John Nemeth

Memphis Grease
Blue Corn Music

In a recent show, John Nemeth explained how he became a songwriter. While performing in a harmonica summit in Portland, he was on the bill with the late Paul deLay. After playing a handful of classic blues cover tunes by people like Little Walter, deLay spoke to Nemeth and told him he had done a great job, but if he ever wanted to get anywhere in the business he needed to start creating his own original music. Nemeth took this to heart. In a big way. After all, deLay was not only an exceptionally scary great harmonica player, he was also an ace when it came to penning original music. Since taking that advice from deLay, Nemeth has developed into one of the finest songwriters in the genre, capturing the right mood for his soulful voice and booming harmonica playing.

Those songwriting skills are very evident in his latest release, Memphis Grease. Ten of the thirteen selections on the album were all written by Nemeth. Memphis Grease is Nemeth’s first release since making the move to Memphis from the West Coast. It is dripping full of that great soulful feel that lives and breathes in the music of that city. I’m not sure if it’s something in the Mississippi River water or the sultry humid air that brings out the best in soul singers, but Nemeth was an incredible vocalist before making the move, but he has even surpassed all that now. Maybe it’s hooking up with Scott Bomar and The Bo-Keys that add that authenticity. I mean, how can you go wrong when working with a collection of some of the finest musicians to ever lay down that soulful groove for so many other outstanding artists in the field? But even with all the climatic Memphis feel and encouragingly fantastic band behind this recording, it still breathes John Nemeth at his original best.

The feeling behind the original tracks on Memphis Grease have that flavor of classic numbers recorded at Hi, Royal or Stax Studios in their heyday. I can picture a number of legendary performers from Johnnie Taylor to O.V. Wright to Otis Redding singing these exact songs. And doing them precisely as Nemeth has delivered them himself. Numbers like “If It Ain’t Broke,” “I Can’t Help Myself” and “Testify My Love” come across in this manner to a tee. There are also examples of Nemeth making his own statement in soulful stylings with “Sooner Or Later” and “I Wish I Was Home.” They accentuate Nemeth’s over the top vocal talents and increasingly tasteful songwriting abilities.

There are three covers featured on Memphis Grease. A superb take on Howard Tate’s soul masterpiece “Stop,” and Otis Rush’s “Three Times A Fool” is heavily funkified with Nemeth throwing down hard blowing harmonica riffs in the places where Rush would’ve supplied his guitar licks. Perhaps the most amazing cover, though, is Nemeth’s take on Roy Orbison’s “Crying.” I told him myself that taking on any number of this caliber by Orbison took a very confident and brave vocalist. Orbison had such a range in his voice that seldom will you find somebody to capture one of his songs in the right way. Nemeth has accomplished that feat remarkably.

Overall, Memphis Grease is another step forward for John Nemeth. I mean, the man has already put together some exhilaratingly unbelievable recordings. Just how much better can he get? Memphis Grease has already surpassed expectations from the work he has released before. He makes me a believer that there may be no bounds and heights he cannot reach in his songwriting and performances. Expect to find this one on the blues charts for a lengthy time and sitting right there as one of the best of the year when all is said and done.

Total Time: 53:52

Three Times A Fool / Sooner Or Later / Her Good Lovin’ / Stop / If It Ain’t Broke / I Can’t Help Myself / Crying / My Baby’s Gone / Testify My Love / Bad Luck Is My Name / Keep The Love A Comin’ / Elbows On The Wheel / I Wish I Was Home