J.P. Reali - Grateful Blues

Bitrate:320K/s
Year:2026
Time:25:06 
Size:58,1 MB 
Label:Reali Records 
Styles:Blues 
Art:Front 

Tracks Listing:
 1. Easy Wind - 3:50
 2. Loose Lucy - 5:28
 3. West L. A. Fade Away - 4:37
 4. I Need A Miracle - 3:29
 5. Mr. Charlie - 3:24
 6. Tennessee Jed - 4:17

For J.P. Reali, it all began when he spotted a bumper sticker in a Long Island record store. To his teenage mind, on that fateful day nearly five decades ago, that gleaming, glossy, rectangular vessel of rock-and-roll promotion spoke like a muse: On the Eighth Day God Created The Grateful Dead. Reali was hooked.
The half-dozen Dead nuggets in the set run the range - from early, blues-laden rarities to deeper album cuts to fan favorites - each reimagined in Reali’s own vernacular. Just like the notoriously adventurous group that sparked the project, Reali welcomes the risk. “On all these songs, I saw a gem of a blues song within a Grateful Dead song,” Reali says.
“Easy Wind” shines on the folk blues of the gestational Dead, ironed it into a three-chord firecracker, and live vehicle for his J.P. Reali Band. There’s “Loose Lucy,” originally a funky twister, turned rocker, replete with robust call-and-response piano breaks. As well, there’s a knowing nod to the 1987 peak of the Dead’s commercial popularity, with “West L.A. Fadeaway,” akin to a B.B. King minor blues, and a showcase for Reali’s luminous guitar work.
Keeping in the spirit of blues guitar giants, there is Reali’s take on “I Need A Miracle.” Here, the Bob Weir-penned bopper gets a lyrical shave, and an infusion of Texas shuffle a la Stevie Ray Vaughan, before dovetailing into a tease of “Bertha.” On “Mr. Charlie,” there’s an homage to the art form’s venerated originator, Robert Johnson, citing the hallowed style of Delta blues.
Finally, the collection concludes with a cap-tip to Piedmont blues - and Weir’s idiosyncratic rhythm approach - on Garcia’s cherished “Tennessee Jed.” Says Reali of the finale, “There is not another version in existence like this one.” Truthfully, he could contend the same for all six on the EP. Recorded at Turtle Studios in Philadelphia, mixed and mastered by Grammy-nominated engineer Andy Kravitz, and produced by Reali’s longtime friend and drummer Jim Larson, Grateful Blues is as unique a compilation as its creator. Too, it’s as fitting a tribute to the Grateful Dead itself.
Raised on a steady stream of Chuck Berry, Johnny Cash, and the blues - all frequent spins from his parents’ record collection (and not coincidentally, all influences, themselves, on the Grateful Dead) - Reali gravitated towards artists that alchemized it all into arena rock gold. Whether Jimi Hendrix, or Yes, or The Allman Brothers Band - and, of course, the Dead - Reali found overflowing founts of inspiration. He studied guitar as a prodigious young student encouraged.

Grateful Blues

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