Lightnin Records
Peter Parcek has been a mainstay of the New England blues scene for many years, but he is now producing some of the finest recorded music of his career. Most of the Time, the follow-up to 2020’s Mississippi Suitcase, continues the journey begun on that release.
Parceck is a tasteful guitarist whose deeply emotive playing always gives each song exactly what it needs. He never overplays, but neither does he err on the side of caution. His soft yet confident vocals draw the listener in, while his guitar work carries real authority.
He is joined by a core band featuring Tim Carman on drums, Marc Hickox on bass and Tom West on keyboards. Guest appearances from Duke Robillard, Kevin Barry, Luther Dickinson and others add further depth to a collection that blends original material with carefully chosen covers.
The album’s 15 tracks include four instrumentals, two of which are bonus recordings from previous sessions. Twistified is a powerful opener, combining a deep blues swing with punchy brass and a guest appearance from Duke Robillard.
How Many Times takes a more plaintive approach, exploring lost love as Parcek moves easily between a melancholy vocal and forceful guitar playing. The title track is an underappreciated Bob Dylan song, given fresh life through a thoughtful interpretation. At more than eight minutes, it could have tested the listener’s patience, but Danielle Miraglia’s backing vocals provide a beautiful counterpoint and help the performance sail home.
Tom West comes to the fore on Mose Allison’s I Don’t Worry ’Bout a Thing, while the version of John Hiatt’s Mississippi Phone Booth is one of the album’s highlights. The full electric-band arrangement, complete with expressive wah-wah guitar, creates a vivid and deeply bluesy atmosphere.
Elmore James’ Stranger Blues is also given the full Parcek treatment, sounding contemplative and thoroughly contemporary. The slow-burning Poor Boy features another appearance from Robillard, while When I’m Dead and Gone is lifted by Luther Dickinson’s playing and Mickey Raphael’s excellent harmonica.
The eerie Three Feet in the Back of My Head explores an out-of-body experience with an unsettling intensity. Parcek then heads into Hill Country territory with Fred McDowell’s Highway 61, before bringing gospel and soul influences to Bill Withers’ Grandma’s Hands.
The instrumental version of Jessie Mae Hemphill’s Lord Help the Poor and Needy serves as a tribute to Parcek’s former engineer and close friend.
Authentic, deep and impressively varied, Most of the Time is another excellent release from an artist producing some of his strongest work.
Steve Yourglivch
