John McTigue III - Never Too Late (2025)

This 2nd assortment of songs from John McTigue III includes some well-chosen covers mixed with tight originals performed seamlessly. Classic tracks decorate the LP, including the opener “Down the Road A Piece,” — an old school blues sung by pianist Al Hill.

12 endeavors are Never Too Late produced by John (drums/percussion/vocals), & Kenny Vaughan (electric guitar/vocals), & recorded in Nashville.

Despite these new renditions, the nostalgia is intact. You’ll feel like cruising down a highway on a beautiful day in a convertible, radio blasting & fuzzy dice swinging from the rear view. Al Hill’s piano is rejuvenating. “Falling in Time” is an instrumental, the way great ‘60s instrumentals used to be on the charts. The Rockin’ Rebels “Wild Weekend,” the Pyramids’ “Penetration,” Duane Eddy’s “Because They’re Young,” & “Rebel Rouser.”

An old-time Country classic like “Ghost Riders In the Sky” in a spatial arrangement that has lucidity, no corniness, or novelty treatments here. It’s the delicate interpretation qualities that are on full display. Exceptional drums by John, especially toward the conclusion. Masterful fills, crisp snare work, clean rolls & cymbal snaps from the tip of his sticks. The drums are tuned to a thud that holds down the performance throughout.

Al Hill returns with his “One Way Ticket” — superb. He possesses a genuine juke joint vocal that could curl the dust in your navel, & if his voice doesn’t get you, the piano will. John lays down dynamic drums as expected. Staggeringly good track.

Bobby Troup’s classic “Route 66” resonates with the venerable ‘50s lead guitar sound & John lays down a steady, solid beat like the tried & true Sandy Nelson & Hal Blaine. Steady, aggressive & driving. I can feel the humidity on my face out on that legendary highway, & what makes it special is the tints of Cab Calloway energy. An outstanding performance.

A little darker comes a violin & cello stab at “Hope Within Us,” & “Broadway Blues ‘Lower’” are McTigue III originals. “Broadway” is a finger-snapping groove while “Hope” has a noir overtone, & despite its shady musical cast, John’s drums brush away the long shadows to allow the tunes to penetrate the ears. That’s the whole album – penetratingly good.