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CHRIS VINCENT ANNOUNCES NEW SINGLE, “MIDNIGHT AFTER ALL” – OUT MONDAY, JULY 14THSecond Release from Upcoming Album, Good...
07/02/2025

CHRIS VINCENT ANNOUNCES NEW SINGLE, “MIDNIGHT AFTER ALL” – OUT MONDAY, JULY 14TH

Second Release from Upcoming Album, Good Crook, Spotlights Raw Honesty, Razor-Sharp Songwriting, and New Orleans Firepower

NEW ORLEANS, LA — New Orleans-based songwriter and slide guitar roots artist Chris Vincent returns with “Midnight After All,” the gritty, haunting second single off his forthcoming album Good Crook, due out August 1st. The track arrives Monday, July 14th on all major platforms.

Cut live in a single take with zero overdubs, autotune, or studio polish, “Midnight After All” is a perfect embodiment of Vincent’s defining musical philosophy: “Blues as it could be, roots as it should be—hand written, hand played, vitally human music without a whisper of AI anywhere in sight.”

Featuring the legendary New Orleans drummer Johnny Vidacovich, Vincent’s performance is anchored by his signature slide guitar work on Gloria, his 1947 Gibson L7. The chemistry is palpable—Vidacovich’s subtle but powerful drumming locks in with Vincent’s percussive, relentless guitar style, creating a sound that is both vintage and electric with urgency.

Lyrically, “Midnight After All” tells the tale of a bad situation spiraling fast, its central line—"Needles spin backward, but you pray that they don’t"—drawing a hard boundary between Vincent and the “paint-by-numbers” blues artists he leaves in the dust. It’s storytelling with teeth, full of grit, edge, and hard-earned truth.
As with all of Good Crook, the track was recorded live at The Rhythm Shack in New Orleans, with Grammy-winner Jake Eckert at the helm. The album also features standout performances from bassist Dean Zucchero.

To accompany the single, a companion music video will also be released on July 14th, featuring New Orleans’ iconic St. Louis Cathedral, filmed after midnight in the sweltering French Quarter summer heat. The moody, atmospheric visual captures the city’s haunted stillness and late-night soul, perfectly echoing the spirit of the song.

Chris Vincent continues to carve his path as a true American original—a master storyteller and musician who values soul over polish and substance over spectacle. “Midnight After All” is more than a song—it’s a statement.

For press inquiries, interviews, or advance access to the single and video., contact: [email protected]

Hi-res cover: http://www.markpuccimedia.com/Chris-Vincent-Good-Crook-Hi-Res-Cover.jpg

Hi-res photo: http://www.markpuccimedia.com/Chris-Vincent-Hi-Res-Publicity-Photo-by-Joshua-Timmy-scaled.jpeg

Chris Vincent Social Media Links

Instagram: https://www.instagram.com/chrisvincentmusic?igsh=MWRjNHVoYTlreGYzZg%3D%3D&utm_source=qr

Facebook: https://www.facebook.com/share/1EvY97yLW2/?mibextid=wwXIfr

YouTube: https://youtube.com/?si=GxQRrh45V5JK4SbD

Website: ChrisVincentNewOrleans.com

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🎥 "Funny Feathers" by Maria Muldaur with Tuba Skinny-- from the new album, 𝑶𝒏𝒆 𝑯𝒐𝒖𝒓 𝑴𝒂𝒎𝒂: 𝑻𝒉𝒆 𝑩𝒍𝒖𝒆𝒔 𝒐𝒇 𝑽𝒊𝒄𝒕𝒐𝒓𝒊𝒂 𝑺𝒑𝒊𝒗𝒆𝒚. ...
06/20/2025

🎥 "Funny Feathers" by Maria Muldaur with Tuba Skinny
-- from the new album, 𝑶𝒏𝒆 𝑯𝒐𝒖𝒓 𝑴𝒂𝒎𝒂: 𝑻𝒉𝒆 𝑩𝒍𝒖𝒆𝒔 𝒐𝒇 𝑽𝒊𝒄𝒕𝒐𝒓𝒊𝒂 𝑺𝒑𝒊𝒗𝒆𝒚. Now available for preorder!

𝑶𝒏𝒆 𝑯𝒐𝒖𝒓 𝑴𝒂𝒎𝒂: 𝑻𝒉𝒆 𝑩𝒍𝒖𝒆𝒔 𝒐𝒇 𝑽𝒊𝒄𝒕𝒐𝒓𝒊𝒂 𝑺𝒑𝒊𝒗𝒆𝒚 is Maria Muldaur's loving tribute to her mentor and supporter, Classic Blues Queen Victoria Spivey. Street date: July 11, 2025.

Reserve your copy today:
🎧🎵➡️ https://lnk.to/OneHourMama

Nola Blue
Powderfinger Promotions
MVD Entertainment Group
MAC Radio Promo / Michelle Castiglia

Listen to One Hour Mama: The Blues of Victoria Spivey by Maria Muldaur.

Legendary Piano Player and Rock & Roll Hall of Famer Johnnie Johnson Will Have a New Album 20 Years After His Passing Wi...
06/13/2025

Legendary Piano Player and Rock & Roll Hall of Famer Johnnie Johnson Will Have a New Album 20 Years After His Passing With I’m Just Johnnie, Out August 1 on Missouri Morning Records; Special Guests include , Bruce Hornsby, Bonnie Raitt, Johnny Rivers and
John Sebastian

St. Louis, MO – 20 years after his passing, Rock & Roll Hall of Famer Johnnie Johnson, whose piano work graced so many of Chuck Berry’s classic recordings, will have a new album, I’m Just Johnnie, releasing August 1st on Missouri Morning Records, featuring special guests including Bruce Hornsby, Bonnie Raitt, Johnny Rivers and John Sebastian. The two-CD set also includes a second disc of interviews with Johnson and Radio Hall of Fame and SiriusXM DJ Pat St. John discussing Johnnie’s career in one of the last interviews before his passing on April 13, 2005. Bonnie Raitt is also on the second disc talking about Johnnie.

Other musicians of note performing on I’m Just Johnnie include former Mama’s Pride band members Max Baker (guitar), Dickie Steltenpohl (bass), Paul Willett (Hammond B3 organ) and Pat Liston (backing vocals); plus Henry Lawrence, former Oakland Raiders All-Pro offensive tackle, who does lead vocals on two songs with Johnnie - “Lo Down” and “Stagger Lee;” and Charles Glenn, best-known as the St. Louis Hockey Blues anthem singer of 19 years, who sings lead vocals on two songs with Johnnie - “I Get Weary” and “Heebie Jeebies.” Finally, Kenny Rice (drums) and Gus Thornton (bass), long-time members of Johnnie’s band, also play on the album. Kenny and Gus were both in Albert King’s band along with Johnnie. Kenny also does the lead vocals on “Let the Good Times Roll.”

Among the many classic Chuck Berry rock ’n’ roll records Johnnie Johnson’s piano playing can be heard on include, “Maybellene,” “Roll Over Beethoven,” “Brown-Eyed Handsome Man,” “School Days,” “Almost Grown,” “Back in the USA,” “Carol,” “Wee We Hours,” and “Too Much Monkey Business.” Johnson and Berry started playing together in late 1952. The two collaborated on many of Berry's songs, and the song “Johnny B. Goode" was reportedly a tribute to Johnson. Berry and Johnson played and toured together on and off, until 1973.

“Johnnie Johnson and I had been friends since 1979, when I saw him playing in a small blues club in St. Louis,” remembers producer Gene Ackmann. “We struck up a friendship and over the years he would come out and play with my band often. That was always a big thrill for all of us in the band. He recorded on some of our band CDs and played on my St. Louis sports team’s songs that I wrote for the Cardinals, Blues, and Rams when they were in St. Louis. We played at the Rams Super Bowl Victory Parade in January, 2000, and Johnnie was onstage with us playing our song and Rams mantra ‘Gotta Go to Work.’ More than 250,000 people filled the streets singing along as Rams players joined us onstage. Johnnie loved his St. Louis sports! My band always played for the Cardinals home opener and Johnnie would come down and play with us there too. He came down one last time and played at the opener with us in front of thousands at Busch Stadium on April 8th, 2005, and got a huge ovation from the crowd. Just five days later, he died and that was his last public performance – at a Cardinals game.
“The other thing Johnnie was really fond of was fishing. He knew I had a lake at my house in the country, and it was pretty much a Friday routine for us to fish together. Johnnie didn’t drive, so I would pick him up in the city and drive back to my house. We always had the same routine: stopping to get coffee and donuts and then a stop at the bait shop. We would fish all day, and I’d clean the fish and then drive Johnnie back to his house. It was a long day, but I loved every minute of it because I was making Johnnie’s day and that was making mine. He would tell fantastic stories about the old days and it was like getting to spend the day with my grandpa one more time.

“One day we were fishing and it was nice and quiet and birds were singing. The sun was shining and Johnnie said, ‘This is almost as good as playing blues in the key of G.’ I loved that! Everyone knows Johnnie could tear it up in G – check out Johnnie and Eric Clapton and Chuck Berry on ‘Wee Wee Hours’ in the key of G from the Hail! Hail! Rock and Roll movie when Eric gives Johnnie that piano solo.
“On our drive home that day, Johnnie said to me, ‘You are one of the most creative people I know. I want to do a new CD but don’t know how to go about it or have the money to do it. Would you help me?’ I said, ‘sure I would love to,’ and that was how it came about. I told him I'd help him write some songs for it and we began our project in 2003. The first person to come to St. Louis to record was Johnny Rivers. Bruce Hornsby, Bonnie Raitt and John Sebastian also played on it. This music was all recorded in St. Louis when Johnnie was 80 years old and the last stuff he recorded. Johnnie and I would sit in my music room overlooking the lake and work out our music for the project.”

I’m Just Johnnie Album Track Listing and Credits

1. I’M JUST JOHNNIE
(J. Johnson-G. Ackmann)
Lead Vocal: Johnnie Johnson
Piano: Johnnie Johnson
Guitar: Tony T
Bass: Gus Thornton
Drums: Kenny Rice
Trumpet: Jim Manley
Sax: Ray Vollmar
Backing Vocals: Liz Henderson
Produced by: Gene Ackmann; Pub.by: Gene Ackmann Music, BMI

2. I GET WEARY
(J. Johnson-D. Steltenpohl-G. Ackmann)
Lead Vocal: Charles Glenn
Piano: Johnnie Johnson
B3 Organ: Paul Willett
Guitar: Max Baker
Bass: Dickie Steltenpohl
Drums: Andy O’Connor
Produced By: Gene Ackmann & Dickie Steltenpohl; Pub. by: Gene Ackmann Music, BMI

3. EVERY DAY I HAVE THE BLUES
(J. Chatman)
Lead Vocal: Johnnie Johnson
Lead Vocal 2: Bruce Hornsby
Piano: Johnnie Johnson
Piano 2: Bruce Hornsby
Slide Guitar: Bonnie Raitt
Guitar: Bob Hammett
Organ: Greg Trampe
Bass: Gus Thornton
Drums: Kenny Rice
Backing Vocals: Bonnie Raitt, Bruce Hornsby, Pat Liston
Produced By: Gene Ackmann; Published by: BMG Music, Inc

4. LO DOWN
(J. Rivers)
Lead Vocal: Henry Lawrence
Piano: Johnnie Johnson
Guitar: Johnny Rivers
Bass: Gus Thornton
Drums: Mark Kersten
Bari Sax: Larry Smith
Produced By: Gene Ackmann; Pub. by: Rivers Music, BMI
(Johnny Rivers appears courtesy of Soul City Records, Inc)

5. LET THE GOOD TIMES ROLL
(F. Moore-S. Thread)
Lead Vocal: Kenny Rice
Piano: Johnnie Johnson
Slide Guitar: Bonnie Raitt
Guitar: Tom Maloney
Bass: Gus Thornton
Drums: Kenny Rice
Trumpet: Elliot Doc Simpson
Tenor Sax: Tom O’Brien
Trombone: Ray McAnallen
Backing Vocals: Bonnie Raitt, Gene Ackmann,
Elliot Doc Simpson, Bob Hammett,
Laura Hanson, Seth Hutcherson,
Cindy Ankelman
Produced By: Gene Ackmann; Pub.by: RYTVOC Inc

6. THREE HANDED WOMAN
(B. Raleigh-I. Taylor)
Lead Vocal: Johnnie Johnson
Piano: Johnnie Johnson
Guitar: Tony T
Bass: Gus Thornton
Drums: Richard Hunt
Produced By: Gene Ackmann; Pub. by: Marks Music Corp

7. BROKE THE BANK
(J. Johnson-D. Hommes-G. Ackmann)
Lead Vocal: Johnnie Johnson
Harmonica: John Sebastian
Guitar: Tom Maloney
Bass: Gus Thornton
Drums: Kenny Rice
Tenor Sax: Ray Vollmar
Trumpet: Bill Sextro
Backing Vocals: Bob Hammett, Gene Ackmann, Amy Thorn
Produced By: Gene Ackmann; Pub.by: Gene Ackmann Music, BMI

8. BLUES IN G
(Instrumental)
Piano: Johnnie Johnson
Guitar: Tom Maloney
Bass: Gus Thornton
Drums: Kenny Rice
Produced By: Gene Ackmann; Pub. by: Gene Ackmann Music, BMI

9. STAGGER LEE
(R. Hunter-J. Hurt)
Lead Vocal: Henry Lawrence
Piano: Johnnie Johnson
Guitar: Bob Hammett
Bass: Gus Thornton
Drums: Kenny Rice
Tenor Sax: Ray Vollmar
Trumpet: Bill Sextro
Backing Vocals: Liz Henderson, Gene Ackmann, Pat Liston, Bob Hammett, Laura Hanson
Produced By: Gene Ackmann; Pub. by: Irving Music, Inc

10. JOHNNIE JOHNSON BLUES
(J. Rivers)
Lead Vocal: Johnnie Johnson
Piano: Johnnie Johnson
Guitar: Johnny Rivers
Bass: Gus Thornton
Drums: Kenny Rice
Produced By: Gene Ackmann; Pub.by: Rivers Music, BMI
(Johnny Rivers appears courtesy of Soul City Records, Inc)

11. HEEBIE JEEBIES
(J. Johnson-D. Steltenpohl-G. Ackmann)
Lead Vocal: Charles Glenn
Piano: Johnnie Johnson
Guitar: Max Baker
Bass: Dickie Steltenpohl
Drums: Andy O’Connor
Trumpet: Elliot Doc Simpson
Tenor Sax: Tom O’Brien
Trombone: Ray McAnallen
Produced By: Gene Ackmann & Dickie Steltenpohl; Pub.by: Gene Ackmann Music, BMI

12. LONG GONE
(S. Thompson-Simpkins)
Piano: Johnnie Johnson
Guitar: Tom Maloney
Bass: Gus Thornton
Drums: Kenny Rice
Produced By: Gene Ackmann; Pub.by: Marks Music Corp

Hi-res cover: http://www.markpuccimedia.com/Johnnie-Johnson-Front-Cover-Hi-Res.jpg

Hi-res photo: http://www.markpuccimedia.com/JJ-Live-Photo-by-Dianna-Lynne.jpg

Johnnie Johnson Wikipedia Bio: https://en.wikipedia.org/wiki/Johnnie_Johnson_(musician)

NEW ORLEANS, LA – June 11, 2025 — New Orleans songwriter and slide guitar firebrand Chris Vincent is set to release “Sna...
06/12/2025

NEW ORLEANS, LA – June 11, 2025 — New Orleans songwriter and slide guitar firebrand Chris Vincent is set to release “Snakes,” the first single from his forthcoming album Good Crook, on June 20, 2025. Cut live in a single take and powered by legendary Crescent City jazz drummer Johnny Vidacovich, “Snakes” is a swaggering, tongue-in-cheek tale of romantic pursuit that blends Delta blues, hard bop jazz, and New Orleans street rhythms into something raw, irresistible, and unmistakably original.

Though the official release is just ahead, “Snakes” has already struck a viral nerve. An impromptu performance at a house party in New Orleans on May 12th exploded across social media, amassing over 1.5 million views and counting. Viewers continue to be drawn to Vincent’s sharp lyricism, magnetic delivery, and the pointed storytelling that’s become his signature. Listen to “Snakes” here: https://soundcloud.com/vinblues/snakes?si=ecb14d4993e047bbbd7c75439976d11f&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

“I’ll balance my checkbook on a computer,” says Vincent, “but as far as creating music—my hands are busy with a guitar and a pen, and that’s that, period.”

It’s that ethos— “hand-made, hand-played, hand-written”—that defines both “Snakes” and the entirety of Good Crook. Recorded with no overdubs and zero studio trickery, the track is a gritty, soulful antidote to a musical landscape increasingly shaped by algorithm and automation. As AI-generated songs blur the line between imitation and art, Vincent plants his flag firmly in the authentically human.

“Snakes” also features the unmistakable voice of Gloria, Vincent’s beloved 1947 Gibson L7 hollow body guitar, whose warm growl and vintage snap have become part of Vincent's mystique.
Chris Vincent isn’t just preserving a tradition — he’s reimagining it in real time, with wit, bite, and bottomless heart. “Snakes” is the opening statement of an artist in full command of his voice, and Good Crook promises to be one of the most honest, defiant, and soulful records of the year.

“Snakes” is out on all streaming platforms June 20, 2025.
For fans of real music played by real people—this one’s for you.

For press inquiries, interviews, or review copies of “Snakes” or Good Crook, contact:
Mark Pucci Media: [email protected]

Follow Chris Vincent:
Instagram: https://www.instagram.com/chrisvincentmusic/
YouTube: https://www.youtube.com/channel/UCe5JxfBR6swNK-nTQ8Z0iSQ
Website: chrisvincentneworleans.com

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New Orleans-Based Guitarist/Singer/Songwriter  Chris Vincent Delivers a Roots Music Masterpiece With Good Crook Album, D...
06/05/2025

New Orleans-Based Guitarist/Singer/Songwriter
Chris Vincent Delivers a Roots Music Masterpiece With Good Crook Album, Due August 1 On Chris Vincent Music

NEW ORLEANS, LA – Chris Vincent is a New Orleans-based singer, songwriter and slide guitarist who channels American roots music through a raw, deeply human lens. With a signature style that fuses the haunting pull of Delta blues, the improvisational swagger of hard bop jazz, and the grit of roots music, Vincent’s playing is unmistakable: weathered, visceral, rhythmic, lyrical and full of soul. It all comes to life on his beloved 1947 Gibson L7 guitar, affectionately named Gloria (known by many by name), and delivered solidly on his new album, Good Crook, coming August 1 on Chris Vincent Music.

Chris Vincent lives and writes in the French Quarter, where the endless sideshow outside his door spills into his songs. “It’s a circus out there every day—joy, heartbreak, madness, music—it’s all part of it,” he says. The chaotic beauty and elegant decline that is New Orleans is etched into his sound so much so that it almost becomes another member of the band.

Good Crook arrives like a bolt from out of the blue. Recorded in just two sessions—one with legendary New Orleans jazz drummer Johnny Vidacovich, the other stripped down with just Vincent and the guitar—the album was tracked entirely live, in single takes. No overdubs, no polish, no autotune—just pure, human performance. It’s a bold, “AI-proof” approach that favors soul over perfection, and results in something deeply alive. “Hand-made music” is how Vincent often simply describes his work.

Good Crook was produced by Chris Vincent and features 12 songs, all written and arranged by Chris. Besides Vincent on guitar and vocals, the sessions feature his band known as The Raw Deals: Johnny Vidacovich on drums and Dean Zucchero on the bass guitar. The album was recorded at RhythmShack Studios in New Orleans, with Jake Eckert engineering.

A recovering alcoholic, Vincent doesn’t shy away from the darker corners of his past. His songs echo the grit of redemption and the hard-won beauty found on the other side of struggle. Good Crook is an album about falling apart and stitching what’s left back together —about love, survival, and telling the truth however difficult that may be.

Chris Vincent’s music isn’t crafted to fit a mold—it’s forged in a fire. In an age of digital polish, his work stands defiantly handmade and grounded in the raw reality of a life fully lived, warts and all. In this way, Vincent and Good Crook are one in the same—true American originals indeed.

In an age of digital perfection, Chris Vincent is living proof that honesty still hits hardest when served raw, played by hand, and armed with the truth.

Chris Vincent Talks About The Songs on Good Crook

Good Crook — Written after the close of a relationship that should have ended long before it actually did, “Good Crook” dives into the seasonality of love, with Johnny Vidacovich banging away for good measure.

Midnight After All — One of two recuts from my Things Have Changed album (2024), “Midnight After All” is the story of a friend of a friend doubling down on a questionable relationship with both a marriage and a baby. ‘Needles spin backward” indeed.

Come Clean — I play the guitar in Open G tuning a-la Son House and, in a more modern iteration, Keith Richards. “Come Clean” is a song about coming to terms with pulling the truth out of a liar; a task often destined for failure. There are certain chords in Open G tuning that have become Rolling Stones calling cards, and rightfully so. This song borrows a few and spins them around in a sort of homage to who, in my opinion, is the greatest rhythm guitar player of them all. Thanks Keith.

Bloody Mary Monday Morning — A good friend got a bartending job from Roland (the original owner) at Tipitina’s years ago after a failed job interview and an afternoon drinking session. With no bartending experience, my friend Laura was reluctant to take the gig. Roland reassured her with the following, “Laura, it’s Bloody Marys in the mornings and Greyhounds in the afternoon, plus beer. You worry too much.” God Bless New Orleans.

Skinned Knees — Written at the tail end of a brutal New Orleans summer, ‘Skinned Knees” gets into dealing with failure and its aftermath on levels both big and small.

Screwdriver Keys — A personal favorite on the album. Often, my approach to solo guitar mirrors a pitched drum feel similar to big band jazz guitar. This was the last song recorded during these sessions; the arrangement occurred in studio, and there are plenty of rhythmic twists along the way. This one is sort of a companion piece to “Half Block Cadillac.”

Half Block Cadillac — The second recut from Things Have Changed. Vidacovich is on fire out of the gate on “Half Block Cadillac,” a song ultimately about the acceptance of lives gone sideways and forward motion thereafter.

What Johnny Said — The album, Good Crook, was recorded in two sessions: one day (actually, four hours) with Johnny Vidacovich on drums, and the next with just me and the guitar. “What Johnny Said” was written after hearing Johnny say “It’s all a movie, man…” ten times during the session–his offhand way of coming to terms with the unscripted and unpredictable life of an artist. Being in the room with Johnny that day was something else entirely; it was like being in a room with Matisse in front of a palette of twenty shades of red, only to let a lifetime of experience choose the perfect shade. Vidacovich is a true master of his craft: a musician’s musician. I’m proud to have written this one for him.

New Orleans, My Darling — A jazz ballad for all those who love New Orleans: a best friend, a cruel mistress, a temptress, and a redeemer–often on the same day.

Snakes — A song for lovers, and certainly one I particularly enjoy playing live when a certain someone finds her way to the gig….”What you do to me baby….”

Cows — Living in New Orleans is like living in a circus. One of the cast of characters, my neighbor Jody, is from Cajun country, and I often ask for translations of Cajun-speak. When one of the songs off Things Have Changed got picked up for use as the title song in a film, Jody looked me in the eye and said, “Well, Chris, when the cows lie down, fish are bitin’.” Translation: In Cajun country, go fishing when the cows sleep. Everywhere else? “Strike when the iron is hot.”

Catherine the Great — Two days after writing this song, I looked in the mirror in the morning and realized that the “Catherine” in the song was, in many ways, me. The song is about a life lived as a result of bad decisions, coupled with even worse timing. 99% of alcoholics/addicts truly do want to quit, but don’t — “You can lead a horse to water/you can whip it down the trail.” Thankfully, with the help of many, I pulled up on the stick before hitting the side of the mountain.

Hi-res cover: http://www.markpuccimedia.com/Chris-Vincent-Good-Crook-Hi-Res-Cover.jpg

Hi-res photo: http://www.markpuccimedia.com/Chris-Vincent-Hi-Res-Publicity-Photo-by-Joshua-Timmy-scaled.jpeg

Chris Vincent Social Media Links

Instagram: https://www.instagram.com/chrisvincentmusic?igsh=MWRjNHVoYTlreGYzZg%3D%3D&utm_source=qr

Facebook: https://www.facebook.com/share/1EvY97yLW2/?mibextid=wwXIfr

YouTube: https://youtube.com/?si=GxQRrh45V5JK4SbD

Website: ChrisVincentNewOrleans.com

Six-Time Grammy Nominee Maria Muldaur Salutes Her Blues Mentor on One Hour Mama: The Blues of Victoria Spivey, Coming Ju...
05/19/2025

Six-Time Grammy Nominee Maria Muldaur Salutes Her Blues Mentor on One Hour Mama: The Blues of Victoria Spivey, Coming July 11 from Nola Blue Records

Special Guests with “The First Lady of Roots Music” Include Duets with Taj Mahal and Elvin Bishop

Lancaster, PA – Six-time Grammy nominee Maria Muldaur, who’s been dubbed “The First Lady of Roots Music” for previous albums touching on her wide-ranging influences from blues, country, folk, jazz and even jug band music, continues her exploration of the great American roots music songbook with the July 11 release of One Hour Mama: The Blues of Victoria Spivey, from Nola Blue Records. She’s joined on the new disc for duets by special guests multi-Grammy winner Taj Mahal and legendary bluesman Elvin Bishop, plus sessions with acclaimed New Orleans band Tuba Skinny.

From her long-time San Francisco Bay Area base, on One Hour Mama: The Blues of Victoria Spivey, Maria Muldaur honors her mentor, Classic Blues Queen Victoria Spivey. Known for her sassy, spunky Blues delivery, Spivey had her first big hit in 1926 with the self-penned risqué “Black Snake Blues,” the first of many naughty, b***y Blues she wrote and recorded in her long and prolific career. As a Blues singer, she worked with many of the greats of her day: Louis Armstrong, Lonnie Johnson, Bessie Smith, Memphis Minnie, Blind Lemon Jefferson, etc., but expanded her career to include acting in movies and Broadway musicals throughout the ‘30s and ‘40s. During the folk and blues revival of the 1960s, Spivey started her own label, Spivey Records, giving recording opportunities to many old blues veterans as well as encouragement and support to budding new artists. She was the first to record Bob Dylan and offered Maria Muldaur her first opportunity to record, taking her under her wing and mentoring her in the fine points of performing and singing the blues. Now, more than 60 years later, Maria Muldaur presents an anthology of Spivey’s blues, both well-known and obscure, in loving recognition of both her personal impact and her vast contributions to the genre.

“When I was a young aspiring singer in the early 1960s, one of the great Classic Blues Queens of the 1920s and ‘30s, Victoria Spivey, took me under her wing and mentored me,” Muldaur remembers in the album’s liner notes. “Although, of course, I appreciated it at the time, over the years I’ve come to realize just how important her encouragement and support were to me and so many other musicians!

“To my surprise, a music writer recently dubbed her ‘The Madonna of the Blues,’ but thinking about it, I know exactly what he meant! Victoria was ambitious, tenacious, sassy, spunky, boldly & unabashedly expressing her sexuality, versatile and multitalented, singing and writing not just Blues, but pop and novelty songs of the day, dancing, playing piano and other instruments, acting in movies and stage shows, … and entrepreneurial… publishing her own Blues newsletter and starting her own record label, Spivey Records, to give recording opportunities to both old Blues veterans and young hopefuls just starting out (like myself and Bob Dylan, to name a few!). I was so pleased to find and collaborate with so many fine young musicians who are embracing and carrying forward the rich legacy of this ‘vintage music.’ This album is a loving tribute to Victoria Spivey for all she brought to the Blues and for the great influence she was on my musical journey. ENJOY!”

“This project is both professionally and personally very significant to me,” says Nola Blue Records president Sallie Bengtson. “Similar to the ways in which Victoria’s support and encouragement of Maria were so important, I feel much the same about an industry icon like Maria placing her confidence in Nola Blue for her ‘bucket list’ project. She and I were first introduced at the conclusion of our label’s tenth anniversary celebration year, and it felt like divine affirmation of our efforts to that point and encouragement to stay the course!”

About Maria Muldaur:

Maria Muldaur is best known world-wide for her 1973 mega-hit “Midnight at the Oasis,” which received two Grammy nominations, and enshrined her forever in the hearts of Baby Boomers everywhere; but despite her considerable pop music success, her music career could best be described as a long and adventurous odyssey through the various forms of American Roots Music. In September, 2019, The Americana Music Association awarded Maria “The Lifetime Achievement Americana Trailblazer Award” for her lifelong work of covering the depth and breadth of American Roots music and for being one of the pioneers who laid the groundwork for what we’ve come to call ‘Americana Music’. She has recorded 43 solo albums covering all kinds of American Roots Music, including Blues, Gospel, R&B, Jug Band, Jazz and Big Band, but has now settled comfortably into her favorite idiom, the Blues. In recent years, often joining forces with some of the top names in the business, Maria has recorded and produced at least a dozen Blues albums, garnering multi-Grammy nominations and various Blues awards.

One Hour Mama – The Blues of Victoria Spivey – Track Listing and Credits
1. My Handy Man (Andy Razaf)
2. What Makes You Act Like That? (duet with Elvin Bishop)
(Lonnie Johnson, © Wixen Music Publishing, Inc. o/b/o Lonesome Ghost Blues)
3. Don’t Love No Married Man (Victoria Spivey)
4. Dreaming of You (Victoria Spivey, © Victoria Spivey)
5. Organ Grinder Blues (Clarence Williams)
6. No, Papa, No! (Victoria Spivey)
7. One Hour Mama (Porter Grainger, © Handy Brothers Music Co., Inc.)
8. Funny Feathers (Reuben Floyd and Victoria Spivey)
9. Gotta Have What It Takes (duet with Taj Mahal) (Victoria Spivey and Harold Grey, © Victoria Spivey and Harold Grey)
10. Any-Kind-A-Man (Hattie McDaniel)
11. Down Hill Pull (Victoria Spivey, © Universal-McA Music Publishing Div. of Universal)
12. T-B Blues (Victoria Spivey)

One Hour Mama
My Handy Man*
T-B Blues
James Dapogny’s Chicago Jazz Band:
James Dapogny – piano, arranger, leader
Kim Cusack – clarinet, alto saxophone
Russ Whitman – clarinet, tenor saxophone, baritone saxophone
Jon-Erik Kellso – trumpet
Chris Smith – trombone, tuba
Rod McDonald – guitar, banjo
Kurt Krahnke – bass
Pete Siers – drums
Maria Muldaur – vocals
*Rob Bourassa – guitar solo

Engineered and Recorded by Robert Martens and Eric Wojahn, Solid Sound, Ann Arbor, MI. Tracks courtesy of Holger Petersen, Executive Producer; under non-exclusive license from Stony Plain Records.

Organ Grinder Blues
Funny Feathers
Tuba Skinny:
Craig Flory – clarinet
Greg Sherman – guitar
Max Bien-Kahn – guitar, banjo
Shaye Cohn – coronet, trumpet
Barnabus Jones – trombone
Todd Burdick – tuba
Robin Rapuzzi – washboard
David Torkanowsky – piano
Maria Muldaur – vocals

Engineered and Recorded by Jacques DeLatour, Butcher Studios, New Orleans, LA. Additional Recording by David Landon, Whip Records, Berkeley, CA. Additional Recording by John Jacob, Small Treasures Studio, San Jose, CA

What Makes You Act Like That+
Down Hill Pull
Don’t Love No Married Man*
Gotta Have What It Takes** ^|
Any-Kind-A-Man
No, Papa, No!
Dreaming of You
Neil Fontano – piano
Danny Caron – guitar
Johnny Bones – saxophone
Steve Height – bass
Beaumont Beaullieu – drums

+ Elvin Bishop – vocals
*Chris Burns – piano
**Taj Mahal – vocals
^ David K. Matthews – piano

Engineered and Recorded by David Landon, Whip Records, Berkeley, CA
Mixing and Mastering by John Jacob, Small Treasures Studio, San Jose, CA
Produced by Maria Muldaur
Production Assistants: Alison Pence, Julie Kenny and Lesley Ferguson

Hi-res cover: http://www.markpuccimedia.com/Maria-Muldaur-One-Hour-Mama-Hi-Res-Cover-scaled.jpg

Hi-res photo: http://www.markpuccimedia.com//New-Maria-Muldaur-Hi-Res-PR-Shot-by-Alan-Mercer.png

Social Media Links: Maria Muldaur – on Facebook and www.mariamuldaur.com
Nola Blue Records – on Facebook and www.nola-blue.com

-30-

Address

Atlanta, GA
30350

Opening Hours

Monday 10am - 6pm
Tuesday 10am - 6pm
Wednesday 10am - 6pm
Thursday 10am - 6pm
Friday 10am - 6pm

Website

http://www.myspace.com/markpuccimedia, http://www.markpuccimedia.blogspot.com/

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