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percolating organ entwine to achieve a sultry rumba. Next up is ‘Run It In The Ground’, a feel
good, toe tapper with energetic drum work and rolling piano underneath a crisp, sharp guitar.

James Brown’s ‘I Don’t Care’, is a melancholy, late night, rising horn driven slow burner, with
a menacing palpitation inducing piano underpinning all, whilst Earl King’s ‘Trick Bag’, a jaunty
New Orleans jazzy piano, drives this joy filled, percussion backed standard.

Chris Kenner’s ‘Something You Got’, a slow paced singeing, bubbling keyboard, and lazy southern
picked guitar underpins an enjoyably mellow vocal. That is followed by ‘See, See Rider’ which
forsakes any vocals, settling for a rich rising organ paired with smoothly mesmerising jazz
influenced guitar work evocative of “T-Bone” Walker.

Willie Dixon’s ‘I Can’t Stop’ delivers a splendid classic Chicago blues guitar slow burner complete
with starkly rolling piano and Magic Sam’s ‘Give Me Time’, comes with a gentle, soul infused
vocal with warm, emotionally sympathetic musical backing.

‘Good As Gone’, a delightfully foot tapping blues workout with a sizzling organ, paired with an
equally punching and stabbing guitar and Bobbie Gentry’s ‘Ode To Billy Joe’, surprisingly, is a
splendid swampy / jazzy slow burner.

That leaves Charles Brown’s ‘I Wanna Go Home’, which has a very mellow vocal, with slow
gospel influenced piano and brushwork and ‘Tide’, a slow burning Hawaiian themed
instrumental which includes scorching guitar and percussion and a washing machine.

Recommended!

Brian Harman

John Christopher Morgan—Right On Time—Independent
/ Distrokid

Originally from Ann Arbor, Michigan, Detroit, John now resides

in Ventura California. His home life was filled with music, for his
mother was a marimbaist and his father taught music. John
began playing drums from the age of nine, by 1979; he was
performing at venues such as the Montreux Jazz Festival.

In the studio with John, vocals/drums for this debut album are

Albert Lee and Franck Goldwasser; guitar, Zach Zunis; horns, RJ
Mischo; harmonica, Martin “Nutty Brown” Gagnon; piano, Ralph
Carter; bass and production, Jamie Wood, Viva Vinson & Marcella Detroit provide vocals.

The opener ‘Vidalia’ and ‘Bad Is Bad’, are splendidly driving rockabilly floor dusters. John’s
warmly welcoming vocals are evident on the invitingly swampy percussion driven rumba,
‘Trouble Is My Business’.
‘Last Heartbreat’, has an enticing Motown feel with its mellow, gently rising horns and ‘San
Buenaventura’, contains an enticing, Ventures surf guitar, with a sensually seductive female
vocal, whilst ‘Ain’t We All In It Together’, is an almost, spoken word late night Philly soul groove,
with effective strings.

On, ‘Black Bag Blues’, the enticing harmonica and guitar echo the Fabulous Thunderbirds. ‘The
Jeweller’s Daughter’ is a straight down the line, slow burning blues, with a spine-tingling,
sparking guitar and piano and with pain-filled rising horns, while the infectious jungle rhythms
of ‘Done Got Over It’, lead into a lovely sultry rhumba with a lazy twanging guitar. The