Peter Parcek – Most of the Time
All Sound Recordings
15 tracks – 78 minutes
Peter Parcek was born in Connecticut, moved to London, England in the 60’s, and now lives in Boston. While in England he saw many of the English performers including Eric Clapton, Jeff Beck, and Peter Green and many other guitarists on the scene in that era. While there, he joined a band as a vocalist and harmonica player and played many venues including the famous Marquee Club on a bill that included Pink Floyd. But he was ordered to return to the US as he did not have a work visa.
Returning to Connecticut, He studied the techniques of the American blues artists and other guitarists of the era, witnessing Skip James, Muddy Eaters, B.B. King, and Buddy Guy among others and also Jimi Hendrix in concert. When he moved to Massachusetts, he started practicing his guitar eight to ten hours a day to perfect his style, which he references as “soul guitar”, which is based in the deep emotional feelings he creates with his sound and to the roots of the blues.
In 1990 he became the guitarist for Pinetop Perkins playing on his albums and touring as his band leader. In 2000, he released his debut album, “Evolution”. This is his fifth album release, which combines seven original songs with eight covers.
Peter sings and plays guitar on all tracks with his bandmates Tim Carman on drums and percussion, Marc Hickox on bass, and Tom West on Hammond B-3 and Fender Rhodes with numerous guest performers scattered throughout the album. Mark Earley adds horns on five tracks.
Duke Robillard joins on guitar on the opening track “Twistified” as he declares “my woman quit me, run off with a younger man. I got something to tell you, if you’ve never been told. Don’t go gray and don’t never grow old.” He then asks, “How Many Times” “you gonna treat me like you do? Took all of my money and my love too.” as he makes his guitar talk with a smooth run. The title song is a cover of a Bob Dylan song from 1989 that Peter turns into a smooth blues noting “When the road unwinds, I can handle whatever I stumble on. I don’t even notice that she’s gone – most of the time”. Kevin Barry plays lap steel and acoustic guitar with Danielle Miraglia on vocals on this and on the next song, a cover of Mose Allison’s 1962 “I Don’t Worry Bout a Thing” “cause I know everything’s gonna be alright”. Tom West keyboards lead into an excellent ripping guitar from Peter.
”Just Play Rhythm, Baby” features some jazzy B-3 from Tom West and Peter again sailing off in a terrific solo. John Hiatt’s 2021 “Mississippi Phone Booth” tells the story of a frantic late-night call for help as he begs “Please don’t hang up on me this time”. Elmore James’ 1962 “Stranger Blues” addresses a newcomer trying to fit into a new town as he questions “Well, I wonder how come they treat a poor stranger so, and they all should remember they’ve gotta reap just what they sow.”
Duke joins Peter again on guitar with Marcos Anthero guesting on harmonica as Peter notes he is “Just a “Poor Boy” growing old…in a strange land”. ” I have a mortgage on my bike and a lien on my soul”. Luther Dickinson on guitar and Mickey Raphael on harmonica join Peter as he gives her “a picture, put it into a frame so “When I’m Dead & Gone” you can see me just the same”. Marco Giovino plays drums and percussion on the song with Dominic John Davis on acoustic and electric bass. “Cold in Hand” is a rocking instrumental. Next, he says, “I am out of my body “Three Feet in Back of My Head”. I woke in a cold sweat. I was floating on the ceiling looking down at my bed.”
He closes the album with four more covers starting with Mississippi Fred McDowell’s “Highway 61” with Kevin Barry on lap steel. He prays, “If you see my baby tell her she’s alright with me. Lord, if I should happen a-die ‘fore my time have come, I want you to bury my body down on Highway 61.” Bill Wither’s 1971 “Grandma’s Hands”, written as tribute to his grandmother recognizes all the people and places his grandmother’s hands touched. The final two songs are listed as bonus tracks. Jesse Mae Hemphill’s 1987 “Lord Help the Poor and Needy” seems particularly appropriate today as many are homeless and rising prices are forcing an increasing number of people to get their food from pantry donations. Steve Scully plays drums and Daniel Kellar plays violin on the song. Duke joins him again on Freddy King’s 1961 instrumental “Swooshy” for a rocking finish.
Peter proves himself to be a guitar master deserving recognition to be in the lists of the best currently performing guitarists. His vocals are smooth with a slight weary rasp. He delivers an excellent album that is definitely recommended.
