “Politician,” adding his own psychedelic guitar backing to its statement: “I support the left, though I’m leaning to the right / Just don’t try to find me, if there should be a fight.” “Dollar Store Readers” is an original from Woodbury and Michele D’Amour, a down-home acoustic gem that casts a wry eye at his cheap Dollar Store reading glasses with their “birth control frames” – He’s “got the far-sighted, fuzzy eyed, dollar store reading glasses blues.”

Woodbury converts the raucous funk of James Brown’s “I Got You (I Feel Good)” into a jazz-inflected interlude laced with more harp from Davis, restating just how good he feels: “Nice, like sugar and spice.” Then he produces a guitar-driven update of the Willie Dixon classic, “Spoonful,” with a spot-on vocal and intriguing flute lines from Mike Marinig. It’s also another nod to Cream, which included the song on its UK debut album, “Fresh Cream.”

Woodbury’s guitar and Joel Astley’s harp play a musical duet in a swinging take on Mark Dufresne’s “A Song in There,” a song about writing a song: “Wait a minute brother, there’s a song in there.” The closer is “(Call Me The) Bulldog,” an original that barks out its blues with a bite: “Swagger in my step and a face only a mother could love / Got a bark like thunder, ain’t afraid to bite the hand I’m thinkin’ of.”

Now that CD Woodbury has unleashed “Bulldog,” you can expect him to be dogging his formidable blues around well beyond the Pacific Northwest.

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Here’s a live version of “A Song in There.”

Tracklist:

1. Wicked Grin
2. Born Under a Bad Sign
3. Little Sister
4. I Wouldn’t Treat A Dog (The Way You Treated Me)
5. Gaslight Road
6. Politician
7. Dollar Store Readers
8. I got You (I Feel Good)
9. Spoonful
10. A Song in There
11. (Call Me The) Bulldog

Dan Penn — “Smoke Filled Room” — The Last Music Company

Dan Penn is a great American songwriter whose name is not exactly a household word. But it should be.

He wrote or co-wrote some of the classics from the early southern soul music songbook — including classics like “I’m Your Puppet,” “The Dark End of the Street,” “Do Right Woman, Do Right Man” with Chips Moman and “Cry Like a Baby” with Spooner Oldham.

He’s a fine singer, too, but chose songwriting when “I’m Your Puppet” became a giant hit for Jimmy and Bobby Purify in 1966, which was nominated for a Grammy in 1967.

Here’s how Wikipedia describes his early years:
“Penn grew up in Vernon, Alabama, United States, and spent much of his teens and early twenties in the Quad Cities–Muscle Shoals area. He was a regular at Rick Hall’s FAME Studios as a performer, songwriter, and producer. It was during his time with FAME that Penn cut his first record, “Crazy Over You” in 1960, and wrote his first hit, “Is a Bluebird Blue?”, which was recorded by Conway Twitty in the same year.”

Penn has recorded only a handful of albums on his own since 1973’s “Nobody’s Fool.” His most recent was “Living On Mercy” in 2020.

His latest, “Smoke Filled Room,” is not exactly his newest work. It’s a brilliant collection of almost-never-before released collection of eleven song demos. The sole song that has been recorded is the title track, by Irma Thomas on her 1992 album, “True Believer.”

The songs here are an outstanding selection of smoothly and soulfully sung tracks, all with sparse instrumental accompaniment that serves to emphasize Penn’s superb lyricism — and his intimate vocals.

Penn was kind enough to write liner notes commenting each song, so that I could copy them here to elaborate on his choices:

“Smoke Filled Room”
I’ve been trying to get this song cut for a long time. Andy Peake played drums on it and did some computer work that allowed me to sing it. Billy Lawson gave me a great mix down which finally sounded right.
“Blues of The Month Club”
An older demo that I cut with Gary and Carson. Always loved the track. Finally getting it out there.
“There’s Nothing Out There”
Found this one in the demo files. The Do Right Woman liked it and that was good enough for me. I like it too.
“The Longest Day”
Me and Carson (Whitsett) and Bucky (Lindsey) were down in Louisiana in a cabin writing songs one day, and Carson began playing some very nice chords on the piano. I had the tape recorder on and began singing along with him—we wrote this song with no discussion or anything—it just fell—it was a gift.
“Leave It Like You Found It”
Yours truly on the keyboards. I got lucky.
“Battling The Blues”
A three-way writing session that came out great. Me and Bucky and Carson wrote it here at my studio in Nashville. Always loved this one.
“Crazy Ol’ Girl”
Written and recorded in Florida at Studebaker John’s house.
“Hellbound Snowball”
The late and great Bobby Emmons laying it down. He was just so good.
“Let Love Begin With Me”
Charlie Taylor joined me and Carson for this gem, one of a kind song.
“Creator of All Things”
Swain Schaefer was a great piano player. We cut this in my studio.
“One Blue Light”
I wrote this over a five-year period. Billy Lawson cut the track, played everything, mixed and mastered it, and I made him co-producer of this track.

All that’s left for me to say is that this album is an excellent sampling of Penn’s inspired songwriting and his personal vocal style. It’s a revealing glimpse into his creative history.

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Here are a few samples of some essential Dan Penn:

Dan Penn and Spooner Oldham perform “I’m Your Puppet.” They wrote the song in 1965, and a year later James and Bobby Purify made it a hit.

Here’s one of Penn’s first big soul hits, (written with Chips Moman) “The Dark End of the Street.” It was first recorded by James Carr in 1967. Carr was a great, but largely unheralded, soul singer.

Here’s “Smoke Filled Room” from the album:

Tracks and credits:

1. Smoke Filled Room (4:12) Dan Penn/Dan Penn Music; Carson Whitsett/High Horse Music; Johnny Barnett/Silver Bay Music. (BMI).
2. Blues of The Month Club (4:42) Carson Whitsett/High Horse Music; Dan Penn/Dan Penn Music. (BMI) Gary Nicholson/Sony ATV Crosskeys (ASCAP)
3. There’s Nothing Out There (3:49) Carson Whitsett/High Horse Music; Dan Penn/Dan Penn Music. (BMI)
4. The Longest Day (3:04) Carson Whitsett/High Horse Music; Dan Penn/Dan Penn Music. (BMI)
5. Leave It Like You Found It (3:55) Dan Penn/Dan Penn Music (BMI).
6. Battling The Blues (3:29) Bucky Lindsey/Hoy Lindsey Music; Carson Whitsett/High Horse Music; Dan Penn/Dan Penn Music(BMI).
7. Crazy Ol’ Girl (4:01) Bucky Lindsey/Hoy Lindsey Music; Carson Whitsett/High Horse Music; Dan Penn/Dan Penn Music(BMI).
8. Hellbound Snowball (3:43) Bobby Emmons/Attadoo Music; Dan Penn/Dan Penn Music (BMI).
9. Let Love Begin With Me (3:19) Charlie Taylor/Momo Taylor Music (ASCAP); Carson Whitsett/High Horse Music; Dan Penn/Dan Penn Music. (BMI)
10. Creator of All Things (4:33) Swain Schaefer/Swainsongs; Dan Penn/Dan Penn Music (BMI).
11. One Blue Light (3:49) Dan Penn/Dan Penn Music (BMI).

Musicians by track:
1. B3 ~ Carson Whitsett, Guitar ~ Mike Durham, Programming ~ Andy Peake, Bass ~ Paul Ossola.
2. Keyboards ~ Carson Whitsett, Guitar ~ Gary Nicholson.
3. Keyboards ~ Carson Whitsett.
4. Keyboards ~ Carson Whitsett.
5. All instruments played by Dan Penn.
6. Keyboards ~ Carson Whitsett, Bass ~ Bucky Lindsey.
7. Keyboards ~ Carson Whitsett, Lead Vocal ~ Bucky Lindsey.
8. Keyboards ~ Bobby Emmons, Guitar ~ Dan Penn.
9. All instruments played by Carson Whitsett.
10. Piano ~ Swain Schaefer.
11. All instruments played by Billy Lawson

Curtis Salgado — “Legacy Rewind – Live in ’25” — Nola Blue Records

Let me say right at the start: Curtis Salgado is one of my favorite artists.

I’ve seen him perform live many times, and he never disappoints. Throws himself into???, p. His recorded albums are splendid musical statements. His blend of smart songwriting, funky R&B, rock, soul and blues never disappoints. He’s been making music for a half-century plus, and he just seems to get better and better, his soulful pipes aging like good whiskey until he pours his heart out into song. (Salgado’s impressive biography is worth reading here. He’s already lived several lifetimes.)

But Salgado has never recorded an album that captures the magical impact of his amazing live performances. Until now. “Legacy Rewind – Live in ’25” is a project with its genesis in the mind of a fan named Randy Maag in 2019, who asked Salgado if he’d ever thought about recording a live album. The answer: “Hell yes!” Covid intervened; the project dropped, but in 2024 Maag again asked the same question. Again, the same answer: “Hell yes!”

“Legacy Rewind – Live in ’25” is the result, recorded live from two performances at The Triple Door in Seattle, Wash., on April 5, 2025. Ten of the thirteen songs are from Salgado’s extensive list of Blues Music Award-nominated projects and award-winning albums:

Salgado and Maag went to work, as Salgado describes in the liner notes:

“The set list for the recording was a collection of R&B, funk, soul and blues songs that I’ve written or performed myself. Some of these songs I’ve never performed live, or if I have, it’s been years. I put together a 15‑piece band of my favorite musicians that I’ve worked with over the years and asked my long‑time engineer/Tour Manager/Partner in Crime, Michael Crider, to handle the technical side. We rehearsed as much as we could, as time allowed. After a dress rehearsal performance in Portland, we went to Eugene to perform a matinee show and an evening show, one after the other.”

“When it was over, to tell the truth, I wasn’t really sure if we had done good. Not only was this a new experience for all of us, but Randy was filming the event, so we were all feeling the pressure. Later, in the studio in Portland, my doubts were unfounded. The band is killing it. The recording sounds amazing and the energy is palpable. You can feel it. The groove on this recording? Well, you couldn’t cut it with a chainsaw.”

And of course, he’s right. The groove is chainsaw-proof.

The album collects 13 memorable songs from Salgado’s past, 11 with his name as writer or co-writer, and remakes them with this razor-sharp band and his gritty, weathered vocals. His lyrical content is a constant delight, filled with sharpness and wit and topped with his unique phrasing.

That greasy Salgado groove is obvious from the first fat chunky notes and Dalgado’s soulful moan on the opening track, “Sing My Song,” from his 1999 debut album “Wiggle Outta This.” Then he kicks off the title track from that album, “Wiggle Outta This,” another throbbing blend of B3 and kick-ass horns, with a crisp harmonica solo. Those openers set the majestic tone for everything that follows. “Sweet Jesus Buddha the Doctor,” is also reprised from the ’99 album, grabbing John Linn’s funk-filled bass attack, riding it hard and putting it away wet.

The selections weave in and out of the years, coming from a half-dozen albums ranging from his ’99 debut to last year’s “Fine With Me.” 2004’s “Strong Suspicion” contributes “Money Must Think I’m Dead,” where he’s “spending my pride for a poverty wage.” The 2008 album “Clean Getaway” delivers three tracks: “Clean Getaway,” the tough rocker “I Don’t Want to Discuss It” and the epic blues of “20 Years of B.B. King”: “I’ve learned more about the blues in two weeks from you / Than 20 years of B.B. King.”

“Soul Shot,” from 2012, delivers the soul-drenched “Nobody But You” and the powerful church-hewn anthem “A Woman or the Blues.” 2021’s Damage Control offers a melodic “Count of Three” introduced by Chuck Berry-like guitar licks and “Precious Time” with its own stinging guitar. The most recent revivals include the funky vocal exhortations of relationship limits “My Girlfriend,” from 2023’s “The Beautiful Lowdown,” and a Latin-tinged “Fine With Me,” the title track of that 2025 release.

It’s essential to the greatness of any music to hear it performed live. On “Legacy,” Salgado’s music is lifted to another level with all the musicians in the same room, feeding off of each other as well as the enthusiasm of the crowd.

“Legacy” overflows with powerful music that puts everything Salgado does best on full display: His vocals strut, shout, plead and moan, surrounded by the band’s massive, relentless groove. Backup singers add a brilliant choral texture throughout. This may not be an album of new music, but it’s classical American music, played to perfection. enjoy it anytime, but start immediately!

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Here’s “Wiggle Out of This” from the album:

Tracklist and credits:

1. Sing My Song — 4:49 (Curtis Salgado/ASCAP)
2. Wiggle Outta This — 4:58 (Curtis Salgado/ASCAP, Marlon McClain/ASCAP, Peter Boe/BMI)
3. Clean Getaway — 5:48 (Curtis Salgado/ASCAP, Rusty Hall, Alby Allan, Brian Ward/ASCAP)
4. My Girlfriend — 4:09 (Curtis Salgado/ASCAP, Brian A. Foxworth/ASCAP, Vyasa Dodson, Brian J. Harris/BMI, Tracy Arrington/BMI)
5. Money Must Think I’m Dead — 5:30 (Curtis Salgado/ASCAP, Willie Barber/BMI, Rick Estrin/BMI)
6. Sweet Jesus Buddha the Doctor — 7:01 (Curtis Salgado/ASCAP, Matthias Baumann, Manford Huber, Harald Ahamer, Markus Marageter, Manfred Franzmeier/Edition Spray c/o BMG Music Publishing Vienna)
7. Count of Three — 3:54 (Curtis Salgado/ASCAP, Vyasa Dodson/ASCAP)
8. Precious Time — 4:36 (Curtis Salgado/ASCAP, George Marinelli/BMI, Andrew J. Harrison/BMI, Michael K. Finnegan/BMI)
9. Nobody But You — 3:32 (Charles Hodges)
10. I Don’t Want to Discuss It — 3:03 (Beth Beatty/BMI, Dick Cooper/BMI, Ernie Shelby/BMI)
11. A Woman or the Blues — 6:39 (Curtis Salgado/ASCAP, David Duncan/BMI)
12. 20 Years of B.B. King — 5:02 (David Duncan/BMI, Curtis Salgado/ASCAP)
13. Fine By Me — 4:07 (Curtis Salgado/ASCAP, George Marinelli/BMI)

Musicians:
Curtis Salgado – lead vocals, harmonica (track 3) Keashaun Jones, Margaret Linn, Lindsey Reynolds – backing vocals Alan Hager, Ben Rice – lead & rhythm guitar Kenny Meriedeth – rhythm guitar (track 2) John Linn – bass Act I John Wolcott – bass Act II Gary Harris – alto & tenor saxophone Timothy Bryson – tenor & baritone saxophone Dave Mills – trumpet Lars Campbell – trombone Brady Goss – piano Brian Harris – B3 Ron Tuttle – drums & percussion Act I Patrick Seals – drums & percussion Act II
Recorded at the Triple Door, Seattle – April 5, 2025

Ed Alstrom — “This Idea of Humanity” — Haywire

(My apologies. I wrote this review weeks ago and failed to actually publish it. The album was released in February. I have been severely reprimanded, and my libation rations have been drastically reduced.)

Organ music has its roots in ancient Greece, where it was played at games and events. Ed Alstrom plays modern organ music that has its own roots, deep in the blues.

Alstrom became part of organ music history when he began playing his family’s Hammond M-3 at the age of five. Later, armed with a degree in Organ Performance from Westminster Choir College in Princeton, N.J., and experience surviving disco lounges, Alstrom worked the stage with performers like Bette Midler, Chuck Berry, Leonard Bernstein, Herbie Hancock, Odetta, Dion — and many others.

With all that Hammond mastery, it was only natural, Alstrom says, that he would eventually become – a bluesman. His latest album, “This Idea of Humanity,” finds him at the top of this blues game, crafting eloquent tales of love and life in 14 original songs.

Alstrom’s majestic organ work simmers throughout, but his musical contributions also include piano, melodica, clavinet, synthesizer, Suzuki Andes, bass, guitar, percussion and drums. His songs are intricately crafted visions of the humanity that fascinates him; his gritty vocals enhance lyrical morality tales that spin from the whimsical to the sublime.

The album opens with a soaring Ray Charles-inspired love song, “Put You First,” sparked by a furious Hammond solo and Alstrom’s fervent vocal proclaiming: “My love is deep and wide, a love that’s strong and vast / I’m gonna put you first, and I’m gonna make it last.” The defiant blues anthem “All I’m Gonna Do” proclaims Alstrom’s love for his music: “We’ve only so much time on this mortal coil / So I’m bringing my genius to a rolling boil / Communin’ with no one but my muse / And all I’m gonna do is play the blues.”

The philosophical rhythms of “Humans” get to the essence of the album title: “See, I love this idea of humanity / It’s these humans I just can’t tolerate.” “Nothing Good to Say” chugs along in a bluesy shuffle with its childhood lesson from Alstrom’s past: “Son, hear me good, and I still hear my Daddy’s call / If you got nothing good to say, don’t say nothing at all.”

“Bridesmaid” gets a sanctified church organ intro that becomes an updated blues version of the traditional “always a bridesmaid” theme: “Always the best man, never the groom.” Alstrom’s childhood friend and fellow bluesman Jimmy Vivino shares the vocals on “Party Planner,” reviving their Sam and Dave-style gigs, with a soulful Hammond solo: “I say hey party planner, plan a party for me / I’m rid of this woman and I’m as happy as I can be.”

“Understanding” is Alstrom at his thoughtful best, not understanding the art of understanding, in an elegant slow blues: “I try to read expressions and feel synergy / Decode body language but all I get is ennui.” Alstrom’s ode to the resilience of the blues, “Blues Keep Coming Back,” pushes the musical boundaries of the music in this multi-colored creation, adding drummer Don Guinta: “It’s rooted in the cosmos, its fruit flowin’ with the streams / The blues keep coming back, unlikely as it sometimes seems.”

The upbeat “Go Ahead” explores the concept of letting others have their say, no matter what: “You can go on your tawdry spree, go ahead, go ahead / I ain’t wasting no more energy, so go ahead.” The jazzy Inquiring Minds updates an old slogan: “Stop this division, hate and war
Inquiring minds can’t take no more.”

“The Way Back” is a primal slow blues featuring Vivino on slide guitar: “But I got some kind of grip now, and there’s still one thing that I know / Found my way most of the way back, but I still got a damn long way to go.” “Got to Stop” opens with a jaunty Ramsey Lewis piano vibe, listing personal vices that just have to go: “Got to shake my sordid past, or my next might be my last / I’ve got to stop.”

“So Hard” is a rocking song for the unsung workers of the world: “I’m sayin’ you should think about what other folks do / They’re doing it to make life better for you.” The closer, “Worry,” floats in on an airy progressive jazz intro, offering Alstrom’s key to happiness: “Don’t worry about the world cause each spin might be its last.”

“This Idea of Humanity” articulates Ed Alstrom’s compelling musical visions of the humanity he tolerates with humor and compassion. But Alstrom hasn’t ignored that ancient history of games with organ music – his weekend gig is playing the organ at baseball’s Yankee Stadium.

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Here’s “Put You First” from the album:

Tracklist:
01. Put You First (3:28)
02. All I’m Gonna Do (3:44)
03. Humans (3:39)
04. Nothing Good to Say (4:07)
05. Bridesmaid (3:03)
06. Party Planner (feat. Jimmy Vivino) (3:42)
07. Understanding (3:08)
08. Blues Keep Coming Back (5:01)
09. Go Ahead (2:52)
10. Inquiring Minds (3:18)
11. The Way Back (feat. Jimmy Vivino) (4:36)
12. Got to Stop (3:47)
13. So Hard (2:33)
14. Worry (6:48)

Bob Corritore & Friends — “Ernestine Blues” — VizzTone Records

Bob Corritore is a master of two crucial musical skills — he’s a virtuoso on the blues harmonica, and a masterful producer of vital, old-school blues albums.

Corritore is based in his Phoenix, Ariz., Rhythm Room, where he’s gathered great artists for his years-long succession of extraordinary albums whose music digs deep into rich blues history.

Those seasoned vocalists and musicians make up the “Friends” who crank out the blues here for this magnificent set of classic blues stylings.

The result is “Ernestine Blues,” recorded between 2023 and 2025 with an impressive list of guest artists, including Sugaray Rayford, Bob Stroger, Tia Carroll, Oscar Wilson, Willie Buck, Teeny Tucker, Pat Thomas, and Johnny Rawls, backed by veteran musicians such as Kid Ramos, Bob Margolin, Billy Flynn, Anthony Geraci, Ben Levin, Doug James — and more. (Full list of artists by track at end of post.)

Corritore says the sixteen tracks for this album were carefully chosen: “Of all my releases, this is the most storytelling album I’ve ever done. Each song tells its own story, and as you bind them together you get a beautiful book that takes you on many adventures.” Those story-driven songs move effortlessly between classic Chicago blues, early R&B, Mississippi country blues, and soul-blues traditions. Corritore’s sensitive harp work is the thread that connects this elegant tapestry of voices and styles,

Corritore opens with the straight-ahead, tuff-enuff shuffle, “How’d You Learn To Shake It Like That,” a 1985 song by Snooky Pryor, with former B.B. King drummer Tony Coleman’s rugged vocals and rock-steady drums, Jimi ‘Primetime’ Smith on guitar, Bob Stroger on bass, and Anthony Geraci on piano. This stellar lineup, with Corritore’s soaring harp, signals good blues ahead as Coleman growls: “Your daddy was a preacher, your mama was an alley cat.”

The R&B-drenched romp “Tell Me Darling,” written by Betty Everett and Lucious Porter Weaver in 1959, features Carla Denise on vocals and adds Wes Starr on drums, and Doug James on saxophone. “Big Fat Mama,” a blues that dates back to the 1920s and ’30s, features Pat Thomas on guitar and deep blue vocals. “Trouble No More” highlights Chicago’s Willie Buck on the 1955 Muddy Waters chestnut, featuring Waters’ former bandmate, guitarist Bob Margolin.

The soul-blues legend Johnny Rawls brings his church-hewn pipes to bear on his original “I Love the South,” a Mississippi anthem cradled by a gospel chorus. “Going Fishing” is a Jimmy Reed song, revived by Jimi “Primetime” Smith, who first learned to play guitar from Reed.

Denise returns for a soulful vocal performance on “Troubles On Your Mind,” backed by a haunting piano turn by Levin and an ethereal Corritore harp solo. Denise then shifts into a tougher gear for the hard-rocking, sax-fueled “Wild As You Can Be,” originally recorded by Mary Ann Fisher, one of the Ray Charles’s Raelettes. “Pretty Girls Everywhere” is a timeless 1959 rock ‘n’ roll classic sparked here by the equally ageless Stroger. Buck displays his Muddy Waters roots again with his churning original, “Standing on the Bank.”

A swinging harp introduces soul-blues vocalist Charles Wilson on the uptown shuffle, “Sorry I Had to Leave You Behind.”  Cash Box Kings vocalist Oscar Wilson offers a delicate version of the Joe Tex song, “She Might Need Me,” with elegant Corritore harp backing. Then on the next track, Wilson goes down home on “Down In Mississippi,” over a sumptuous Jimmy Reed groove.

The energetic closing track, “Shoes,” is sung by Teeny Tucker, the daughter of Tommy Tucker, who created “Hi Heel Sneakers.”  Her vocal is laced with the enthusiasm that drives this entire session.

As Corritore noted, “Each song tells its own story, and as you bind them together you get a beautiful book that takes you on many adventures.” Those adventures make for the glorious blues and soul music that fills the tracks of “Ernestine Blues.” Fill your mind — and your soul — with this grand old music.

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The “Ernestine Blues” cover art deserves a shout. It’s another gem from illustrator Vince Ray, whose vividly drawn work on a series of eight Corritore album covers gives visual life to the music in their tracks. It’s a welcome throwback to the golden era of LP covers that often turned into wall art.

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Here’s “I Love the South” from the album:

Tracklist & credits:

1. How’d Ya Learn to Shake It Like That — 4:24 Tony Coleman sings and plays drums, with Jimi “Primetime” Smith on guitar, Bob Stroger on bass, and Anthony Geraci on piano.
2. Tell Me Darling — 2:08 Carla Denise sings, joined by Jimi “Primetime” Smith on guitar, Bob Stroger on bass, Anthony Geraci on piano, Wes Starr on drums, and Doug James on saxophone.
3. Big Fat Mama — 2:44 Pat Thomas handles both vocals and guitar.
4. Blind Man Cry — 5:01 Sugaray Rayford sings, with Jimi “Primetime” Smith and Johnny Rapp on guitars, Russ Harwood on organ, Yahni Riley on bass, and Brian Fahey on drums.
5. Ernestine — 2:34 Tia Carroll sings, backed by Jimi “Primetime” Smith and Bob Margolin on guitars, Bob Stroger on bass, Anthony Geraci on piano, Wes Starr on drums, Doug James on saxophone, and backing vocalists Eboni McDonald, Diamond Porter, and Yolanda Tharrington.
6. Trouble No More — 2:22 Willie Buck sings, with Jimi “Primetime” Smith and Bob Margolin on guitars, Bob Stroger on bass, Anthony Geraci on piano, and Wes Starr on drums.
7. I Love the South — 4:40 Johnny Rawls sings and plays guitar, joined by Jimi “Primetime” Smith on guitar, Terry “D” Harris on organ, Yahni Riley on bass, Brian Fahey on drums, and backing vocalists Eboni McDonald, Yolanda Tharrington, and Clarke Rigsby.
8. Going Fishing — 3:12 Jimi “Primetime” Smith sings and plays guitar, with Bob Margolin on guitar, Bob Stroger on bass, Anthony Geraci on piano, and Wes Starr on drums.
9. Troubles On Your Mind — 3:43 Carla Denise sings, accompanied by pianist Ben Levin.
10. Wild As You Can Be — 3:38 Carla Denise sings again, with Jimi “Primetime” Smith and Bob Margolin on guitars, Bob Stroger on bass, Anthony Geraci on piano, Wes Starr on drums, and Doug James on saxophone.
11. Pretty Girls Everywhere — 3:16 Bob Stroger sings, with Jimi “Primetime” Smith and Bob Margolin on guitars, Anthony Geraci on piano, and Wes Starr on drums.
12. Standing On the Bank — 3:36 Willie Buck sings, backed by Jimi “Primetime” Smith and Bob Margolin on guitars, Bob Stroger on bass, Anthony Geraci on piano, and Wes Starr on drums.
13. Sorry I Had to Leave You Behind — 2:58 Charles Wilson sings, with Kid Ramos and Johnny Main on guitars, Mike Turturro on bass, and Brian Fahey on drums.
14. She Might Need Me — 3:59 Oscar Wilson sings, with Nick Moss on guitar, Ross Harwood on organ, Rodrigo Mantovani on bass, and Pierce Downer on drums.
15. Down in Mississippi — 3:59 Oscar Wilson sings, with Jimi “Primetime” Smith and Bob Margolin on guitars, Bob Stroger on bass, Anthony Geraci on piano, and Wes Starr on drums.
16. Shoes — 2:43 Teeny Tucker sings, with Jimi “Primetime” Smith and Billy Flynn on guitars, Bob Stroger on bass, Anthony Geraci on piano, and Wes Starr on drums.

Mike Guldin — “While I Can” — Blue Sky Tunes

Mike Guldin is a veteran bluesman from Eastern Pennsylvania with roots-driven songwriting that crafts the stories he sings, and the music that swings so effortlessly behind his expressive vocals.

His sixth album, “While I Can,” brings together his aptly named Rollin’ & Tumblin’ band plus a handful of musical aces who help polish off the dozen tracks that spark this lively session.

The album comes from the Rock House studio of Grammy-laden Kevin McKendree, who produced its clean, crisp sound, contributed to the songwriting and adds his always top-notch keyboard skills. The music has a live feel that focuses on its immediacy and honesty.

The title itself comes from a conversation between McKendree and Guldin: “One of the first things Kevin asked me was why I was making this album. I conveyed to him the story of when my dad Vernie got sick and he told me, ‘Mike, if there is something you wanna do in life, do it while you can’. Hence how we arrived at the title “While I Can.”

Guldin’s Tumbler bandmates here include Bill Sharrow, Tim Hooper, Billy Wear, Craig Thatcher, and The Snake Eyes Horns — Andy Kowal, Kyle Hummel, and Sal Lombardo Sr. And it would be criminal not to mention the artistry of the backup singers, Jackie Wilson and the McCrary Sisters, who add gospel and soul-soaked harmonies. (Full credits at the end of the post.)

Everything opens up on “Driving Rain,” with its anthemic feelings of striving for love despite the storm: “I’m drivin’ in the drivin’ rain. I’m gonna run wide open ’til I’m in your arms again.” A gorgeous, soulful duet with Wilson sparks “Heartbreak In Disguise,” and “Let It Shine” adds the McCrarys to highlight its inherent optimism with a countrified essence.

“Always A Woman” rocks its way along until “Luck Runs Dry” asks the always tough question: “It’s a matter of time before you go down / Whatcha gonna do when your luck runs dry.” Gentle rhythms flow on “Placencia Nights,” until “Goin’ Back To Memphis” soars with soulful Southern blues on uplifting background spirit from the McCrarys.

“When The Bills Come Due” features tough guitar work about tougher times: “The day has come to realize the truth / We need to come together when the bills come due.” “Roll Chattahoochee Roll” is a rollicking journey flowing through Southern memories, with soulful backing by Wilson: “Whenever I come home, the river soothes my soul / My family is here, and my roots run really deep.”

Guldin rocks through a delicious version of Don Gibson’s country classic “Oh Lonesome Me,” once again with Wilson’s sparkling vocal help. “Deadwood” is Wild-West country flavored with a taste of the blues and the honky-tonk closer “Down the Hatch” is a sprightly lament about the barroom life: “My wife says I drink too much, and there’s some truth to that / I blow in a tube to start my car, that’s where my life is at.”

“While I Can” is a splendid combination of whip-smart songwriting by Mike Guldin and musical vitality that creates this thoroughly enjoyable session.

Guldin is indeed doing it while he can. Let’s hope that he does it again.

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Here’s an older video of Mike Goldin’s band:

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Here’s a recent interview with Mike Guldin:

Tracklist and credits:

Steve Mackey – Bass Bill Sharrow – Bass Andrew Portz – Trumpet Lynn Williams – Drums Tim Hooper – Keyboards Kyle Hummel – Saxophone

1. Driving Rain — 3:48 Written by Kevin McKendree (East Folks Music, BMI), Dave Duncan (Covered Call Music, BMI), Curtis Salgado (Odalgas Music, ASCAP) Mike Guldin – Vocals, Guitar Kevin McKendree – Piano, Organ, Guitar Steve Mackey – Bass Lynn Williams – Drums Andrew Portz – Trumpet Kyle Hummel – Saxophone

2. Heartbreak In Disguise — 3:54 Written by Michael Guldin (Hot Mustard Music, ASCAP), Kevin McKendree (East Folks Music, BMI), James Pennebaker (Pennepicker Music, ASCAP) Mike Guldin – Vocals, Guitar Kevin McKendree – Piano, Organ James Pennebaker – Guitar, Fiddle Steve Mackey – Bass Lynn Williams – Drums Tim Hooper – Keyboards

3. Let It Shine — 3:41 Written by Michael Guldin (Hot Mustard Music, ASCAP), William J. Sharrow (BMI), Laura‑Anne Klee (BMI) Mike Guldin – Vocals, Guitar Bill Sharrow – Bass Tim Hooper – Keyboards Andrew Portz – Trumpet Kyle Hummel – Saxophone

4. Always A Woman — 3:53 Written by Kevin McKendree (East Folks Music, BMI), Gary Nicholson (Sony ATV Music Publishing, ASCAP) Mike Guldin – Vocals, Guitar Kevin McKendree – Piano, Organ Gary Nicholson – Guitar, Background Vocals Steve Mackey – Bass Lynn Williams – Drums

5. Luck Runs Dry — 3:36 Written by Michael Guldin (Hot Mustard Music, ASCAP), Kevin McKendree (East Folks Music, BMI) Mike Guldin – Vocals, Guitar Kevin McKendree – Piano, Organ Steve Mackey – Bass Lynn Williams – Drums

6. Placencia Nights — 3:27 Written by Michael Guldin (Hot Mustard Music, ASCAP), Kevin McKendree (East Folks Music, BMI) Mike Guldin – Vocals, Guitar Kevin McKendree – Piano, Organ Steve Mackey – Bass Lynn Williams – Drums

7. Goin’ Back To Memphis — 3:48 Written by Michael Guldin (Hot Mustard Music, ASCAP), John Cumming (BMI) Mike Guldin – Vocals, Guitar John Cumming – Guitar Bill Sharrow – Bass Lynn Williams – Drums Kyle Hummel – Saxophone

8. When The Bills Come Due — 2:41 Written by Michael Guldin (Hot Mustard Music, ASCAP), Kevin McKendree (East Folks Music, BMI), James Pennebaker (Pennepicker Music, ASCAP) Mike Guldin – Vocals, Guitar Kevin McKendree – Piano, Organ James Pennebaker – Guitar Steve Mackey – Bass Lynn Williams – Drums

9. Roll Chattahoochee Roll — 3:01 Written by Michael Guldin (Hot Mustard Music, ASCAP), William J. Sharrow (BMI), Stanley Kevin Vannoy (BMI) Mike Guldin – Vocals, Guitar, Bill Sharrow – Bass, Stanley Kevin Vannoy – Guitar. Lynn Williams – Drums, Andrew Portz – Trumpet, Kyle Hummel – Saxophone

10. Oh Lonesome Me — 3:36 Written by Don Gibson (Sony ATV Acuff Rose Music, BMI) Mike Guldin – Vocals, Guitar, Kevin McKendree – Piano, Organ, Steve Mackey – Bass, Lynn Williams – Drums

11. Deadwood — 2:50 Written by Michael Guldin (Hot Mustard Music, ASCAP), Kevin McKendree (East Folks Music, BMI) Mike Guldin – Vocals, Guitar Kevin McKendree – Piano, Organ Steve Mackey – Bass Lynn Williams – Drums

12. Down The Hatch — 3:14 Written by Michael Guldin (Hot Mustard Music, ASCAP), Kevin McKendree (East Folks Music, BMI), James Pennebaker (Pennepicker Music, ASCAP) Mike Guldin – Vocals, Guitar Kevin McKendree – Piano, Organ James Pennebaker – Guitar Steve Mackey – Bass Lynn Williams – Drums

The United Kingdom boasts a blues world all its own, another example of the worldwide popularity of this uniquely American music. And they have their own blues awards.

The UK Blues Federation is an affiliate of the U.S. Blues Foundation, and a member of the European Blues Union. Since 2018, the UK Blues Federation has been hosting the UK Blues Awards.

Here’s a statement from the federation’s web site:

“The UK Blues Federation believes that Blues music in the United Kingdom (UK) needs to be better represented and coordinated in order to achieve the respect and prosperity that it deserves.

“Consequently in 2015, we established a pan-UK Federation to promote and support Blues in and from the UK in all its forms and styles. It is our aim to achieve the maximum recognition for UK Blues music, past, present, and future and thereby to boost the profile and prosperity of all involved with the genre in the UK, bringing those involved together to achieve this vision.

“As an Affiliate of the Blues Foundation in The USA and an Active Member of the European Blues Union our activities have a global reach.

“Since 2018 The UK Blues Federation has been hosting The UK Blues Awards. Our aim being to allow the industry and the public to nominate and vote for those they believe, through their work in the previous year, deserve the recognition an Award will give them.“

Here are the winners of the 2026 UK Blues Awards, announced April 8 (and here’s a list of the nominees):

Young Blues Artist of the Year
Zac Schulze

Emerging Blues Act of the Year
The Whisky Flowers

Unsung Hero of the Year
Jim Simpson

International Blues Artist of the Year
Joanne Shaw Taylor

Acoustic Blues Act of the Year
Mississippi MacDonald

Blues Festival of the Year
The Great British R&B Festival

Lifetime Achievement Award
Eric Clapton

Blues Album of the Year
Catfish – Time To Fly

Blues Vocalist of the Year
Alice Armstrong

Traditional Blues Artist of the Year
Connor Selby

Dave Raven Blues Broadcaster of the Year
Elles Bailey

Blues Club/Venue of the Year
The Tuesday Night Music Club

Matt Long Blues Instrumentalist of the Year
Will Wilde

Contemporary Blues Artist of the Year
Alice Armstrong

Blues Band of the Year
The Cinelli Brothers

Rick Vito — “Slidemaster” — MoMojo Records

Music without words isn’t all that unusual — Mozart didn’t write any lyrics — but a wordless album of blues and roots music is unique, and in Rick Vito’s hands, excellent music.

(It’s not too unique this month, though, since my previous post was on another fine instrumental album just released by Tom Principato, “Twangin’!”)

Vito is probably best known for his role in the legendary supergroup Fleetwood Mac from 1987-1991, when he revived the rootsy blues feeling of the band’s early years. In 2008 he partnered with Mick Fleetwood to form the Mick Fleetwood Blues Band and was nominated for a 2010 Grammy in the Best Traditional Blues category as both artist and producer for the album “Blue Again.”

Rick’s solo albums began with Atlantic Records in 1992 with “King of Hearts,” after which he began performing worldwide with his own band. His guitar work has also appeared on hundreds of recordings by such artists as Bob Seger, Bonnie Raitt, John Mayall, Albert Collins, John Prine and many, many more. He also received the 2024 Blues Music Award for song of the year, “It’s Two A.M.,” and his compositions have appeared in numerous movies and TV shows, including the TV series, “Blue Bloods.”

But, to paraphrase one of the songs covered here, a change was gonna come.

“For many years now, friends have asked, ‘when will you release an instrumental album?’ Having recorded even more instrumental tracks this past year, I finally decided to do just that,” says Vito. “To my knowledge there have not been many slide guitar instrumental albums, and out of this came the idea for “Slidemaster.” These new works are paired with some of my very favorite cuts from previous albums resulting in a soulful collection of all-instrumental slide guitar tracks. This album comes from years of recording in a style that I hope you will love as much as I do.”

It’s hard to understate the elegance of Vito’s slide work here, Vito remastered and remixed versions of five previously released songs and recorded seven new takes. Five of the total are smartly selected covers covering a range of styles. And he plays acoustic and electric bass and percussion, along with aan outstanding supporting cast. (Musicians and credits listed at end of post.)

Everything jumps out with the upbeat blues, “Vegas Jump,” a masterclass in super-slide work written by Vito, followed by the enchanted lines of “Steal Away” with undertones of a sweet Hawaiian guitar. “The Big Beat” rocks with … a big beat, and “The Danger Zone” is another haunting slow blues. “Red Hot Baby” is tough blues shuffle, and you can almost hear a “red hot baby” chorus line.

“Albatross” is a dreamy interlude from Peter Green, with sensuous slide; “Soul Shadows” add a funky percussion intro, and the original “Slide the Blues” is a slinky slow-drag shuffle made for a belt-buckle-polishing slow dance.

“A Change Is Gonna Come” removes those words from Sam Cooke’s anthemic recording and translates them into gorgeous slide language. “River of Blues” flows effortlessly into the sublime “The Supernatural,” another Peter Green composition, all wrapped up with a reverent, ethereal reading of “The Lord’s Prayer.”

With “Slidemaster,” Rick Vito demonstrates the depth of expression he coaxes from his slide, using tone and nuance to say more than mere words. His musical mastery will leave you speechless — the slide rules!

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“Slide the Blues” from the album:

Tracklist & credits:
Vegas Jump — 3:05
Steal Away — 3:12
The Big Beat — 3:30
The Danger Zone — 3:40
Red Hot Baby — 3:15
Albatross — 2:50
Soul Shadows — 3:20
Slide the Blues — 3:25
A Change Is Gonna Come — 4:05
River of Blues — 4:10
The Supernatural — 2:58
The Lord’s Prayer — 2:17

Musicians:
Guitars: Acoustic & Electric Bass, Keys, Percussion: Rick Vito
Drums: Rick Reed (tracks 1, 5, 6, 8, 9), Lynn Williams (track 11), Charles Johnson (tracks 2, 3, 4, 7)
Electric Bass: Charlie Harrison (tracks 1, 6, 8, 9)
Organ: Mark Horwitz (track 9), Kevin McKendree (track 12)
Songs: Rick Vito, Vitone Music, BMI, plus: “Albatross” and “The Supernatural” by Peter Green, Primary Wave Music; ” Steal Away” by Jimmy Hughes, Screen Gems-EMI Music; “The Lord’s Prayer” by Albert Hay, Malotte, G. Schirmer Inc..; “A Change Is Gonna Come” by Sam Cooke, Abkco Music Inc.