Chris O'Leary returns to Alligator Records for his sophomore release with the iconic label, following his 2024 album, The Hard Line. That one got three Blues Music Awards nominations, putting the Virginia-based harmonica player / singer / songwriter firmly on the current blues 'A' list.

With Blue Collar, O'Leary shows more diversity in his songwriting, representing a lot of different blues styles, all with his usual aggressive harp playing and robust vocals. He's backed by a wide array of musicians, with most of the cuts recorded at Kid Andersen's prolific Greaseland studio in San Jose, California.

Blue Collar kicks off with the single, "Bad Decisions," a fun mid-tempo blues shuffle on which O'Leary declares that the best stories start out as bad decisions. Bronson Hoover contributes tasteful piano accompaniment. O'Leary plays one of many very nice harmonica solos on the slow blues, "Lady Luck," with heavy guitar work from Greg Gumpel and harmony vocals from Libby Cabello.

"Am I The Only Fool?" has a New Orleans feel to it, with the combined sax work of Shane Kirsch, Chris DiFrancesco, Andy Stahl, and Ron Knittle pumping plenty of sound into the tune while O'Leary keeps asking the question "...am I the only sucker who believes all your lies?..." Lil' Ed Williams joins in on guitar on "One More Cup of Coffee," which naturally drives along at a very fast tempo.

Another legendary guitarist, Bob Margolin, shows up on "Nothing But A Memory," a slow Muddy Waters-style blues with our special guest and O'Leary trading off hot licks on slide guitar and harmonica, respectively. We move into the realm of classic jump blues on the up-tempo "Justice Must Be Blind," as O'Leary sings about getting the short end of the stick as he and his mate are in court dividing up their property after a divorce. He keeps begging the judge for more, with Hoover throwing down another very hot piano solo.

O'Leary introduces the mid-tempo shuffle, "After 2 A.M.," with some very fine Little Walter-style harmonica riffs before explaining that he wants to spend a few more nights at home while his significant other wants to go out with friends. She's reminded that nothing good ever happens after 2 A.M.

We're back in New Orleans with the second-line number, "One Way Street," with rhythmic drumming from Chuck Cotton, tuba and trombone gymnastics from Luke Kirley, and strong guitar and harmonica work throughout. She always gets what she wants because she's living on her own one-way street.

O'Leary sings about trying to figure out why he's always dreaming about "Live Baby Gators" while he's out on the road. A highlight here is the accordion contribution of Wayne Toups.

The direction changes considerably from the rollicking song about baby gators to the slow, late night jazzy blues, "How'd I Ever Get Along," with Hoover's extremely tasty piano accompaniment being the highlight, significantly contributing to the agony in O'Leary's voice. He's singing this love song to the woman who helped him by telling him what to do, eventually thanking his lucky stars for the day he met her. This one just might be the best of the album, and again shows O'Leary's diverse abilities as both singer and songwriter.

Closing this pick hit of the month is the swampy blues, "Daddy Was A Wolfman," about his father getting drunk and raising hell all night long. The interplay between harmonica and slide guitar takes this one home.

The release of Blue Collar should bring even more deserved attention to Chris O'Leary. It will undoubtedly rank as one of the best of the year on most lists.

--- Bill Mitchell