Album Reviews


Greg “Bluesdog” Szalony, Blues Blast Magazine

November 2, 2020

Texas based guitarist-singer-songwriter Mark Searcy brings a whimsical blues infused Americana vibe to his music. The lineup consists of the basic guitar, bass, drums, keyboards and of course the occasional tuba for good measure. He possesses a powerful set of pipes and a full array of guitar styles. His guitar stings when necessary and adjusts it to suit the mood of any given song. 

All songs are composed by Mark Searcy except for “House Where Nobody Lives” by Tom Waits. It’s not one of his signature “word play” songs, but the band does it more than justice with their poignant read on it. Mark’s commanding voice, slide and standard guitar make the song that more compelling. With its silly lyrics and fifties goofy vibe “Ding Dong Diddley Dadgum” reminds one of NRBQ, particularly with the inclusion of a mention of “An RC Cola and a Moon Pie”. A feel good tune from beginning to end. 

The ballad “Free” features soaring guitar that just cuts through you. The title song is a pleasant ballad with George Harrison style slide guitar accents. A little down home good time lunacy with “Blue Star”. Now for Dickie Betts-Allman Brothers time on “Time Keeps Slipping”. Soaring guitar ala The Brothers. “Col du Tourmalet” is a slow and moody lament ripe with brooding electric guitar. 

More whimsy in the old-time rag of “Dead Boy’s Rag” with its nonsensical lyrics. “Back In My Arms” is a tender ballad with a beautiful electric guitar tone, piano and organ. Finishing things up is Jimi Hendrix-Robin Trower inspired instrumental “Farewell To Jake”. Guitars waft upwards to the heavens. 

Mark and his crew have crafted a solid piece of work utilizing various genres of music. A worthwhile and truly entertaining project using a first-class group of supporting musicians. Producer Matt Smith captured a clear sound that gives a clear picture of each instrument. A good time is guaranteed for all!


Lucky Boyd, My Texas Music

Nov 10, 2007 

"If you expect Searcy’s sophomore release to be a simple continuation of his debut release, forget about it. It ain’t so. While you’ll still hear Searcy remaining true to his traditional blues roots on some songs, you’ll also see him take Neil Armstrong-like steps into cross-genre collaboration. This album employs the services of some great company as Searcy surrounds his inventions with certain styles that take little time to appreciate. Searcy’s vocal work is bluesy and complimentary to the arrangements rather than the typical distraction expected from many guitarists who think they can sing. Searcy gets it done. It’s not unusual to see an artist double back after a stunning debut with a more artistic effort. Searcy has done that. Nine of ten are originals, with the lone cover being well worth the purchase. Niche blues fans may not groove the diversity on the first listen, but a second play reveals Searcy’s commitment to the genre, using innovative techniques to express feeling much like shadows and highlights enhance visual works. As up-and-comers try to emulate Searcy, they will find the technical end demanding, as Searcy is an accomplished composer with the ability to fuse jazz, rock, blues, folk, and country. They will certainly find that capturing the same inner soul will be impossible, as Searcy literally melts himself into each cut, a feat that labels him inimitable. A great second effort, Searcy has taken one small step for himself and one giant leap for the blues. This reviewer’s fave is 'Telluride Blues'.”


Greg "Bluesdog" Szalony, Blues Blast Magazine

May 19, 2017 

Arkansas native and San Antonio, Texas based singer-guitarist Mark Searcy Middleton offers up music on this, his ninth release, that is an amalgamation of various influences. Those influences include rock, funk, fusion, blues, R&B, jazz and who knows what else. While the singing is sufficient along with the writing, the crux of this biscuit is Mark’s way with his guitar skills as he takes us along for the ride incorporating rock, blues, fusion, slide, jazz and more into his playing. Along with his solos, the punchy one-man multi-tracked horn section of Al Gomez and the keyboard skills of Steve Chase and Buck Thomas, the instrumental portions of this CD are a thing to behold. Not to forget the interchangeable rhythm section featuring various players. My favorites are the three diverse instrumental tracks. Add to that Candice Sanders and her soulful gem of a voice, whether doing multi-tracked backing vocals or her lone duet with Mark. 

Mark handles slide and rhythm guitar on my favorite vocal track “I Don’t Feel So Good”, a chugging piece of musical goodness featuring some “tinkly” piano courtesy of Steve Chase and the haunting voice of Candice Sanders following the lead vocal at every twist and turn. Candice pours on the soulfulness as she duets on the slow-burning “When Time Stands Still”. The lovely guitar soloing and late night jazzy piano makes this another standout track. 

Mark’s interpretation of Debbie Davies instrumental “Holdin’ Court” sounds like a track from later day spiritual Carlos Santana. The soaring guitar lines reach for the heavens over the requisite percussion fest. This song is almost a religious experience. The second instrumental “Black Diamond” begins as a slow, moody ground swell of guitar and electric piano that builds into an intense guitar display. This one brings to light the hint of Jeff Beck early smoldering fusion music. The last instrumental “Cassiopeia” starts off with a brief guitar crescendo before leading into heavy crunch-time Jeff Beck territory before tagging the tune with a snippet of Martin Barre (of Jethro Tull) style clever guitar gymnastics. Dang this guy Mark knows he can play him some geetar, Boy Howdy! 

After a short acoustic intro, “Strawberry Jam 1975” turns morphs into a Doobie Brothers-meets-The Allman Brothers twin lead guitar dual between Mark and himself. Neat trick. He builds and trades off solos like The Allman’s patented. The narrator recounts his first kiss and ensuing relationship with his girl. Funky horns, Candice’s multi-tracked backing vocals, punchy horn section along with the ever present guitar and slide guitar goodness cap off things with “Fast Road To Your Grave”. 

The singing and songwriting are good, but it’s the musicianship that raises the playing field. This isn’t music that is easily categorized, but whatever you want to call it, it’s a guaranteed enjoyable good time.


Lucky Boyd, Co-founder,

January, 2010

Mark Searcy assembles a top-notch band and offers the next installment of fantastic blues music with a Texas feel. Searcy continues his tradition of outstanding guitar work and adds exhilarating harmonica from Rick Boss. The album also features the stellar vocal work of the band’s diva, Kori Hubbard. Searcy winds his way through multiple edges of the blues genre from traditional styles to modern and innovative compositions. 

The album’s closing cut is one of Searcy’s epic renditions, which features every feel good lick you can think of. The opener is the title track, which sets the toe-tapping tone for the disc. Searcy follows up with “Cuban Getaway” which marries the band’s inimitable Texas blues style with a samba dance tune that epitomizes the diversity of the project. Hubbard vocalizes on Searcy’s “Bear A Little Rain,” a well written, country feel twelve-bar gem. Chicago comes into view on “Cruisin’,” a Rick Boss co-write. Boss also pens “Your Spices Out” which features Searcy on the resonator in this swampy Delta-style offering that actually made me hungry while listening. Hubbard appears again on “Te Ni Nee Ni Nu” which might be the most commercial track on the disc. Boss and Searcy are both featured in this solid performance. You might not expect a John Prine cover on this disc, but then again, this is Mark Searcy, who has no fear when it comes to adding his brand of talent to any style. Back on the resonator on “Angel From Montgomery,” Searcy proves that no genre is exempt from this band’s embrace. Precise guitar and harmonica work are the order on “Stumblin’” which is one of the album’s two fully instrumental cuts. Throughout, Searcy proves that he’s a mainstay on the Texas blues music scene. Being familiar with Searcy’s music, I had certain expectations when I began listening to this disc. Searcy and the band did not disappoint. This is a great project, start to finish.


JP’s Music Blog

October 13, 2020

"The Blues Come Alive with New Music from Kirk Fletcher and Mark Searcy"

Another new release recently arrived from fellow blues artist, independent singer/songwriter/guitarist Mark Searcy. His new album "Power Of Love" features nine new original tracks, and a cover of Tom Waits' "House Where Nobody Lives," which kicks off the album. The song is Mark's bluesy reinterpretation of the song, as he perfectly matches the music to the lyrics. He picks the tempo up with the swinging rockabilly vibe of "Ding Dong Diddley Dadgum," before letting his guitar take over the spotlight on the emotional blues of "Free." Mark Searcy shows off his looser side with the stellar, folksy, light-hearted songwriting of "Blue Star." then blazes a trail with deep blues of the heartfelt ballad "Col du Tourmalet." He finishes up his new album with the acoustic, New Orleans-style jazz of "Dead Boy's Rag" and the six-minute guitar-driven passionate instrumental "Farewell Jake." To find out more about Mark Searcy and his latest release "Power of Love," please visit


Peter Hund, Good New Music

Jan, 2008 

As the CD's title and cover suggest, there's lots of slide guitar here. Award-winning, Texas-based Searcy employs the style with six-string, 12-string, acoustic, electric and resonator guitars. "Slideaway" is his third release, and the first almost entirely made up of original material (B.B. King's "The Thrill Is Gone" is the only cover).

He wastes no time getting down to business with the opening "Promised Land," a blues-rock number with an unusual backbeat that pricks up the ears in the first few bars. Note-bending riffs underscore lyrics addressing social issues from vigilantism to No Child Left Behind to original sin.

"Ghost Town Blues" is the first of four instrumentals and one of four songs featuring harmonica by Drywall Dave Schlabach, the only other musician on this mostly DIY affair (Searcy handles bass himself and uses a drum machine on songs with percussion). Electric slide, acoustic 12-string and chromatic harp combine to invoke a gothic Western feel. "Betty May" is an electric blues tune about a car – or is it? – with solos alternating between harmonica and guitar. "K'eb" is an acoustic instrumental that sounds more like K'eb Mo' mentors Ry Cooder and Taj Mahal playing together for the first time since the Rising Sons broke up. "If You Love Me" is a pop-rocker in which electric slide does the chorus rather than vocals, and also has great-sounding rhythm guitar. "Becker's Run" closes the album on a high note, with an extended electric instrumental that channels Jeff Beck and Stevie Ray Vaughan.


Jim Beal, San Antonio Express News

June 29, 2011 

“Roadworthy” blues - Arkansas-bred, San Antonio-based blues guitar slinger, songwriter and singer Mark Searcy and his Mark Searcy Band Thursday night will celebrate the release of “Roadworthy,” the follow-up to “Wild Night in Texas,” at Sam's Burger Joint. Brother Fork and the Spooners and The Avey Brothers open. Downbeat is set for 7:30. Cover is $7. The Mark Searcy Band — Searcy, Kori Hubbard (vocals), Louie Real (bass), Carlos Escobedo (drums) and Rick Boss (harmonica, vocals) — and a handful of guests have turned in another strong effort. While the Searcy band covers Koko Taylor (“Voodoo Woman”) and Teeny Tucker (“I Live Alone”), it's the originals that shine.  Standouts include Hubbard's spare spiritual “Dust in the Sand,” Boss' “Loopty Loop” and Hubbard/Searcy songs including “What You Are” and “Chocolate and Cherries.” The blues can always use a shot of fresh blood, and the Mark Searcy Band delivers those shots.


Les Reynolds – 2010

Mark Searcy's brand of blues runs all over the map. Versatility is the order of the day as he serves up swing and jump blues, Delta blues a la Johnson, Davis and House, rock blues and a blend of Chicago and jump blues for good measure. Heavy on electric guitar with plenty of blues harp fills and solos, this group's got the stuff.
"Your Spices Out" begins with a dark, old-time acoustic style slide intro with accompanying blues harp. There's nothing new under the sun here. It's pure D 12-bar blues. If this is how you like it, then, well, you'll like it. Very well done.  "Wild Night in Texas" and "Stumblin" (number two and number six on the playlist) introduce swing and jump blues into the picture, both excellently executed where instrumentation is concerned.  In fact, Stumblin' is totally instrumental and it's that song which blends with Chicago style blues.  Something else a little different is "Cuban Getaway." Latin blues? Yep. This is another all-instrumental tune that's very danceable. It sounds a bit strange at first; but, it grows on you.  "Blood of the Open Road" starts out sounding dark, dusty, like something out of the Old West with electric guitar in the intro. Only, this "intro" proves to be incredibly slow and long. The melancholy and emotional sting of the guitar saves it, and before too much longer, the tempo increases a bit and settles into a nice south Texas blues groove. The song, coming in at just a shade over nine minutes, could have been done in less time. But still not bad.

"Bear a Little Rain" could perhaps be the best of the six - overall, anyway. The simple melody anchors a smoky, flowing southern rock/country/blues song with plenty of blues harp that might have benefited from a little bit more "dirt." The nice female vocal, which was very nice indeed, would have also improved things with more grit. However, with some nice slide guitar added to the mix, this tune is quite good. 

Hopefully, Mark & Co. have more down the line.


Lucky Boyd, MyTexasMusic

Dec 2, 2006 

"Some people like the blues. Some don't. Even within the category of blues-lovers there is division. Some like the swampy Delta blues and some like the rock-influenced blues of, let's say, Stevie Ray. Hardcore blues lovers understand the beginning and roots of traditional blues music and therefore have an affinity for artists like Kirby Kelley, Keb'Mo', Lightnin' Hopkins, and T-Bone Walker. It's that tinny acoustic rhythmic chant, often played on slide guitar or resonator that binds true blues fans in a fundamental grass roots passion for all things bluesy. Meet Mark Searcy. Talent will not get you to the plane on which Mark Searcy exists. It requires being touched by something from beyond our comprehension. Performers like Searcy do not simply play their instruments, but rather become their instruments during a performance. Call it soul, call it a gift, or a midnight trade at a lonely cross road, no matter. Searcy has it. Hear this album and you'll be amazed that Searcy is a relative rookie on the music scene. Already an award-winning performer, Searcy stands to turn more than just a few heads in the near future. Goodness, just think where he'll be in ten years. Acoustic blues may be a narrow niche by popular standards, but Searcy is climbing his way to the top of the heap, twelve bars at a time."


- SA Blues Society, November, 2014

The cold rainy weather could not keep the crowds away from this year’s Robert Johnson SA Sessions festival at Sam’s Burger Joint lastSaturday night. Mark Searcy’s opening performance was a classic one, blending narratives and stone cold delta blues. Mark’s musical ventures have led him to absorb and perform blues, jazz, rock, and combinations of all. His abilities almost limitless. This may have been the first time many of us have experienced and appreciated the depth of Mark’s devotion to the true roots of blues. We are proud to have Mark Searcy as a Member Artist of the San Antonio Blues Society, and we congratulate him on the most recent (of many) award, The Texas Music Awards Musician of the Year for 2014.


Robert Silverstein, Roots Music Review

August 3, 2020 

Having released 11 albums since 2005, singer-songwriter and guitar ace Mark Searcy returns in 2020 with his latest CD called Power Of Love. Originally from Arkansas, Mark’s specialty is Pre-War blues of the 1920s and ‘30s and, in the spirit of modern-day blues-rock legends like Steve Miller and Jimi Hendrix, Mark, writing under the name M.S. Middleton, has penned some truly riveting originals. On the ten-track Power Of Love CD, Mark is supported by a team of top musicians, headed up by the production & mixing by blues-rock specialist and recording artist in his own right Matt Smith, who also recorded Mark's album at his 6 String Ranch studios in Austin Texas. Speaking to this writer about making a new album with a world class guitarist / producer such as Matt Smith, Mark says, "Matt and I leveraged the pandemic lock down as an opportunity to record a great album. The combination of solitude, isolation, and even the crazy chaos in the world  created a unique experience to really reflect on the message of the album, and the title became clear as soon as we started recording it.   It was my first album with Matt, and he's terrific.  He's very reflective and always looking at the big picture of the whole project, and yet very creative and detailed at the same time, and 6 String Ranch is really well equipped with lots of both modern and vintage gear." The sound of Mark’s blazing electric guitar and Matt’s solid bass playing is kept in perfect sync by some excellent drummers and percussionists. For guitarists, the CD booklet lists all Mark’s guitars and amps, which is quite impressive, featuring the usual guitar powerhouses like the Stratocaster and Gibson Les Paul, enhanced by a number of rarer guitars from the 1920s through the ‘50s. Power Of Love closes out with a very cool, jazz-rock flavored instrumental track called “Farewell To Jake”, a track that sounds inspired by the sound of Jimi Hendrix. With Power Of Love, Mark Searcy boldly steps into the 21stcentury guitar spotlight with a highly energized album filled with renewed blues-rock power.


Marty Gunther, Blues Blast Magazine

June 8th, 2017

Arkansas native Mark Searcy Middleton learned how to play the guitar as a child, abandoned it to raise a family and picked it up again after 15 years to rehabilitate himself after damaging several fingers in a work-related accident — and the world of acoustic blues is in a better place because of it. 

Now working professionally under his first and middle names and based out of San Antonio, Texas, for years, Searcy emerged from the musical wilderness to release one previous album before attracting attention for 2007’s Blind Man’s Blues, earned him a Texas Music Awards nomination for musician of the year. 

A man whose first love is pre-War acoustic music, especially Blind Willie McTell, Blind Willie Johnson and Robert Johnson, as well as a diverse group that includes T-Bone Walker, Freddie King, Wes Montgomery and Sean Costello, he captured that prize seven years — and five releases — later in 2013 for the instrumental CD, Hazepipe, which fused his skills in rock, jazz and blues. 

A top-five finalist in the national Telluride Blues Festival Acoustic Blues Challenge and a two-time semi-finalist at the International Blues Challenge, Searcy has devoted himself to acoustic blues ever since. Grapetown Rail, the third disc since he returned to the format, is a bare-bones production that features Mark on resonator and acoustic guitars and vocals, accompanied only by harmonica player Rick Boss, who appears on two tracks. 

A haunting Spanish-influenced instrumental, “Gallows Callin’,” the first of nine originals, puts Mark’s prodigious six-string skills on display to kick off the 12-song set, tying perfectly into “Hangman Blues.” The latter picks up speed as it expresses fear that the executioner is on the singer’s trail after shooting two men in Dallas for messing with his family and then skipping bail. Searcy’s vocals are crisp and strong. 

Robert Johnson’s “Kind Hearted Woman” gets a warm treatment with Mark on resonator before a run of four new tunes with an old-time feel. “Homecooking” is a beautiful instrumental that hints of Stephen Foster’s “Oh Susanna,” while “Grapetown Rail,” aided by Boss, is a vocal tribute to workers who constructed a 920-foot tunnel for the San Antonio Fredericksburg And Northern Railroad, which went belly-up during World War II. “Chance In Your World” is a plea for love, while the instrumental “Rainmaker” cascades with some sensational picking. 

Mississippi Fred McDowell’s “Left My Baby Standing” is up next before another trio of originals: the tasty instrumental “Hochatown,” “Misfit Blues,” which sings about being locked in the cellar by a woman who runs off with another man, and “Mississippi Morning,” a slow-paced instrumental steeped in the Delta. The set closes with Searcy and Boss delivering a sprightly version of Tampa Red’s “You Can’t Get The Stuff No More.” 

Available through Amazon, CDBaby or directly through the artist’s website (address above), Grapetown Rail is a delight. The state of Texas is so big that many musicians don’t travel far beyond its borders despite producing terrific albums. Pick this one up. You won’t be disappointed. 

Reviewer Marty Gunther has lived a blessed life. His first experience with live music came at the feet of the first generation of blues legends at the Newport Folk Festivals in the 1960s. A former member of the Chicago blues community, he’s a professional journalist and blues harmonica player who co-founded the Nucklebusters, one of the hardest working bands in South Florida.


Lucky Boyd, MyTexasMusic

June 16, 2011

Yowza!  That’s what you’ll exclaim as the opening cut grabs your attention on the latest release from acclaimed Mark Searcy Band.  Ginger Pickett’s vocal work on the lead off “Voodoo Woman” sets the tone for the project.  Kori Hubbard takes over on vocals on “What You Are” and the excellence continues.  Searcy surrounds himself with a host of talent including Louie Real and Carlos Escobedo (which you might have seen with the Wolf Sisters) and Jeff Keast on keys.  Searcy’s band also includes Texas Music Awards 2011 Nominee Rick Boss on harmonica.  With this collection of pickers, it’s no wonder that this is Searcy’s best work to date.  The dynamic of the album is varied without breaking genre.  The blues are intertwined with jazz and gospel influences for a new sound that makes Searcy’s band a truly hot commodity on the music scene today.  Searcy has come a long way from the grass-roots purity of BLINDMAN’S BLUES and has a more commercial feel these days.  There are times in the music when you can feel his connection to his upbringing, but for the most part, he has moved on to the next phase of his music.  Searcy pens the majority, peppers in a few co-writes with Hubbard, Boss, and others, and covers a couple of classics.  Mark takes the microphone on but one cut, the raucous “Wang Dang Love Thang” to close the album.  The flow of the album is one of the best features of the album, which is why it should be a felony to buy one song from an album.  Artists go into the studio and lay down an album, a collection, a project, of which they have spent countless hours debating and even arguing about the order of the songs.  Why?  The order doesn’t matter if you’re going to let people strip your creativity one download at a time.  This is why only allows full album downloads.  Whatever you do, make sure you listen to this disc in the order it is displayed.  Unless you do, you will miss the emotion and passion with which it was recorded.  Searcy puts together nine cuts of pure entertainment and it should be enjoyed exactly has he envisioned it.  I usually don’t advise artists to self-produce, and in the early days, Searcy might have been better served by hiring out a producer, but the road, the work, and the experience have brought Mark Searcy to the point where he not only is masterful at this self-production, but he would be a good candidate as producer for any artist serious about capturing true expression on disc.  The highlight of the disc is the sultry performance by Kori Hubbard on “Chocolate and Cherries.”  This epic recording is best experienced with over-the-ears headphones, cigar in hand, eyes closed, and the smell of whiskey nearby.  It doesn’t take much to transform yourself to a magical place, the likes of which haven’t existed since the demise of Generic Joe’s on Sixth Street.  Searcy is not Memphis, Chicago, or New Orleans.  Searcy is Texas, the red, the white, and the blues.


Jim Beal, Jr., San Antonio Express News

January 2010

The Mark Searcy Band plays blues, all right, but the band mixes it up, delivering straight-up 12-bar action, Texas-style boogie, swampy selections and resonator guitar-driven acoustic blues. The band -- Searcy (guitar, vocals), Kori Hubbard (vocals), Rick Boss (harmonica, vocals), Ricky Smith (bass) and Lyle Burke (drums) -- have a repertoire that balances covers and originals.
Highlights of "Wild Night in Texas" include a cover of Slim Harpo's "Te Ni Nee Ni Nu," Searcy's "Stumblin' " and Boss' "Your Spices Out." Searcy and Boss can flat get down on guitar and harmonica respectively, but both show proper restraint by serving the songs instead of the egos. Listen for the guitar/harp duet on "Stumblin'" to hear how it should be done. Variety is a good thing for the blues. The Searcy Band is doing a good thing.


John Mitchell, Blues Blast Magazine 

April 7th, 2019 

Texas-based Mark Searcy played guitar in his teens but stopped altogether to raise a family, only starting to play again as therapy when he injured his hand in a work accident. That rekindled his love of music and he has produced ten albums since 2005, ranging from solo to full band recordings. On this disc he blends electric and acoustic work, aided by quite a large cast of musicians. Mark plays guitar and handles lead vocals with Frank Lisenbee and Louis Real on bass, Carlos Escobedo, Jacob Getzoff and Bugz Garza on percussion and Candice Sanders on BV’s; guests include Van Wilks on guitar, Kenny Grohman on steel guitar, Steve Chase on B3 and Dave Hohmann on sax. All the material was written, arranged and produced by Mark, Frank Lisenbee recording, mixing and co-producing in San Antonio, Texas. 

The opening pair of tracks show Mark’s varied repertoire: “Where Does It End?” is blues-rock with heavy riffs, sequencers and a wild solo whereas “Congo Road” is back porch acoustic, just Mark and his resonator, backing vocals and hand percussion. Another change comes with “Legend Of Charlie Jones”, a chugging rocker that recounts a tale of early twentieth century revenge, unfortunately marred by a rather histrionic guitar solo for which plenty of space is available in the extended track. We then get a quieter track “Angel Of Destiny” with pedal steel and B3 adding a country feel before “Moon Lovin’ Woman” bounces in on a jazzy riff, lead guitar duties shared with Van Wilks. 

Two good instrumentals mark the midpoint of the set: “Mi Amor Por Ti” reflects the title, a gentle trio performance in suitably Latin style; “Fruit Cookies” is interesting with jazz flavors in Mark’s guitar work, Dave’s sax, the warm wash of the B3 and Frank’s bubbling bass, the whole bringing back fond memories of artists like Lee Rittenour back in the late 70’s/80’s. These two instrumentals grabbed this reviewer’s attention, but neither are blues! “Invincible” offers another change with Frank switching to classical guitar alongside Mark’s electric as Mark reflects on happy musical times when the world was his oyster, Dave adding a breathy sax solo. Two rhythm guitars are credited on “Gotta Get Back To You”, a sure sign of a more upbeat tune and, with Candice’s backing vocals also beefing up the production this is a pleasant and lively song, more pop than blues but attractive. Album closer “Monterey” runs to over 8 minutes, Mark playing both resonator and electric guitars. The guitar work appears to be influenced by Hendrix (think “Little Wing”) while the lyrics reflect a disconnect between modern life and the hopes and dreams we once had: “from Monterey you just watch it burn”, a view further underlined by a spoken word sequence. Just as you are thinking that it’s a moody and depressing end to the album Mark rides in with a very upbeat guitar feature to close the track in impressive style. 

There is not much straight blues here, but Mark’s vocals work fine and he plays well across several styles.