Curtis Salgado Albums (7)
What The Critics Say
Call this the album that almost never was. In 2006 Curtis Salgado was diagnosed with liver cancer and given eight months to live unless he underwent a half-million-dollar operation. The money was raised from benefits by friends of Salgado such as Bonnie Raitt, Robert Cray, Steve Miller, and Taj Mahal, and donations from fans. After the successful transplant, the cancer spread to his lungs, requiring yet another operation. On his first post-cancer release, anyone not knowing what he went through would be astonished that he could come out of the ordeal sounding this healthy. Salgado enlisted members of the Phantom Blues Band and drummer/producer Tony Braunagel to handle the backing, and the combination is a natural extension of the soul-blues stew the singer/harpist has been cooking up since his first solo album in 1991. It takes confidence in your vocal abilities to cover tunes sung by Smokey Robinson ("Who's Lovin' You"), Al Green ("Let's Get Married"), and Little Richard ("I Don't Want to Discuss It"), but Salgado is up to the challenge and turns in striking performances that do justice to -- or, in the case of the Robinson tune, improve on -- the originals. Elsewhere, Salgado wades in the rocking swamp blues of "Heartache," shifts into Johnny "Guitar" Watson funk-soul mode for the title track, and heads to Memphis for the Hi-styled "Drivin' in the Drivin' Rain," the latter one of four originals co-written by Salgado. There's more than a little Delbert McClinton to his raspy voice, which he uses to terrific effect on the moody, obsessive "My Confessions." The rollicking Clapton tune "Bottle of Red Wine" is a perfect vehicle for Salgado's soul shake, and gives him a chance to blow some tough harp. Blues looms large in his catalog of influences, and Salgado pays tribute to one of the genre's icons in "20 Years of B.B. King" with lyrics comprised predominantly of King song titles. It sounds corny, but he pulls it off due to his obvious sincerity and by playing it straight. The connection with the Phantom Blues Band is both natural and inspired as they lay into this material but never steal the spotlight from Salgado, who sounds enthused and, well, glad to be alive. Comebacks don't get much sweeter. ~ Hal Horowitz, All Music Guide
What The Critics Say
Soul/blues/rock & roller Salgado scores again on his sixth effort and third for the Shanachie imprint. It's his longest and most consistent label affiliation in a fitful career that finally seems to be picking up steam in 2004. Like fellow veteran Delbert McClinton, the singer/harpist is not bound by a specific genre, preferring to live between the cracks. But whether he's laying a Memphis groove on his cover of the Beatles' "I'll Be Back," grinding through Bill Withers' "Who Is He (And What Is He to You)," or testifying on Leon Russell by way of Freddie King's "Help Me Through the Day," Salgado smothers this music in gobs of gospel and gutsy R&B. The drum machine that leads off "At Least I Didn't Do That" is a minor distraction on this generally rootsy album, but the song is so powerful, with its quicksilver guitar and urging vocals telling the story of a redeemed sinner, that it withstands the unnecessary percussive intrusion. Salgado goes funky on the slightly tongue-in-cheek "Money Must Think I'm Dead" ("I'm so broke now did I mention/I can't afford to pay attention"), chugging through the song like a sputtering locomotive. He also blows searing harp on the track, something he pulls out far too seldom on this album. A blistering and sexy duet with Bekka Bramlett (who sounds just like her mother, Bonnie) on "Can't Stop Lovin'" is one of the album's many high points. Slide guitarist Sonny Landreth contributes to three tunes but really burns on the title track, a greasy rocking swamp stomp that works perfectly with his gritty Southern tone. His originals are as incisive as the covers, making this another classy and potent serving of Salgado's soul gumbo. ~ Hal Horowitz, All Music Guide
What The Critics Say
The album's title leaves no doubt as to its contents: Soul Activated is all about rockin' soul, classic R&B, and vocal throwbacks to the glory days of Sam & Dave, Otis Redding and the like. Curtis Salgado plunges headlong into a vocal potpourri, dishing out some very hip covers and adding four tunes of his own. The covers include the Hall & Oates/Paul Young hit "Everytime You Go Away," a funky rendering of Leon Russell's "I'd Rather Be Blind" (Freddie King), Jimmy Cliff's reggae smash "The Harder They Come," and a duet with Lou Ann Barton called "Hip Hip Baby" that features Jimmie Vaughan on guitar. Barton used to sing the tune with Stevie Ray Vaughan in her hometown of Austin (before SRV's tenure with Double Trouble). Salgado's originals extract powerful visuals, from the relaxed yet uplifting "Summertime Life" to the minor-key "Funny Man," a tale that tells a story most probably haven't heard before: one of losing the girl to a comedian. Salgado sings, "The funny man ain't funny when he takes your love from you." Ouch! "Lip Whippin" is a traditional blues tune. It's a great harp instrumental that is arguably the best cut on the album, but it sounds ridiculously out of place sandwiched in between all the other "soul activated" tunes. Those are filled with cool phrasing, hot sweat, and a helluva voice. ~ Ann Wickstrom, All Music Guide
What The Critics Say
"Wiggle Outta This" features more of the gutsy harmonica playing and singing that have made Curtis Salgado a mainstay in the blues scene. Salgado's fourth solo album marks his debut for Shanachie Records, and includes ballads like "Why I Don't Care," the sexy, soulful "Cookie Dough" and "Sweet Jesus Buddha the Doctor." ~ Heather Phares, All Music Guide
'More Than You Can Chew'
Release Date 5/16/1995
Tracks 14
Label Priority
See Album Tracklist and Review
'Curtis Salgado & the Stilettos'
Release Date 1/1/1991
Tracks 12
Label JRS
See Album Tracklist and Review
What The Critics Say
Curtis Salgado's first album, Curtis Salgado & the Stilettos, captures the vocalist at his very best, storming through a set of originals and covers that fall halfway between gritty Chicago blues and sweaty Stax soul. Salgado had long ago proven that he was a fine singer, but this proves he can do it on his own, without Robert Cray or Roomful of Blues -- not only can he lead a band, but he can write fine songs in his own right. ~ Thom Owens, All Music Guide
