Curtis Salgado — “Fine By Me” — Little Village

Curtis Salgado has been one of my favorite performers for a bunch of years now. I’ve seen him on blues cruises and at festivals, and he never fails to deliver honest, soulful music that seems to come from deep inside him, where the spirit of his music lives.

Now, on his brand-new album, “Fine By Me,” Salgado is once again delivering a palette of songs that reflect his musical sensibilities — which indeed run wide and deep. But sometimes the artist says it best, and here’s how Salgado describes this session in the album notes:

“Hello Music Lover, What you are holding in your hand is my latest batch of songs. When I write a song, it is made from all the musical influences that I grew up with, so it’s American music. Gospel is the mothership, and the rest of it follows: blues, jazz, rhythm and blues, funk, soul, rock ‘n’ roll. I love and respect ALL of it. The music on this recording was created with the help of my friends and musicians. I admire them all greatly and I am blessed to have them in my life. The heart of my life is music; it has the power to break through the daily absurdities of our world.”

Now I really like what he says there at the end, how music has the “power to break through the absurdities of the world.” And that can definitely make those absurdities a little easier to deal with, if only for a little while. “Fine By Me” reflects that, with nine of eleven songs that bear Salgado’s name, and two sturdy covers that share those sensibilities.

As if to demonstrate his musical eclecticism right from the start, Salgado opens the session with the whimsical “My Girl’s A Nut,” with its near-country twang and loping rhythm. A kicky horn section brings in “Better Things to Lie About,” with its clever lyrical wordplay and sizzling Salgado harp work, plus vocals that step up and out front.

“I’m Gonna Forget About You,” the first cover, is classic O.V. Wright soul. Salgado and Robert Cray reprise their 1980 hookup on Cray’s first album with Salgado backup vocals. This time Salgado takes the lead, while Cray adds guitar and harmonizing vocals. It’s a soul brothers’ tour de force. It’s damn good, too!

The title track pushes out with a tough rocking backbeat and a lyric built around a Salgado dream about having lunch with Jackie Onassis. It’s another magical tale from Salgado’s seemingly endless lyrical wizardry. “Niki Hoeky” is another cover, a lighthearted Cajun-flavored rocker with more clever wordplay and Salgado’s falsetto getting a workout.

Salgado’s original gospel-styled “Hear the Lonely Hearts” is richly backed by the powerful harmonies and call and response of The Sons of the Soul Revivers (brothers James, Walter, and Dwayne Morgan), standouts on many other Little Village albums. “Safe At Home” touts the virtues of being — safe at home after worldly travels.

“The Big Chagrin” shuffles in on a New Orleans beat with a hearty dose of honky-tonk piano, blazing horns and Salgado harp. “The Only Way Out” tries out a little Latin rhythm, and “Cheap Stuff” is an unusual riff on thrift.

The two final cuts both feature stinging guitar by Anson Funderburgh. “You Give The Blues A Bad Name” is down-home blues that showcases Salgado’s wickedly soulful vocals, wrapped around a deep-blue, scorching guitar break. “Under New Management” is a rugged blues shuffle with more Funderburgh fun.

The album was recorded at eight different studios, with what seems like a cast of thousands joining in (complete list of musicians below). The result is a superb Salgado production (he produced), and great listening for the rest of us not invited to all those studios.

It’s hard to imagine that anyone in the blues listening world has not heard of Curtis Salgado. If you have, this is must-hear music. If you haven’t, it’s even more important that you must hear this delightful cornucopia of his music.

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I first heard Curtis sing this song on the 2017 Legendary Rhythm & Blues Cruise, where it was an instant hit. It’s an example of how he can masterfully mine a gem of a song from a simple premise. It’s titled “The Greatest Wish,” or as it came to be known on that cruise, “the dog song.”

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From the album: “You Give the Blues a Bad Name”

Tracks and many, many credits:

1. My Girl’s A Nut Charles Seluzicki, Curtis Salgado (ASCAP), David Duncan (BMI)
Jimi Bott – Drums Keith Brush – Acoustic Bass Alan Hager – Guitar Curtis Salgado – Vocals & Harmonica 
2. Better Things To Lie About Curtis Salgado (ASCAP), Gary Nicholson (ASCAP)
Derek “D’Mar” Martin – Drums Endre Tarczy – Bass Kid Andersen – Guitar & Keyboards Joe McCarthy – Trumpet Lars Campbell – Trombone Tim Bryson – Tenor & Baritone Sax Curtis Salgado – Vocals & Harmonica
3. I’m Gonna Forget About You: O. V. Wright (BMI)
Jim Pugh – B3 & Piano Derek  “D’Mar” Martin – Drums Jerry Jemmott – Bass Kid Andersen – Guitar Robert Cray – Guitar & Vocals Curtis Salgado – Vocals 
4. Fine By Me Curtis Salgado (ASCAP), George Marinelli (BMI)
Derek “D’Mar” Martin – Drums Endre Tarczy – Bass George Marinelli – Guitar Kid Andersen – Guitar & Keyboards Lisa Leuschner – BG Vocals Curtis Salgado – Vocals 
5. Niki Hoeky James Ford (BMI), Lolly Vegas (BMI), Pat Vegas (BMI)
Paul Revelli – Drums  Endre Tarczy – Bass Kid Andersen – Guitar & Keyboards Lisa Leuschner – BG Vocal Joe McCarthy – Trumpet  Tim Bryson – Tenor & Baritone Sax Curtis Salgado – Vocals 
6. Hear the Lonely Hearts Curtis Salgado (ASCAP)
Rome Yamilov – Guitar, Kid Andersen – Acoustic  Bass The Sons of The Soul Revivers – James Morgan, Vocals Walter Morgan – Vocals Dwayne Morgan – Vocals Curtis Salgado – Vocals   
7. Safe At Home Curtis Salgado (ASCAP), Fred Trujillo (ASCAP) Hershel Yatovitz (BMI)
Alby Allen Paul Revelli – Drums Hershel Yatovitz – Slide Guitar & Bass Kid Andersen – Guitar & Keyboards Lisa Leuschner – BG Vocals Curtis Salgado – Vocals 
8. The Big Chagrin Terry Wilson (BMI), Curtis Salgado (ASCAP)
Snuffy Walden – Guitar Billy Watts – Guitar Terry Wilson – Bass Jeff Paris – Piano Tony Braunagel – Drums Joe McCarthy – Trumpet Lars Campbell – Trombone Tim Bryson – Tenor & Baritone Sax Teresa James – BG Vocals Terry Wilson – BG Vocals Curtis Salgado – Vocals & Harmonica 
9. The Only Way Out Curtis Salgado (ASCAP), Joshua Huff (ASCAP),  Ben Rice (ASCAP) Andy Worley – Drums Ben Rice – Guitars Fred Trujillo – Bass Galen Clark – Piano & B3 Lindsay Reynolds – BG Vocals Curtis Salgado – Vocals  
10. Cheap Stuff Curtis Salgado (ASCAP), Hershel Yatovitz (BMI), Alby Alan
Nick Otis  – Drums Hershel Yatovitz  – Lead Guitar & Bass Jim Pugh – B3 & Keyboards Kid Andersen – Rhythm Guitar & Bass Lisa Leuschner – BG Vocals  Curtis Salgado – Vocals & Harmonica 
11. You Give the Blues A Bad Name Curtis Salgado (ASCAP), Terry Wilson (BMI) Billy Watts – Guitar Anson Funderburgh – Guitar Terry Wilson – Bass Loren Gold – Piano Tony Braunagel – Drums Joe McCarthy  – Trumpet Lars Campbell – Trombone Tim Bryson – Tenor  & Baritone Sax Curtis Salgado – Vocals 
12. Under New Management Dave Duncan (BMI), Curtis Salgado (ASCAP)

Studios & Engineers Falcon Recording Studios – Portland, OR
(Dennis Carter, Engineer) Tracks 8, 11, 12 Greaseland USA, San Jose, CA 
(Kid Andersen, Engineer) Tracks 2, 3, 4, 5, 6, 7, 10 Jesi-Lu Studios, Canyon Country CA
(Terry Wilson, Engineer) Tracks 8, 11, 12 Purple Palace, Portland, OR
(Hershel Yatovitz, Engineer) Tracks 7, 10 Roseleaf, Studios, Portland, OR 
(Jimi Bott – Engineer) Track 1 Sound Design, Santa Barbara, CA 
(Dom Camardella, Engineer) Track 3 Taylor Made Studios, Los Angeles CA 
(George Landress, Engineer) Tracks 8, 11, 12Topaz Studios, Portland OR 
(Andy Worley, Engineer) Track 9

Eden Brent — “Getaway Blues” — Yellow Dog Records

The last time I saw Eden Brent, it was several years ago, sometime after midnight, somewhere at sea, and I was sitting close enough to watch her fingers fly as she was still pounding out the music at the piano bar on the Legendary Rhythm & Blues Cruise.

She played boogie and blues and ballads, and left me hung out to dry, what with me being a fool for live music, piano blues, evocative vocals, and just about anyone who can do all that at once.

Now I’ve been listening to her latest album, “Getaway Blues,” without all that visual stimulation, and it’s still leaving me hung out to dry. It’s a gorgeous little session of just nine songs, all original material from Brent and her musician/producer husband Bob Dowell.

But size doesn’t really matter here, with sparkling music that travels smoothly from barrelhouse boogie to bluesy ballads, all firmly in the grasp of Eden’s piano and vocals, Dowell’s bass work, Rob Updegraff on guitar, and Pat Levett on drums. It’s Brent’s first album since her 2018 holiday album, and her first studio release of new material since 2014’s “Jigsaw Heart.” It was recorded in London, far from her Greenville, Miss., roots, and very nicely turned out in just a couple of days. But everybody knows the roots of the blues are wide and deep.

The set opens with the rousing title track, driven hard by Brent’s rollicking barrelhouse piano intro and sassy vocals as she sets her sights on the open road at the end of a broken romance, all highlighted by a nicely stinging guitar break from Updegraff (the first of many in the set).

An album highlight is the 61/2-minute languorous blues of “Watch the World Go By,” a torchy ode to lost love powered by a duet of sumptuous piano and sultry vocals as Brent laments: “Let me pour a little whiskey/And watch the world go by.” It’s a perfect late-night, slow-burning blues, with more elegant guitar notes.

“What You Want” bounces eagerly back with the slyly salacious “I’ll give you anything and everything/Baby, tell me what you want” with its percussive rhythms and still more dancing guitar. “You On My Mind,” another passionate ballad follows, this time it’s a love poem written by Dowell featuring Brent’s moving vocals accentuated by a lovely lyrical guitar: “Nothing else matters as long as you’re around.”

“He Talks About You” follows, an upbeat, rhythmic tale whose bubbly feel underlines the idea that “I am resigned to be the other woman” who “Can not lose what I ain’t got,” and then a New Orleans piano vibe introduces the lilting melody of “Just Because I Love You.”

“Mississippi River Got Me Crying” is a sweetly sung ballad flowing around Brent’s dusky vocals before “Rust” takes a slow-burning blues turn where rust can’t stop a freight train, but has a more metaphorical power: “My man don’t ever leave me / sticks to me just like rust.” The closer is the slinky, auto-erotic “Gas Pumping Man,” fueled by a razor-sharp guitar solo, in praise of “my high-octane baby.”

With the effervescent “Getaway Blues,” Eden Brent has taken us down home with music that’s not really a getaway, but a step back into the spirited world of piano blues and earthy vocals.

What you’ll want while you listen, and you should, is another pour of whiskey to listen to this fine music roll on.

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“Getaway Blues”

Track List

1. Getaway Blues
2. Watch The World Go By
3. What You Want
4. You On My Mind
5. He Talks About You
6. Just Because I Love You
7. Mississippi River Got Me Crying
8. Rust
9. Gas Pumping Man

The venerable blues magazine Living Blues has published the winners of its 2024 Living Blues Awards poll in its latest edition. It’s the 31st annual edition of its awards. There are results for both the readers’ poll and the critics’ poll, both listed below. Here is a list of the nominees for this year’s awards. (Thanks to Living Blues for sharing with the Roadhouse.)

Readers’ Poll

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Blues Artist of the Year (Male)

Christone “Kingfish” Ingram

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Blues Artist of the Year (Female)

Shemekia Copeland

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Most Outstanding Musician (Guitar)

Buddy Guy

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Most Outstanding Musician (Harmonica)

Charlie Musselwhite

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Most Outstanding Musician (Keyboard)

Marcia Ball

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Best Live Performer

Buddy Guy

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Most Outstanding Blues Singer

Shemekia Copeland

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Best Blues Album of 2023 (New Release)

Taj Mahal – Savoy – Stony Plain

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Best Blues Album of 2023 (Historical Recording)

Ike & Tina Turner – River Deep – Mountain High – Elemental Records

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Best Blues Book of 2023

Tell It Like It Is: My Story – Aaron Neville – Hachette Books

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Critics’ Poll

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Blues Artist of the Year (Male)

Christone “Kingfish” Ingram

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Blues Artist of the Year (Female)

Shemekia Copeland

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Most Outstanding Blues Singer

Shemekia Copeland

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Most Outstanding Musician (Guitar)

Christone “Kingfish” Ingram

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Most Outstanding Musician (Harmonica)

Charlie Musselwhite

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Most Outstanding Musician (Keyboard)

Kenny “Blues Boss” Wayne

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Most Outstanding Musician (Bass)

Jerry Jemmott

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Most Outstanding Musician (Drums)

Kenny “Beedy Eyes” Smith

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Most Outstanding Musician (Horns)

The Texas Horns

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Most Outstanding Musician (Other)

Anne Harris (violin)

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Best Live Performer

Bobby Rush

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Comeback Artist of the Year

Arthur Adams

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Artist Deserving More Attention

D.K. Harrell

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Best Blues Albums of 2023

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Album of the Year

Taj Mahal – Savoy – Stony Plain

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Best New Recording / Contemporary Blues

Christone “Kingfish” Ingram – Live in London – Alligator

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Best New Recording / Traditional or Acoustic Blues

Eric Bibb – Ridin’ – Stony Plain

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Best New Recording / Soul Blues

Johnny Rawls – Walking Heart Attack – Catfood

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Best New Recording / Best Debut Release

D.K. Harrell – The Right Man – Little Village Foundation

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Best Historical Release / Pre-war

Various Artists – Memphis Blues Box: Original Recordings 1914–1969 – Bear Family 

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Best Historical Reissue / Postwar

Various Artists – Down Home Blues: Chicago, Vol. 3 – The Special Stuff – Wienerworld

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Best Blues Book of 2023

Biography of a Phantom: A Robert Johnson Blues Odyssey

By Robert “Mack” McCormick and John Troutman

Smithsonian Books

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Producer of the Year / New Recording

Kid Andersen – (Alabama Mike – Stuff I’ve Been Through) – Little Village Foundation

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Producer of the Year / Historical Reissue

Jeff Place and John W. Troutman – (Various Artists – Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick 1958–1971) – Smithsonian Folkways

Rev. Freakchild — “Bare Bones” — Treated and Released Records

The most Reverend Freakchild opens his latest and 18^th album, “Bare Bones,” by offering the philosophical track “All I Got Is Now,” with a lyric that sets the tone for the musical thoughts that follow – an exercise in bluesy Buddhism and other mystical delights:

“Yesterdays are history / Tomorrows are a mystery / All I got is now / But I keep forgetting that somehow.”

But that’s just a fraction of the lyrical output on “Bare Bones,” all of which springs from the fertile Freakchild mind, which seems unceasingly occupied by erudite elucidations of the mysteries of life through music. The magical mystery tours of his lyrics easily flow from the delicate to the desolate, but never fail to fascinate.

The Rev has said that he’s a Buddhist, but considers music his religion. Both the blues and Buddhism, he says, can be seen as ways of confronting reality and the truth of human suffering: “I seek transcendence through song.” If you add that the blues is a healer, you might have just the right medicine for the hole in your soul.

For this “Bare Bones” transcendence, the Rev has reprised the nine tracks on his 2023 album, “Songs Of Beauty For Ashes Of Realization,” and pared back its more experimental musical vibe to a solo acoustic effort. The session was recorded live with no edits at the Chattanooga Public Library Studios, making it as close as possible to a musical stream of consciousness.

Following the opening track, “Dial It In” takes us on the road, humming with song: “Gonna drive ’til I get lost and found again / Gonna turn on the radio and dial it in.” The Rev’s raspy vocals add a world-weary elegance here and everywhere, fueled by his sharp acoustic work, all nicely flavored with the blues.

The introspective “All Across America” asks: “Is that me in the mirror, oh lord, what have I become
 / Yes I do believe that’s the dude that I’ve been running from.” The shuffling whimsy of “Hippy Bluesman Blues” laments a bad Frisco trip: “There ain’t no problems only solutions / I think I’m gonna join the revolution / I got the Hippie Bluesman Blues.”

“Amsterdam Blues” is twice reprised, having first appeared on the Rev’s 2001 debut album, “Blues & Spirituals.” He makes a spiritual journey for secular pleasures: “Just grooving there in Amsterdam, trying to get my senses satisfied / Sex and smoke everywhere, think you went to heaven and died.” The guitar work could easily just have arrived from the Delta.

“Tears Of Fire” offers a melancholy message to rhythmic guitar: “She got words in her hand / Well it seems like she’s always got her tongue wrapped around the name of another man.” “Skyflower” is as delicate as its name: “Now I’m secretly sending magic mettā with my mind / The wind blows around the edges of the wise and the kind.”

For Freakchild fans and would-be aficionados, there’s a second album in this package, aptly titled “Odds, Ends & Interviews,” filled precisely with odds, ends and interviews that may help expand your awareness of the consciousness of the Reverend Freakchild.

And by the way: Just who is the Reverend Freakchild? Just ask him:

“When folks ask me if I’m a real reverend I often say that the Reverend Freakchild character is really a philosophical investigation of the American experience through the music of the blues and spirituals.”

Say amen, somebody.

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“All I Got Is Now” from the album:

CD 1 (The music)
01. All I Got Is Now (3:33)
02. Dial It In (2:50)
03. All Across America (3:42)
04. Hippy Bluesman Blues (3:57)
05. Amsterdam Blues (3:59)
06. Tears Of Fire (6:14)
07. Skyflower (4:29)
08. Don’t Miss Nothing ’til It’s Gone (4:50)
09. Keep On Trucking (4:33)

CD 2 (Odds & Ends)
01. The Dead? ( 1:05)
02. Dark Star / Truckin’ (10:31)
03. Preaching The Freak Gospel ( 3:43)
04. Good Shepherd ( 5:02)
05. The Spiritual & Musical Journey ( 1:22)
06. All I Got Is Now (Live) ( 5:58)
07. Truckin’ On With Stu & Hugh (15:28)
08. The Power Of Music ( 3:56)
09. Spiritual Warrior Chant! (27:47)

Gerald McClendon — “Down at the Juke Joint” — Delta Roots Records

Sweet soul music – It’s that magical music whose classic sounds made history with legendary artists like Ray Charles, Sam Cooke, Aretha Franklin, Al Green, Solomon Burke and many more. Those greats have disappeared, leaving only the echoes of their soulful essence.

But there’s one soul stirrer whose voice still caresses a lyric like a lover should – Chicago’s Gerald McClendon. He’s a shamefully unheralded classic R&B stylist with a voice so smooth and a feeling so deep that he’s known as the soul keeper. And best of all, he’s got a new album to showcase his rich vocal style. Plus, it’s got very cool cover art.

McClendon’s latest, “Down at the Juke Joint,” on Delta Roots Records, overflows with throbbing old-school soul, songs created by songwriter, drummer and producer Twist Turner, and brought to life by the soul keeper’s passionate pipes. The dozen songs here offer a heartfelt selection of lover’s laments and smooth ballads meant for late nights filled with languorous glances and slow dancing.

The opener, “Back Where You Belong,” sets the mood with a sensual sax wrapped around remorsefully smooth vocals: “She didn’t leave a card or a letter, not even a see you later / Come on home, back where you belong.”

The regrets flow on with the tearful “It’s Too Late, She’s Gone” – “I tried to apologize, teardrops in my eyes / But it’s too late, too late, she’s gone”

The mood shifts with the upbeat “Down at the Juke Joint,” a rhythmic ode to good times: “You can come as you are, check your attitude at the bar / sit down and have a taste, don’t let the whiskey go to waste.” Then the mournful “House Ain’t a Home” opens the door to more love lost: “You see a house ain’t a home / When your baby pack up and gone.”

On the melodic “So Long,” McClendon smoothly turns the tables on a lover as he’s the one to say it’s over – “I can’t take it no more, think I’ll walk out the door / I said so long, baby I’m gone, so goodbye.” There’s a funky feeling to open “Talkin Smack,” with another strong vocal turn – “Tryin to play me, for a fool, you see / But your only foolin’ yourself, it don’t matter to me.”

“Only Time Will Tell” is a gorgeous love song, built atop a towering vocal effort and subtle sax work: “Our love grows stronger, every day / deeper and deeper, in every way.” The whimsical “She’s Tryin’ to Drive Me Crazy” takes a lighthearted approach to an over-eager suitor: “Well she’s tryin’ to drive me crazy, but I just won’t give her the key.”

In the melancholy of “Cryin’ Time Again,” McClendon weaves a tapestry of despair: “Darkness is all around me, I wonder will I ever see the light.” Somehow the unspoken joy in his voice suggests that he will. As if to answer “Cryin’ Time,” the lilting lyricism of “You Make Me Happy” promises a love-filled life: “More precious than diamonds, shine just like gold / Our love grows stronger, it never grows old.”

The promise of undying love sparks “I’ll Be In Your Corner” with the vow that “I’m the one who’ll treat you right.” All of which leads into the closer, “You’re So Fine,” where he makes a poignant request: “if you’d only give me a chance, to make you smile to make you laugh.”

“Down at the Juke Joint” is a soulful journey of deeply rich vocals and luxurious musical arrangements, all elegantly wrapped around the many shades of love by the soul keeper – Gerald McClendon. Sweet soul music, indeed.

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“Down at the Juke Joint” trailer video:

Tracklist:
1. Back Where You Belong (3:36)
2. It’s Too Late, She’s Gone (4:49)
3. Down At The Juke Joint (3:38)
4. House Ain’t A Home (4:41)
5. So Long (3:40)
6. Talkin’ Smack (3:20)
7. Only Time Will Tell (3:22)
8. She’s Tryin’ To Drive Me Crazy (3:08)
9. Cryin’ Time Again (3:57)
10. You Make Me Happy (4:30)
11. I’ll Be In Your Corner (5:24)
12. Your So Fine (3:16)

Toronzo Cannon — “Shut Up and Play — Alligator Records

Toronzo Cannon is making a lot of noise with his music these days.

He’s combining his powerful, traditional fiery Chicago blues licks with smart contemporary lyrical themes that pack their own punch. That combination makes for a passionate package of modern blues firmly planted in its primal roots.

The 12-song session, co-produced by Cannon and Alligator president Bruce Iglauer, features a crackling crew of Cannon on guitars, vocals, and percussion; Brian Quinn on electric and upright bass; Cole DeGenova on keyboards and clavinet; Jason Edwards on drums; Phillip “Dante” Burgess, Jr. on drums on “Him” and “Had To Go Through It” and Matthew Skoller on harmonica on “My Woman Loves Me Too Much.”

Everything kicks off with screaming guitar and tough vocals lamenting the sentiment of “Can’t Fix the World.” The scorching “I Hate Love” adds more ferocious guitar solos behind a painful lyric. “Him” shuffles funkily into view, dipping into relationship issues by a former rival.

“Had to Go Through It to Get to It” describes racial barricades to success in a rousing bit of hand-clapping gospel. “Something to Do Man” rocks hard to describe a late-night call from a woman who knows him as her “something to do man” with something on her mind. “Message to My Daughter,” turns lyrically gentle with a promise to sstick with his daughter despite a broken home. “Unlovable” opens with high-quality blues licks acknowledged by Cannon, who uses the shuffling rhythms and gutty vocals to support his woman though hard times.

“Guilty” is a lilting statement about the role of responsibility in life — “everybody knows they’re guilty; guilty for what they say and do.” The slyly salacious “Got Me by the Short Hairs” documents the perils of a one-night stand with a surprise twist at the end. Nothing says deep blues like a down-home, back-porch acoustic gem. With Cannon’s guitar, Quinn’s upright bass and Skoller’s elegant harp licks, “My Woman Loves Me Too Much” grins with sexy humor. Tasty keyboards lead into “If I’m Always Wrong,” with Cannon admonishing, “If I’m always wrong, then leave me alone.”

The musically psychedelic aura of the title track brings the album full circle from the philosophic opener, with Cannon’s biting response to the idea that he should forego activism and just “Shut Up and Play.”

This is how Cannon explains the personal nature of songs: “I write what I know, what I feel,” he says, “I like to put myself in the shoes of the subjects of my songs. This record is about the things going on in my life since 2019—it’s a document of what I’ve seen and been through, but the stories are universal. And it’s my way to get past negative things and keep my own sanity. Listen to the lyrics. I am a black man in America. These are NOT protest songs. I try to create honest, common-sense understanding with my songs.”

And the music that accompanies that honest, common-sense understanding is pretty darn good, too.

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“Can’t Fix the World”

1.  Can’t Fix The World 4:15
2.  I Hate Love 4:27
3.  Him 4:44
4.  Had To Go Through It To Get To It 3:54
5.  Something To Do Man 4:08
6.  Message To My Daughter 5:47
7.  Unlovable 3:28
8.  Guilty 4:07
9.  Got Me By The Short Hairs 3:44
10. My Woman Loves Me Too Much 3:48
11. If I’m Always Wrong 3:55
12. Shut Up And Play! 5:58

Toronzo Cannon: Guitars, Vocals, Percussion and Handclaps
Brian Quinn: Electric and Upright Bass
Cole DeGenova: Piano, Organ, Nord and Clavinet
Jason “Jroc” Edwards: Drums
Phillip “Dante” Burgess, Jr.: Drums on “Him” and “Had To Go Through It”
Matthew Skoller: Harmonica on “My Woman Loves Me Too Much”

Billy Price — “Person of Interest” — Little Village

Billy Price is indeed a person of interest to me. Being a native Pittsburgher myself (it was New Jersey native Price’s adopted hometown), I’ve had the good fortune to know him and listen to his soulful music for much of the half-century-plus that he’s been a Pittsburgh institution.

I’ve seen him perform with the Keystone Rhythm Band, the Billy Price Band, and in small groups with just a keyboard or combo behind him. I’ve seen how he packed venues around Pittsburgh with appreciative fans. I’ve watched him perform tough, rocking shows with the Nighthawks. I’ve enjoyed seeing him joyously paired with his greatest musical influence, legendary soul man Otis Clay. I remember when he had hair!

In addition to his performing, Price is a knowledgeable fan and articulate advocate for the music he loves, with its deep, wide roots in American music. He has always paid tribute to those roots by performing and recording covers of songs by his favorite — always soulful — artists.

What makes “Person of Interest” more interesting, besides all the great music, is that: “This is the first time I tried to do an album with exclusively my own material, and I think it holds up very well.” Very well, indeed. This West Coast session with a group of crackling bandmates shows off Price’s still vigorous pipes that have ripened with age (he’s 74), displaying a smooth depth and richness.

The album opens in a funky vein with “Inside the Box” punctuated by a horn section that stomps relentlessly through the session. “Song I Never Heard Before” has an upbeat R&B flair with a lyric that pleads for music that does more than revisit its own past. “She Checks All the Boxes” is full-throated praise for a woman who, yes, checks all the boxes for a meaningful relationship.

The slow-burning “Mercy” is an emotional highlight, a throwback to an ’80s Price song that never made it past live shows onto an album, with its testifying vocals and passionate tenor solo by Eric Spaulding, a member of Price’s regular band. The title track follows, a funky soul/blues take on that crime-show phrase turned into a watchful eye on a cheating lover.

“Can’t Get Enough” is another pulsating dance track with an obvious theme: “I can’t get enough of my woman, she’s a hungry man’s dream.” Guitarist Joe Bonamassa guests on “Change Your Mind,” a tribute to Roy Buchanan, with whom Price recorded in the 1970s. Bonamassa captures the flavor of Buchanan’s stinging guitar style on this dramatice rendering.

“They Knew” is a sturdy vintage Price song, reworked for this album, “A Certain Something” has an easy-going Latin feel. “The Gift” is a smoothly turned-out soul-blues ballad about a painful financial relationship, with a striking guitar solo by Shane Theriot: “I’m the gift that keeps on giving but all you ever do is take.”

“Crying at the Stoplight” romps through Price’s musings about why a woman in the car next to his at a stoplight appeared to be so unhappy.  “I Lose It (When I’m In Love)” is a gentle, rhythmic ballad – sweet soul music at its best. The strong closer adds punchy horns to a funkified “Damage Control” with Price stepping out on vocals and another sensuous sax solo from Spaulding.

The entire session benefits greatly from the expert musical cast assembled by Little Village. Musicians include: bass – Larry Fulcher, James Fulch and Reggie McBride, guitar – Josh Sklair and Shane Theriot, lead guitar – Joe Bonamassa, keyboards – Jim Pugh, drums – Tony Braunagel (who also produced), tenor and baritone sax – Ron Dziubla, tenor solo – Eric Spaulding, trumpet – Mark Pender and percussion – Lenny Castro. Background vocals are by Maxayn Lewis, Fred White and Will Weaton (full credits for each song on the track list below).

“Person of Interest” is Billy Price at his soulful best, creating original heartfelt stories from his own life. If you’ve never experienced this Pittsburgh musical treasure and soul survivor, you owe it to yourself to give him a try. If you’re already a fan, you know what I’m talking about. Either way, enjoy it soon. And often.

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Here’s a very thorough and interesting interview with Billy Brice by Michael Limnios at Blues.gr.

Here’s another informative interview with music writer Scott Mervis at the Pittsburgh Post-Gazette.

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Here’s “She Checks All the Boxes” from the album:

Tracklist and credits:

Billy Price, Person of Interest
Tracks recorded 10/17/23–10/20/23 at Ultratone Studios, Studio City, California
Produced by Tony Braunagel
Engineered and Mixed by Johnny Lee Schell

1. Inside That Box (4:32) Writers: Billy Price (50%), Jim Britton (50%)
Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50%
Bass – Larry Fulcher, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro
2. Song I Never Heard Before (4:24)
Writers: Billy Price (34%), Fred Chapellier (33%), Anthony Braunagel (33%)
Publishers: Overpriced Music, BMI, 67%; Toe Knee Music, ASCAP, 33%
Bass – James “Hutch” Hutchinson, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Percussion – Lenny Castro
3. She Checks All the Boxes (4:07)
Writers: Billy Price (25%), Jim Britton (50%), Anthony Braunagel (25%)
Publishers: Overpriced Music, BMI, 25%; Zella Ru Music, BMI, 50%; Toe Knee Music, ASCAP, 25%
Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Tenor Solo – Eric Spaulding, Percussion – Lenny Castro
4. Mercy (5:38) Writers: Billy Price (50%), Mike Karr (50%)
Publishers: Overpriced Music, BMI, 100%
Bass – Larry Fulcher, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Tenor Solo – Eric Spaulding
5. Person of Interest (4:44)
Writers: Billy Price (50%), Jim Britton (50%)
Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50%
Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro
6. Can’t Get Enough (3:39)
Writers: Billy Price (50%), Jim Britton (50%)
Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50%
Bass – Larry Fulcher, Guitar – Josh Sklair, Guitar Solo – Johnny Lee Schell, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro
7. Change Your Mind (in memory of Roy Buchanan) (5:31)
Billy Price featuring Joe Bonamassa
Writers: Billy Price (50%), Jim Britton (50%),
Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50%
Bass – Larry Fulcher, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Lead Guitar – Joe Bonamassa
8. They Knew (4:34)
Writers: Billy Price (34%), Jon Tiven (33%), Sally Young (33%)
Publishers: Overpriced Music, BMI, 34%; Uncontrolled Compositions, BMI, 33%; Full Rate Music, ASCAP, 33%
Bass – James “Hutch” Hutchinson, Guitar – Josh Sklair, Guitar Solo – Johnny Lee Schell, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro, Lead Guitar – Johnny Lee Schell
9. A Certain Something (3:41)
Writers: Billy Price (25%), Jon Tiven (25%), Sally Young (25%) Anthony Braunagel (25%)
Publishers: Overpriced Music, BMI, 25%; Uncontrolled Compositions, BMI, 25%; Full Rate Music, ASCAP, 25%; Toe Knee Music, ASCAP, 25%
Bass – Larry Fulcher, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Fred White, Tenor and Baritone Saxophone – Ron Dziubla, Percussion – Lenny Castro
10. The Gift (3:55)
Writers: Billy Price (50%), Jim Britton (50%)
Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50%
Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro
11. Crying at the Stoplight (4:48)
Writers: Billy Price (50%), Jim Britton (50%)
Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50%
Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro
12. I Lose It (4:07)
Writers: Billy Price (50%), Jim Britton (50%)
Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50%
Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Percussion – Lenny Castro
13. Damage Control (4:31)
Writers: Billy Price (25%), Jim Britton (50%), Anthony Braunagel (25%)
Publishers: Overpriced Music, BMI, 25%; Zella Ru Music, BMI, 50%; Toe Knee Music, ASCAP, 25%
Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Tenor Solo – Eric Spaulding

Big Harp George — “Cooking With Gas” — Blues Mountain Records

George Bisharat, the chromatic harmonica wizard known to the music world as Big Harp George, has released his seventh album — “Cooking With Gas” — one which describes both BHG’s career trajectory as well as the joyous excitement of his latest exuberant session.

George didn’t begin his recording career until his first album in 2014, following distinctly unmusical careers as a criminal defense attorney, law professor at UC Hastings College of the Law, and commentator on law and politics in the Middle East.

Since then, his mastery of the chromatic harmonica has allowed him to expand on his musical themes in a way that traditional blues harp work does not — with a more elegant, jazzlike sound. He’s also one heckuva songwriter, casting an often-sardonic eye at the world around him and turning what he sees into lyrical delights.

On this session, George has hooked up with West Coast Kid Andersen’s Greaseland production studios and added some of Andersen’s backing band members. The core band of guitarist Andersen includes drummer Derrick D’Mar Martin, keyboardist Chris Burns, trombonist Mike Rinta, saxophonist Michael Peloquin, baritone saxophonist Doug Rowan, and bassist Joe Kyle Jr. The Sons of the Soul Revivers (James, Dwayne, and Walter Morgan) sing enthusiastic background on all but three tracks. That group, plus a handful of extras on selected tracks, make for a rousing album filled with both lyrical and musical delights.

The title track is the fast-paced opener, as “Cooking With Gas” burns brightly with Burns turning up the heat on piano. “Cellphone Hater 2.0” dials up a satirical lyric plus swinging jazz on the chromatic, all kicked along by crackling horns. “Doom Loop,” is filled with more horns and Latin rhythms.

“Wine Is My Friend” is sparkling fine old-fashioned R&B with a smooth doo-wop vintage. The funky instrumental “Maceosity” is a tribute to James Brown’s musical director Maceo Parker, with George flexing his harp in yet another style. “Awkward Me” features a smooth band sound with an elegant sax solo behind an amusing self-deprecating lyric. “What the Missus Misses” swings hard behind the Big Harp with more lyrical delights.

The instrumental “June’s Tune” is for drummer June Core, from Charlie Musselwhite’s West Coast bands. Andersen takes a notable retro turn on upright bass. “DIY Mama” is a slyly salacious take on a woman who prefers to take her satisfaction alone. “Paradise Is Burning” takes a more serious, slow-burning turn with an apocalyptic bent.

George takes some philosophical digs at his own self and others who are getting along in years on “The Older We Get” — “The older we get, the better we was” — with an easy big-band feel. Bluesy chromatic swing polishes off the session with the lovely instrumental ballad, “When I First Held Valerie.”

Big Harp George has stepped up his game in a swinging way on “Cooking With Gas.” It’s more than just an easy pun to say that he’s cooking better than ever here, with his clever lyrics, easy singing style, and the power of his big chromatic harp.

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Here’s the official video of “Cooking With Gas”:

Tracklist:
01. Cooking with Gas (3:52)
02. Cellphone Hater 2.0 (3:34)
03. Doom Loop (4:35)
04. Wine Is My Friend (3:46)
05. Maceosity (5:28)
06. Awkward Me (3:43)
07. What the Missus Misses (3:46)
08. June’s Tune (3:55)
09. DIY Mama (4:10)
10. Paradise Is Burning (3:47)
11. The Older We Get (3:22)
12. When I First Held Valerie (3:42)

Jennifer Lyn — “Live from the Northern Plains — J&R Collective

Jennifer Lyn & the Groove Revival make good old-fashioned rocking blues, fronted by passionate vocals from Lyn, who fearlessly tackles classic covers and writes her own originals in the same spirited style.

Lyn kicks off her latest album, “Live from the Northern Plain,” with her own hard-rocking “Gypsy Soul.” The band is tough and tight behind Lyn’s powerhouse vocals.

Next is a slow-burning electrified version of Chris Smither’s “Love Me Like a Man,” raised to extraordinary popular heights by Bonnie Raitt. The Revival’s keyboard flair and stinging guitar solo add an extra dimension to this flamboyant cover.

The first of two classic Allman Brothers covers follows as Lyn chases the “Midnight Rider” with a soulful vocal turn. The Revival breathes new life as they revive John Fogerty’s “Long As I Can See The Light.” Then more furious southern rock from another brother, Gregg Allman, on “Whipping Post.”

“Going Round In Circles” is another Lyn original, a torchy blues with a scorching vocal turn around a fierce guitar solo. Lyn takes another dramatic vocal on the traditional “House of the Rising Sun” with a tasty organ break.

Two originals close the set: “Low Down Dirty Shame” is another down and dirty rocker; “You Can Take t All” is a soulful, pensive slow rocker.

“Live from the Northern Plains” is a tasty set of blues with a heavy dose of rock —if any music was ever made for the roadhouse, this is it!

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“Low Down Dirty Shame” by Jennifer Lyn:

Tracklist and credits: