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 Corey Harris, Alvin Youngblood Hart, and Guy
Davis first met at the 1996 Chicago Blues
Festival. At the time, according to Hart, the
threesome were being touted by the “blues
establishment” as “The New Saviors Of The
Blues.”
All
three definitely made an impact on the blues
genre over the years, and their second
collaborative effort, Fight On! True Blues
Vol. 2 (Yellow Dog Records), proves that
they are all still making their mark some 30
years after their first meeting.
The
trio's first collaboration was released in 2013,
and featured live performances from various
locations from the aforementioned trio, plus Taj
Mahal, Harmonica Phil Wiggins, and Shemekia
Copeland (see this month's
Flashback
for more information). Vol. 2 was recorded in
three different studio locations – Harris
recording in Virginia, Hart in Water Valley,
Mississippi, and Davis in the Bronx.
The
album has nine tracks, with five covers, and
each artist appears solo on alternating tracks.
Harris opens the set with “We Are Almost Down To
The Shore (Fight On),” a song from the legendary
blues/folk artist Jimmie Strother. Harris gives
the tune (originally a banjo number) a Piedmont
flavor with his fretwork.
Hart
follows with Charley Patton's “Screamin' &
Hollerin' The Blues,” the first Patton song Hart
learned in his teens. He emulates the guitar
percussion and vocal asides that Patton did on
the original, which is pretty cool.
Davis' “See Me When You Can” is next, a gentle,
lovely song about difficulties on the road that
he wrote for his grandmother that also appeared
on his 1996 album Call Down The Thunder.
The
jaunty “What's That I Smell” is a Harris
original written about his time playing in New
Orleans. Hart first recorded “If The Blues Was
Money” for his debut release, Big Mama's Door,”
inspired by the great blues man Henry Townsend,
while “Deep Sea Diver” is a story song from
Davis about a smooth traveling show vendor.
Rev.
Gary Davis' “I Belong To The Band” gets an
inspired treatment from Harris, who counts Davis
as one of his spiritual music influences. Hart
delivers a powerful cover of the traditional
“Highway 61,” a song he learned while performing
with Honeyboy Edwards at various festivals.
Davis closes the album with “Everything I Got Is
Done In Pawn,” a reworking of Elizabeth Cotten's
“Shake Sugaree,” with additional verses from
Davis, who channeled Blind Willie McTell's
guitar playing with this version.
Fight On! True Blues Vol. 2 is a
contemporary look at traditional blues styles,
performed by three of the current masters of the
acoustic blues scene. The blues world is
fortunate that there are modern artists like
Corey Harris, Alvin Youngblood Hart, and Guy
Davis who continue to expose blues fans to the
early influences of the music.
It's
not a stretch to say that this set should be a
part of any legitimate blues fan's collection.
--- Graham Clarke
 Curtis
Salgado has perenially one of the strongest
voices on the blues scene and a major influencer
from his perch in the Pacific Northwest.
It's
been way too long since I've seen this cat in
person, which made the arrival of Legacy
Rewind Live In '25 (Nola Blue Records) a
welcome arrival when it popped into my Inbox.
You
have to listen carefully to realize that it's a
live album, with absolutely impeccable sound and
non-intrusive crowd noises. Recorded a year ago
at The Triple Door in Seattle, Salgado is backed
by a very large group of exquisite musicians,
with some members swapping out between the two
acts of the show.
Legacy Rewind Live In '25 contains 13 cuts,
most being Salgado originals. Studio versions of
these numbers have all been released on the
plethora of previous Salgado albums.
Opening the show is the funky tune, "Sing My
Song," with Salgado already showing his form
while the trio of backing singers --- Keashaun
Jones, Margaret Linn, Lindsey Reynolds ---
provide the appropriate supporting chorus.
That's followed by the mid-tempo blues with a
backbeat, "Wiggle Out of This," with Salgado
blowing an impressive harmonica solo. The
backing singers again inject a taste of the
church here as he challenges that woman to use
her feminine wiles to try to wiggle out of this
situation.
Salgado shows his soulful side on "Clean
Getaway," with more power in his voice and
plenty of horns in support. Alan Hager and Ben
Rice are both credited with lead and rhythm
guitar, with one of those dudes laying down nice
guitar work, and Brian Harris shining on the B3.
The tempo picks up on "My Girlfriend," with
Salgado rapidly sending out the vocals on this
funky and soulful love song.
I
love this version of the mid-tempo funky tune,
"Money Must Think I'm Dead," which is so cool
that it had me been jumping back to the
Strong Suspicion album to listen to his
previous rendition. Salgado helps open the
number with fine harp playing.
We
hear a little more crowd noise in the
introduction of the up-tempo "Sweet Jesus Buddha
the Doctor." This one first appeared on the
Wiggle Outta This album, which I don't have
in my collection, an oversight that will be
corrected very soon. Very fine B3 accompaniment
from Harris and a funky bass solo from John Linn
help to put a big five stars next to this title.
"Count Of Three," from Damage Control,
Salgado's most recent studio album, opens with a
bit of an island vibe before the pace picks up,
turning it into a rockin' tune. Also from that
same album, "Precious Time" is a mid-tempo blues
highlighted by strong slide guitar playing.
The
Soul Shot album has always been my
favorite from Salgado, mostly for this more
soulful treatments of the songs, and now we get
a wonderful live version of a classic Memphis
soul written by Charles Hodges. Salgado's voice
soars a bit more here and we also get the
appropriate backing vocals from our group of
three supporting singers. I especially love the
line when he tells his woman that she makes him
feel like Christmas on the Fourth of July.
"I
Don't Want To Discuss It," a very up-tempo
stomper, carried along by the horn section of
Gary Harris (sax), Timothy Bryson (sax), Dave
Mills (trumpet), and Lars Campbell (trombone),
as well as frantic piano pounding from Brady
Goss. Following is another long-time favorite
from Soul Shot, the inspirational "Woman
or the Blues," starting slowly in a gospel mood
before turning into an up-tempo number relaying
the advice that he received from his mother
about choices he'd have to make.
The
David Duncan-penned "20 Years of B.B. King"
starts with a very strong guitar solo before
turning into a slow blues. Salgado relays the
conversation with his woman about how he's
learned more about the blues in two weeks with
her than in 20 years of listening to B.B. King.
Closing the show is a version of the title cut
from the Fine By Me album, a fun up-tempo
rocker on which Salgado tells us about multiple
celebrities that he met in his dreams. It's got
just the right vibe for ending this very special
show, with the audience showing their
appreciation with hearty applause.
I
suspect that we may have a handful of readers
who have never hopped onto the Curtis Salgado
bandwagon, but this album is a great
retrospective of the man's career and a good
place to start an indoctrination into this man's
music.
Just
one time listening to Legacy Rewind Live In
'25 and you'll be searching the internet or
your local record store to stock up on previous
albums from one of the best singers around.
--- Bill Mitchell
 If
you've been a blues fan for any amount of time,
you have certainly heard Laura Chavez,
even if you haven't heard of her. The guitarist
has worked with artists such as Deborah Coleman,
Nikki Hill, Candye Kane, Dani Wilde, The Mannish
Boys, Mike Ledbetter, Monster Mike Welch,
Vanessa Collier, Casey Hensley, and Whitney
Shay.
Her
distinctive fretwork has roots in Texas and
Chicago blues,mixing contemporary and
traditional sensibilities. She also won the 2023
BMA for Instrumentalist – Guitar, the first and
only woman to win that award.
Chavez has always preferred to let her guitar
playing do the talking, and that's what she does
with this superb debut release on Ruf Records.
My Voice offers ten instrumental tracks,
five originals from Chavez and five covers that
she especially selected for this album,
beginning with the powerful opener, Creedence
Clearwater Revival's “Born On The Bayou,”
dedicated to her father, who is a big CCR fan.
“Mind Your Step” is a swinging original with a
funky backdrop behind Chavez's expressive
playing, and “Shot-Zee,” another original, locks
into a greasy groove just like one of those cool
Stax Records instrumentals from the '60s.
The
moody “Wanderer” has more of a jazzy feel at its
beginning,moving into edgier territory as it
progresses, with Chavez soaring through the
latter half of the song with inspired fretwork.
Chavez also provides an impressive update of “El
Cascabel,” a Mexican mariachi standard which is
one of her favorites, and it shows in this
gripping interpretation. “So Long Baby, Goodbye”
is from the songbook of that great California
roots-rock band The Blasters, with Chavez paying
rip-roaring tribute with this dynamite read of
Dave Alvin's classic tune.
There's also another shot of Memphis soul on
Chavez's cover of the Booker T. & the MGs
classic “Chinese Checkers,” with the guitarist
playing Booker T's B3 parts on this innovative
take. The tasty “Mamba Negra” sounds like a
Spaghetti Western theme song, and “Napa Street”
is a cool West Coast-styled blues tune.
Chavez saves the best for last with the
magnificent Latin-flavored slow blues closer,
“La Llorona,” which means “the weeping woman,”
and Chavez's guitar work captures that sound
perfectly. It's chill bump-inducing music, for
sure.
I
first heard Laura Chavez backing Candye Kane on
one of her albums, and was really impressed with
her style. It was so distinctive and a perfect
fit for Ms. Kane's music. Ever since then,
whenever I see her name in the credits of an
album, it puts a little hop in my step because I
know what to expect.
I
was thrilled to see her take home the
Instrumentalist – Guitar Blues Music Award a few
years ago. Few deserved it more, and I'm equally
excited for this exciting debut release. Guitar
fans will love it from beginning to end.
--- Graham Clarke
 Bay
area fiddler Tom Rigney most recently
enjoyed a great deal of success with his second
collaboration with Michael Doucet, 2022's
Roll On. His new CD finds him joining forces
with his red hot band Flambeau for the
appropriately-titled All Fired Up (Parhelion
Records).
Rigney contributes five original tunes along
with five interesting covers, while Flambeau
(Caroline Dahl – piano, Marc Brinitzer –
guitar/vocals, Anthony Paule – guitar, Sam Rocha
– bass/vocals, Brent Rapone – drums) provide
stellar musical support. The ten tracks are a
mix of blues, rock, and roots with a strong
Louisiana feel.
The
opening track, “You're The One,” is a jaunty
rocker with Everly-esque harmonies backed by a
driving backbeat and Rigney's terrific fiddle.
Next is the upbeat Mardi Gras romp, “Stir The
Pot,” written by Brian Casserly, and a dynamite
cover of Kokomo Arnold's “Milk Cow Blues,” which
brings the pre-war blues classic up to 21st
century standards.
The
moody original “Don't Fight It” features
pristine string work (fiddle and guitar) and
tight vocal harmonies. Fats Domino's “I'm In
Love Again” gets a delightful Cajun-flavored
reworking from Rigney and company, and the
swinging “Do The Zydeco,” another Rigney
original, is a toe-tapper that sends you
straight down to Louisiana.
Rigney's bluesy cover of J.J. Cale's “Call Me
The Breeze” is first rate, as is the band's
lovely take on the Delmore Brothers' “Blues Stay
Away From Me,” a blues and roots showcase.
“Schoolteacher” is a playful modern take on the
teachers of today, played as a fine old-school
rock 'n' roller in the Chuck Berry tradition,.
The rollicking closer, “Bonjour Tristesse,” is a
zydeco tune that Rigney penned for Queen Ida
while he was in her band in the early '80s.
All Fired Up is an entertaining album that
will certainly satisfy blues, roots, and
Louisiana music fans. Tom Rigney and Flambeau
will definitely get listeners moving with these
tunes.
--- Graham Clarke
 The
2025 Chicago Blues Festival was memorable, with
one reason being the powerful set delivered by
the Stefan Hillesheim Band.
Guitarist/vocalist Hillesheim was born in
Germany, but made his way to the U.S. In 2014 to
attend the Guitar Institute of Technology in
L.A., performing and recording in California
until relocating to Chicago in 2022 to pursue
his love for the blues.
Live at the Chicago Blues Festival (Stella
Blue Music) consists of ten tracks, eight
originals and two covers, recorded at the Rosa's
Lounge Stage at last year's festival. Hillesheim
(guitar//vocals) is backed by Dionte McMusick
(drums), Darryl Wright (bass), and Sumito
“Ariyo” Ariyoshi (keys).
The
opener, Hillesheim's “Always Get to Hear from
You,” a blues with a humorous twist, has a
breezy, New Orleans rumba groove. “My Poor
Heart,” another original, has a jazzy feel with
Hillesheim's nimble fretwork and the rhythm
section's solid backing. It's followed by “The
Love I Had For You,” a strong ballad reminiscent
of '50s-era R&B, highlighted by Hillesheim's
soulful vocal.
The
first of the two cover tunes is “Big Legged
Woman,” written and originally recorded by
Israel “Popper Stopper” Tolbert in 1970, with
Hillesheim delivering it with funk and swagger,
along with a blistering guitar solo. The second
cover, “It Hurts Me Too,” was originally
recorded by Tampa Red in 1940, and Hillesheim
certainly makes Red proud with his work on this
track.
The
dusty shuffle “On Down The Highway” offers more
terrific slide guitar, this time in more of a
Mississippi Delta setting. “You're My Family” is
an ebullient tune that leans toward southern
rock, with the country rhythm and Ariyoshi's
supple piano backing
“When I'm Gone” is an easygoing slide-driven
blues that builds in intensity before slipping
back down to a leisurely pace, and “Better Man”
is a moody slow burner that serves as an
excellent showcase for Hillesheim as both
guitarist and vocalist.
“Sick Of Your Love,” the album closer, finds the
band combining blues, jazz, and funk as the
rhythm section locks in behind Hillesheim's
piercing fretwork and Ariyoshi's deft keyboards.
I
was not familiar with Stefan Hillesheim before
hearing Live at the Chicago Blues Festival,
but he is definitely a triple threat as a
singer, songwriter, and guitarist. His
songwriting is first rate and his musical
talents are most impressive as well. I'm looking
forward to hearing more from this talented
artist.
--- Graham Clarke
 Farmhand is a collection of some of
Nashville's finest musicians, including Geoff
Newhall (bass), Jimi Foglesong (vocals/drums),
and Richard Fleming (vocals/rhythm
guitar/harmonica). Fleming has collaborated with
Tom Hambridge on a number of Blues Music
Award-nominated songs recorded by Buddy Guy,
Kingfish, James Cotton, and Tommy Castro.
For
the band's debut release, Long Hollow Blues,
Newhall, Foglesong, and/or Fleming penned 11 of
the 12 tracks (the 12th track is a cover, “Fresh
Out,” written by Fleming and Hambridge that
appeared on Christone “Kingfish” Ingram's debut
album). Three guitarists --- Jamie Potterbaum,
Dan Pierce, and Michael Saint-Leon ---
contribute on the album.
The
opener, “I'm Not Complaining,” is a good-natured
rocker driven by Potterbaum's guitar, while
“Worthy” is a more serene shuffle with a country
feel. Another shuffle, “I Still Have Dreams,”
picks up the pace as the band reminisces about
an old girl friend, and the cover of “Fresh Out”
follows, nicely done with Hambridge and Fleming
sharing vocals.
The
mid-tempo “There's Gonna Be Trouble” describes
the temptations facing a married man from an
interested female. The charging boogie “Tractor
Woman” is about a tough ol' gal and includes
Fleming on harmonica and sharp slide guitar work
from Pierce.
“Clean” is a funky blues about cleaning up a
rough lifestyle, and “Didn't Mean To Do It” is a
tough country-styled blues, thanks to Pierce's
twangy guitar.
“Tried To Tell You” is a brisk blues shuffle
about a woman having second thoughts about
marriage, and “That Hit A Nerve” adds a taste of
funk about a woman getting the best of a man.
“Underground” is a cautionary message about the
perils of too much drinking in one's life.
“Can't Live With Her,” the closer, is an amusing
tale about that woman who's hard to live with,
but is indispensable in the long run.
Long Hollow Blues is loaded with great
original songs and fine musicianship. The three
guitarists add a lot of diversity to the tracks
while keeping the basic blues backdrop for each
song.
Hopefully, Farmhand will find time between
recording sessions and live appearances to grace
us with another album in the near future because
this is a dynamite set.
--- Graham Clarke
 Detroit blues-rock powerhouse Eliza Neals
recently issued her 13th album, Thunder In
The House (E-H Records). It features nine
songs written or co-written by the vocalist, who
has developed a real talent for writing
memorable and distinctive tunes and delivering
them in soulful fashion over the years.
Neals produced the album, sings and plays
keyboards on selected tracks. She's backed by
longtime musical partner Michael Puwai
(guitar/co-producer), Doug Woern (bass) and
Steve LaCross or Justine Headley (drums), along
with guests “Detroit” Mike Hepner and :Mark
“Muggie Doo” Leach (keys) and Frankie Maneiro
(guitar).
The
opening track is an amusing tribute of sorts to
the blues classic, “Little Red Rooster,” but
this version packs a rock-edged punch, thanks to
Puwal's gritty fretwork and Neals' strong vocal.
“Love Will” also features a robust guitar
attack, with a bit of funk mixed into the
rhythm, as Neals delivers a positive message
that love will lift you up when you're down.
“Blues Bombshell” is a sultry number that's
destined to be a crowd-pleaser with Neals' sexy
vocal, Puwal's stinging slide and Hepner's B3
and piano. Neals plays keyboards, along with
heartfelt vocals, on the soulful ballads “All
Alone,” and “Locked Up.”
This
is a good place to stop and point out that Neals
provides all of the vocals, lead and background,
for the album, and they sound as if they were
recorded together, with a most impressive
effect.
“Wicked Heart” is a funky blues rocker with a
catchy Motown feel that will bring a smile to
the faces of those who remember how they used to
play them. “Unoriginal Bitch” is a scathing
track about those who imitate and claim as their
own, maybe directed at someone in particular.
The
driving funk blues “One Monkey (Don't Stop No
Show)” offers encouragement to persevere when
things seem to be at their lowest, even
including some inspirational B3 support from
Leach.
The
moody title track closes the album, slowly
building in intensity, punctuated by Puwal's
mournful slide guitar and Neals' haunting vocal.
It's
been a lot of fun to watch Eliza Neals develop
as an artist over the years. To these ears,
Thunder In The House stands as the pinnacle
of her already-impressive musical catalog.
--- Graham Clarke
 Roots rocker Dave Vargo is a New Jersey
native, but graduated from Boston's Berklee
College of Music and has performed as a solo and
with various groups and sessions. He's appeareed
with Phoebe Snow, Rupert Holmes, and Vonda
Shepard, and has toured with Whitney Houston.
He
currently wears the singer/songwriter hat,
blending blues, rock, folk, pop, and Americana
Vargo's fourth and latest release, Ghost
Towns, is a reflection of all of those
genres.
Vargo penned all 12 tunes and has a great voice
and is an impressive guitarist. He's backed on
these tracks by Tim Pannella (drums/percussion),
Todd Lanka (bass), and Danielle “Redbird”
Marrone (backing vocals).
The
opening track, “Anything At All,” is also the
album's first single and probably would have
been a hit single back in the day, with Vargo's
catchy guitar riff and lyrics addressing the
remnants of a broken relationship.
The
haunting title track also finds Vargo
reminiscing about things that cause
relationships to go awry, again with distinctive
fretwork and lyrics. The upbeat “A New Life” is
a kicking country-flavored rocker about moving
on to better things.
The
appealing “No Second Guessing” is a mid-tempo
reflection of looking back and moving ahead,
while with “Let It Go.” “Tales To Tell,” and
“Not So Young,” each take a different approach
in describing the irresistible urge to just get
away from the drudgery of life and start over.
“Hard” is a gritty, rock-edged ballad, another
track that would have been made the charts at
one time. Vargo penned the upbeat but moving
“Those Little Things” to honor a friend who
focused on the little good things to get her
through the bad days while fighting a lengthy
battle with cancer.
“But
I Do” is a soulful rocker expressing admiration
for someone enduring through difficult times in
a relationship. “Promises” is another
radio-ready standout that leads with a great
guitar riff as Vargo sings of unfulfilled
dreams, and “Where It Started” ruminates on the
perils of returning home to start anew.
Ghost Towns is loaded with powerful and
memorable songs and performances. Dave Vargo is
a strong composer, singer, and guitarist whose
music should appeal to blues, rock, pop, and
Americana fans.
--- Graham Clarke
 GeminiiDRAGON and guitarist
Santiago Ortega
recently released a double single on Nepotism
Records. The first release, “Mmm Mmm,” is a
sweet, funky confection with GeminiiDRAGON's
tough but vulnerable vocal backed by subtle
guitar and rhythm work as she finally moves on
from a destructive relationship.
The
second single, “Blackfinger Blues,” is a gritty
blues featuring guitarist Ortega, who also
handles vocals. Both of these tracks deftly mix
blues, funk, R&B, and soul. These tracks will be
on upcoming albums by GeminiiDRAGON and Ortega,
which is a sign that there's more great music to
come for blues fans.
--- Graham Clarke
 “A
Man In Black” is a song about a song from
singer/songwriter Fred Hostetler. Based
on the 1958 Johnny Cash song, “Don't Take Your
Guns To Town,” Hostetler crafted this tune as a
cry for help in a violent society and an urgent
need to stop the violence by any means possible,
but hopefully by keeping your guns at the house
for starters.
The
track has an ominous feel that captures the
later Johnny Cash sound that mixed blues and
country with modern touches. Hopefully, the
message will get across to those who need to
hear it.
--- Graham Clarke
We
have been inundated with singles being released
in advance of an upcoming album. Of course,
we'll be sure to review those albums when they
come out, but in a the meantime here's a preview
of what to expect based on the strength of these
singles.
 One
of the more intriguing singles out comes from
New Orleans, with Chief Romeo Bougere
doing a remix of "Big Chief," suitable for a
Mardi Gras party whether that's in season or
not. This rendition takes the typical second
line sound in a lot of different directions with
several vocalists.
One
never knows what to expect from Big Harp
George, and this winter he partnered with
Kid Andersen to release the single "Blues
Shoveler." He encourages his friends in cold
weather areas to keep on keeping on, with this
tune using the bulk of Sonny Boy Williamson's
blues classic, "Help Me," as its base but with
George wanting to help those snowbound pals.
 The
single that has me drooling for a full album is
from the duo of guitarist Kirk Fletcher
and Swedish vocalist Eriika Baier. "Cold
Cold Feeling" is a straight ahead 12-bar blues,
written by Ms. Baier showing that she's more
than just a solid blues singer. VizzTone Records
is promising an album release date later this
year. I cannot wait!
Bernard Allison issues a very strong song in
the mid-tempo blues, "Left Me With My Guitar,"
on which that woman left him with his guitar to
accompany the blues she gave him. We'll let you
know when we get word about a full album.
Belgium one-woman band Ghalia Volt has
released "Ride," a typical raw mover in her
street busker style, which is a teaser for a
future album, Burn The House Down.
--- Bill Mitchell
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