Blues Roadhouse

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.

Tom Principato — “Twangin;’ — Powerhouse Records

Tom Principato has been delivering “roots music for you soul” with his guitar and his voice for more that 40 years, 18 albums and countless gigs.

For the first time, the Washington, D.C.,-based artist is delivering an album filled with his rootsy blues, boogie and rock, and a little country, without his voice — the instrumental “Twangin’!” that lets his guitar do the talking.

It’s Principato’s first studio album in 13 years, with five originals and six covers, each highlighting aspects of his guitar style and virtuosity. He gets some fine help from Dave Elliott, Big Joe Maher and Jim Brock on drums, Steve Wolf and Jim Robeson on bass, and Tommy Lepson on organ.

The rousing opener, “Night Walk,” an old Ventures song, lets you know what’s in store, as Principato’s phrasing and tone do all the talking necessary. “Kentucky” adds a vintage country flair. “Drop D Boogie” is a rollicking original, followed by another Principato creation, “Smoky Blue,” that sounds just like its title — a late-night blues riff filled with a subtlety and swing.

“The Bone Head Shuffle” is a tough-enough original shuffle that sings its own blues lyrics. “All Night, All Day (Angels Watching Over Me)” is a gentle, gospel-flavored exercise with sweet guitar refrains. “Champagne,” a Merle Haggard recording, is filled with crisp country picking.

The originals “Beyond The Stars” and “Head First” both flow effortlessly and melodically into the gorgeously phrased Ketty Lester classic “Love Letters.” Another Ventures creation, “Blue Star,” brings the session to an eloquent finale.

It’s great to have new music from Tom Principato. His guitar work has always been magical, and now it speaks for itself. Do yourself a favor and listen to what it’s saying. It will leave you speechless!

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Here’s “Night Walk” from the album:

Tracklist & Credits

1. Night Walk 2:51
   (Wilson, Bogle, Edwards, Taylor) Capitol Records LLC
   Tom Principato guitar, Dave Elliott drums, Jim Robeson bass
   2. Kentucky 3:20
   (Karl Davis) Tom Principato guitar, Dave Elliott drums, Steve Wolf bass
   3. Drop D Boogie 2:54
   (Tom Principato) French Lady Music BMI
   Tom Principato guitar, Big Joe Maher drums, Jim Robeson bass
   4. Smoky Blue 3:24
   (Tom Principato) French Lady Music BMI
   Tom Principato guitar, Jim Robeson bass, Jim “Sticks” Stickman drums
   5. The Bone Head Shuffle 2:50
   (Tom Principato) French Lady Music BMI
   Tom Principato guitar, Jim Brock Drums, Steve Wolf upright bass
   6. All Night, All Day (Angels Watching Over Me) 3:33
   (Otis L. McCoy) Public Domain
   Tom Principato guitar, Tommy Lepson organ, Jim Brock Drums, Jim Robeson bass
   7. Champagne  2:31
   (Roy Nichols & Norman Hamlett) Shade Tree Music BMI
   Tom Principato guitar, Dave Elliott drums, Steve Wolf bass
   8. Beyond The Stars 3:05
   (Tom Principato) French Lady Music BMI
   Tom Principato guitar, Jim Robeson bass
   9. Head First 4:16
   (Tom Principato) French Lady Music BMI
   Tom Principato guitar, Jim Robeson bass, Jim “Sticks” Stickman drums
   10. Love Letters 3:08
   (Victor Young & Edward Heyman) Sony/ATV Music Pub.
   Tom Principato guitar, Steve Wolf upright bass
   11. Blue Star 3:16
   (Victor Young & Edward Heyman) Sony/ATV Music Pub.
   Tom Principato guitar, Jim Robeson bass, Jim “Sticks” Stickman drums

Seth James — “Motormouth” — Qualified Records

The music of Seth James is a heady brew of his native Texas blues, Memphis soul and Southern rock, all distilled for decades into the grit of his authentic rootsy voice.

His latest album, “Motormouth,” follows James’ 2024’s “Lessons,” a tribute to the music of Delbert McClinton, a major musical influence. This session finds the veteran singer/songwriter exploring his Texas roots in a more expansive set, emphasizing his own sharp musical sensibilities.

The result is an album filled with bluesy bravado, Texas swing, soulful vocals and greasy roadhouse vibes driving a set of covers and originals filled with sharply told tales of love and life. All of those deep roots bear honey-dripping fruit in James’ music.

A pair of insistent original blues rockers — “Why Should I Suffer” and “Motormouth” — pull you right in with slyly perceptive lyrics, razor-sharp music, and a stunning chorus of backup singers (Alice Spencer, Nick Jay, Etta Britt, Miss Jackie Wilson). “I’m In Trouble” finds him admiring a woman and admitting the obvious: “I been dodging trouble for most of my life / But this kind of trouble is the kind I like.”

“I’ll Be Gone” is joyous Texas swing with an old-fashioned message: “If you don’t wanna sell me bacon, don’t open up the store,” while an especially soulful original, “I Can’t Find Your Mind,” looks in vain for a personal connection. There’s a sensitive cover of McClinton’s “Just A Thought,” while “I Can’t Wait” finds Delbert joining in, leading another McClinton cover, the churning R&B of “I Got To Know.” A swinging version of the Doc Pomus classic “Lonely Avenue,” is filled with extra joy from the backup singers.

“I Feel The Burden” is an uplifting gospel-drenched track, raised higher by the rousing fervor of the backup chorus, and the closer, “Start A Brand New Day” is a gently swung invitation to do just that, bringing this joyous session to a conclusion full of hope and optimism.

Seth James has given us a crackling good album filled with the down-home honesty and vitality of his singing, songwriting and the musicians who bring it all home.

“I don’t want to do a good job so that I can be successful and sell more records,” James says. “Don’t get me wrong – that would be great, too. But that moment where everyone is together, their glasses cheers-ing while they shake off the blues a little bit –
I want to be part of that.”

If “Motormouth” doesn’t shake off your blues, you need to listen to it again. And again. It’s damn fine music!

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Delbert McClinton says: “With the release of this new CD, Seth James has become one of the most important vocalists I’m aware of!”

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Here’s a live performance by Seth James: “Cigarettes, Anger and Wine”:

Tracklist & credits:

1. Why Should I Suffer — S. James, G. Nicholson, B. Britt • 2:56
2. Motormouth — K. McKendree, S. James • 3:08
3. I’m In Trouble — D. Bryant • 4:04
4. It’s Later Than You Think — S. James, K. McKendree, P. McLaughlin • 2:46
5. I’ll Be Gone — C. Linden • 2:49
6. High Horse — L. Russell • 4:08
7. I Can’t Find Your Mind — S. James, G. Nicholson, B. Britt • 3:03
8. Just A Thought — D. McClinton, A. Anderson • 3:52
9. I Can’t Wait — D. McClinton • 3:13
10. I Got To Know — D. McClinton • 2:37
11. Lonely Avenue — D. Pomus • 3:16
12. I Feel The Burden — G. Clark • 2:51
13. Start A Brand New Day — C. Allen • 2:42

• Seth James (vocals, guitar)
• Kevin McKendree (keyboards)
• Rob McNelley (guitar)
• Steve Mackey (bass)
• Lynn Williams (drums)
• Jim Hoke (saxophones)
• Vinnie Ciesielski (trumpet)
• John Hinchey (trombone)
• Alice Spencer, Nick Jay, Etta Britt, Miss Jackie Wilson, The Time Jumpers

The musicians:

• Seth James — vocals; lead guitar (Dick50); horns; BGVs
• Dick50 — house band providing guitars, horns, BGVs
• Kevin McKendree — piano, organ
• Rob McNelley — guitar
• Steve Mackey — bass
• Lynn Williams — drums
• Horns (arr. Jim Hoke)
  • Jim Hoke — saxophones
  • Steve Herrmann — trumpet
  • John Hinchey — trombone
• The Time Jumpers — featured on multiple tracks
  • Andy Reiss — electric guitar
  • Larry Franklin — fiddle
  • Joe Spivey — fiddle
  • Kenny Sears — fiddle
  • “Ranger Doug” Green — archtop guitar
  • Jeff Taylor — piano
  • Billy Thomas — drums
  • Eddy Dunlap — steel guitar
  • Brad Albin — upright bass

Brooks Milgate — “Roll with the Punches” — MoMojo Records

Here’s another recent album (Jan. 2026 release) for which I’m late to the party, but is worthy of my — and your — attention.

Brooks Milgate grew up with his family’s fondness for Southern rock, but it wasn’t until he attended the Berklee College of Music in Boston from 2002 to 2005 that he began to understand the deep blues roots of that music.

A little farther on down the road in Worcester, he found friends and clubs and a new appreciation for the blues.

“A lot of blues songs I knew and had heard, but I didn’t realize the Allman Brothers, for example, didn’t write those songs,” Milgate told Meg Trogolo of Worcester Magazine. “As I was playing music around Worcester, I got to know a lot of people that played blues, and they really gave me an education on the history of it, learning about Little Walter and all these guys that created the genre and don’t get the credit they deserve.”

Since then, Milgate has played alongside performers such as Sugar Ray and the Bluetones, Darrel Nulisch, Kid Ramos, Ana Popovic, Chris O’Leary, and Mark Hummel. He’s also been writing and arranging music for others but has now taken his career in a new direction with his first solo album, “Roll With The Punches.” It was released just about the time in January that he was holding down a piano stool at the piano bar on the Legendary Rhythm & Blues Cruise.

The session is filled with nine finely crafted originals and two covers, and demonstrate his original approach, but also reflect his influences ranging from boogie-woogie to blues to rock.

Everything takes off with the rocking “Cheap Airline,” a catchy tale of finding love on in the sky, soaring on the wings of his piano and organ riffs, with stinging guitar from Charlie O’Neal. He follows with an unusual but effective honky-tonk flavored version of Lead Belly’s classic “Goodnight Irene,” including a fine and raunchy sax solo by Mark Earley. About this song, Milgate says in the Worcester Magazine interview: “There’s even some folklore to say that song got (Lead Belly) released from prison in Louisiana. I love the New Orleans piano players – James Booker and Dr. John – and they had done a cover of this song, and that was what I was trying to channel.”

Other highlights include: “Worry,” a gorgeous little bluesy romp through some self-reflection, with Milgate handling all the backup — piano, Wurlitzer and drums; “Roll With The Punches” is more introspection with an easy-rolling blues theme; the second cover, Little Walter’s massive hit (by Willie Dixon) “My Babe” gets a hint of Latin rhythm and adds smart sax from Early; the elegant instrumental “Blueish Gray” with Milgate handling piano, Hammond organ, acetone organ and drums, adding David Westner on upright bass. It’s a fitting closer for this thoroughly entertaining album, a showcase for Milgate’s impressive musical talents. Other tracks are: “Best That We Can Do,” “I Should’ve Known,” “Interstate Shuffle,” “Why’d I Wait So Long” and “So Long.”

Brooks Milgate is a multi-talented singer/songwriter with keyboard chops that make the listening extra special. His first album demands an encore!

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Here’s the instrumental “Interstate Shuffle” from the album:

Tracklist & credits:

Cheap Airline – Brooks Milgate, vocals, piano, Hammond organ; Chris Anzalone, drums; Charlie O’Neal, guitar; David Westner, bass; Mark Earley, saxophone.
Goodnight Irene – Brooks Milgate, vocals, piano, Hammond organ; Chris Anzalone, drums; Mark Earley, saxophone. Songwriters: Huddie Ledbetter, John Lomax.
Best That We Can Do – Brooks Milgate, vocals, Rhodes, Hammond organ; Chris Anzalone, drums; Mark Earley, saxophone.
I Should’ve Known – Brooks Milgate, vocals, piano, Hammond organ; Chris Anzalone, drums; Monster Mike Welch, guitar; Mark Earley, saxophone.
Interstate Shuffle – Brooks Milgate, Hammond organ, Rhodes; Chris Anzalone, drums; Chris Vitarello, guitar; Mark Earley, saxophone.
Worry – Brooks Milgate, vocals, piano, Wurlitzer, drums.
Roll With The Punches – Brooks Milgate, vocals, piano, Hammond organ; Chris Anzalone, drums; Monster Mike Welch, guitar; Mark Earley, saxophone.
Why’d I Wait So Long – Brooks Milgate, vocals, piano, organ, bass, drums; Charlie O’Neal, guitar; Lydia Harrell, Andrea Capozzoli, Kit Holliday, background vocals.
My Babe – Brooks Milgate, vocals, Rhodes, piano; Eli Lito Mateo, percussion; Chris Anzalone, drums; Mark Earley, saxophone. Songwriter: Willie Dixon.
So Long – Brooks Milgate, vocals, piano, Rhodes, Hammond organ; Chris Anzalone, drums; Mark Earley, saxophone.
Blueish Gray – Brooks Milgate, piano, Hammond organ, acetone organ, drums; David Westner, upright bass.

It’s time to take another look back into blues history at some of the music and musicians who helped shape America’s classical music.

The inspiration for this post is my favorite (and only) radio show, The Rhythm Revival on WMNF Tampa. It’s hosted by the Rev. Billy C. Wirtz and Marvelous Marvin Boone, who combine weekly to play music that runs from gospel to blues to country, illustrating how their roots are historically interlaced.

A few weeks ago, they played some Francis “Scrapper” Blackwell and Leroy Carr records, noting their impact on artists that followed them. They created an influential chunk of blues history that signaled a smoother, more urbane musical style developing in the late 1920 and ’30s.

Carr, who played a light, bluesy piano, is probably best known for his 1928 masterpiece, “How Long, How Long Blues,” recorded with the then little-known Blackwell on guitar. That song was based on a 1925 recording of “How Long Daddy” by Ida Cox, but Carr is credited with the lyrics and music of “How Long.”

Carr’s laid-back and sophisticated vocal style influenced such singers as T-Bone Walker, Charles Brown, Amos Milburn, Jimmy Witherspoon, and Ray Charles. Count Basie and Jimmy Rushing recorded some of Carr’s songs, and Basie’s band shows the influence of Carr’s piano style. Music historian Elijah Wald has called Carr “the most influential male blues singer and songwriter of the first half of the 20th century”.

Carr was one of the most prolific and popular blues artists from1928 until his early death in 1935, and he produced a large body of work, including “Papa’s on the House Top” (1931), “When the Sun Goes Down” (1931), “Blues Before Sunrise” (1932), “Midnight Hour Blues” (1932), and “Hurry Down Sunshine” (1934). His music has been recorded by artists such as Robert Johnson, Ray Charles, Big Bill Broonzy, Moon Mullican, Champion Jack Dupree and Memphis Slim.

Carr and Blackwell, both living in Indianapolis, worked primarily as a team in those years, but Blackwell withdrew from music after Carr died of illness at the age of 31, in 1935, His career was revived by a new generation of fans in the 1950s, leading to concert performances and solo recordings, part of the folk-blues revival of the late ’50s and early ’60s.

Although he was mainly self-taught as a guitarist, Blackwell was later influenced by the recordings of Willie Harris and Blind Lemon Jefferson, and probably by the East Coast Piedmont style of his South Carolina birthplace as well as Chicago blues.  He didn’t consider himself a professional musician until Carr persuaded him to join the “How Long” recording session.

Blackwell’s guitar work was light and airy and often jazz-like in its lyrical style but could also be raw and assertive. His vocals are lean and spare, quietly soulful and expressive. One of Blackwell’s trademarks was his fingerpicking technique, using his thumb and fingers simultaneously, allowing him to create intricate melodies and harmonies. Blackwell’s influence was widespread, and Lonnie Johnson, who would become one of the most influential guitarists of the 20th century, credited Blackwell as one of his key inspirations, and his influence can be heard in Johnson’s recordings.

Some of Blackwell’s notable songs include “Kokomo Blues,” “Penal Farm Blues,” and “Back Door Blues,” and his recordings remain a testament to his innovative techniques. Blackwell’s life ended tragically when he was shot to death, presumably in a robbery, in 1962, when he was 59.

Both Carr and Blackwell have tended to disappear when early blues artists are catalogued, and that’s a shame. Their music was not just innovative and influential; it was great music on its own. Here are a couple of samples:

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And something by Lonnie Johnson