John Christopher Morgan - Right On Time (2025)

This debut of 13 rousing blues, roots & soul pieces featuring 9 originals & some reinterpreted covers is the first for seasoned drummer/vocalist & Michigan-born John Christopher Morgan. On board are a few name artists, including guitarist Albert Lee. Now residing in Ventura, CA, John’s beautifully designed 6-panel CD Right On Time was produced by Ralph Carter (bass).

Ok – John isn’t Waylon Jennings, Merle Haggard, or George Jones—big deal. On first listen, I was grabbed by his distinctive voice. A good showcase style with wonderful female backing vocals. An engaging set. “Vidalia,” & the sizzling harmonica radiation of the Huey Lewis tune “Bad Is Bad” are masterful. Excellent playing. John Christopher Morgan has style. Many singers have good voices, but style, ah, but that’s another thing.

Surprisingly, the percussive & sumptuous guitar coherence of the rhumba flavored “Trouble Is My Business,” finds John with a great J.J. Cale fusion. It has heat & he distinguishes the groove with the atmosphere. Yeah, style & atmosphere – there’s the magic. Then he does a complete turnaround with the quirky horn dustiness of “Last Heartbreak” & “Right On Time” both have a soulful configuration right out of Southside Johnny/J. Geils Band/Beaver Brown in tradition. Impressive.

These songs were arranged with care. Track 4 has a dark Henry Mancini dynamic that spills from “San Buenaventura.” The lead vocal is a sultry female with a ‘60s twangy lead guitar & succulent sax. Then, strictly soul seeps into the ‘70s Barry White-type “Ain’t We All In It Together.” I’m convinced Morgan is good at pacing his work throughout this album. This is a narrative & it’s laid out with good drama & words of inspiration. Not necessarily Motown, but more of a Philly-soul tint. Female vocals are impeccable.

A true blues injection returns with bluster on the harmonica-driven Fabulous Thunderbirds style “Black Bag Blues.” Not exactly Kim Wilson’s voice, but Morgan has grit & the tune glides effortlessly through the speakers in a cool & calculated juke joint/roadhouse blues embrace. This is not a beer song; this is straight whiskey. The hottest 12-bar blues lead guitar comes on the silly novelty tune “The Jeweler’s Daughter.” It features urban-cool horns & it’s well done. The swinging instrumental “Jumpin’ With Leon” is a strong, danceable jewel mindful of Memphis Slim. The finale comes with a bit of a John Lee Hooker tone in the narrative “Black Bottom Blues.” You can’t do better.