MUD MORGANFIELD receives well deserved rave reviews for Delmark’s PORTRAIT!

Mud Morganfield – Portrait

Release date: November 11, 2022 Delmark Records By Curt Brown

Photo: by Roman Sobus

A burden or a benefit? A mighty weight or a supporting edge? An anchor to the past or a push forward? What bearing does having the Morganfield surname carry in the blues today?

Before he was known to the world as blues titan Muddy Waters, he was McKinley Morganfield. His legacy is one of taking the country blues of his Mississippi youth and forging a new urbanized electric brand of the music now known as the Chicago blues. This style he developed was energized by the metropolitan landscape, one where life for southern Blacks who moved north was impacted by new stressors and difficulties. His blues was loud, tense, and band-oriented, signifying the beginning transition of acoustic country blues into a hard city medium. Here, the lines between art form, song, and performance blurred, as this was blues on a whole new level. And to this day, Waters’ blues visions spur creative dynamisms in songwriters across many genres.

Mud Morganfield is the eldest son of Muddy Waters, coming into the world in 1954 as Larry Williams. As a youngster, he was brought up by his mother, Mildred McGhee, and his various uncles. Muddy, though, was not a constant presence in Mud’s life. However, Mud was surrounded by music all his life, with his musical journey starting via a drum set his famous blues artist of a father provided him as a boy. Eventually, Mud turned his musical attention to the bass guitar. Here is a point of departure for Mud versus his esteemed father: Mud grew-up appreciating various types of music including soul, R&B, and the Detroit Motown sound, allowing him a broader set of influences upon which to build his musical education, songwriting and performing style, and overall musical perspectives.

Like his father, Mud supported himself early on by being a truck driver, yet after his father’s death in 1983, he began his blues development in earnest, and became a fixture on the Chicago South Side blues scene, along with the blues festival trail. Not only was he paying homage to his blues lineage, but he was also presenting his own blues compositions, demonstrating his desire to not be merely seen as cashing-in on his undeniable blues pedigree.

It took time, but Mud began to feel pride in the inherent talent from being Muddy’s son, and embraced his baritone voice and vocal phrasing that closely approximates his father, now viewing it as his calling to keep Muddy’s brand of blues alive. He isn’t parroting his famous father whatsoever; rather, he is championing all that was great about his Muddy and his blues while constructing a musical identity all his own.

Mud’s third overall release, and his first on Severn Records, was entitled Son Of The Seventh Son, a collection that saw the light of day in 2012. The 12-song outing drew positive critical reviews, and was nominated for a 2013 Blues Foundation Blues Music Award in the Best Album and Traditional-Male Artist Album classifications. Seven of the collection’s songs were written by Mud. The tunes were recorded at Chicago’s Rax Trax Studios in 2011, produced by Phoenix, AZ’s blues champion Bob Corritore, and mixed by John Wroble in Chandler, AZ.

Mud’s new Delmark Records Portrait CD comprises the entirety of the Son Of The Seventh Son release, plus two new tracks entitled “Praise Him” and “Good Morning Little Schoolgirl.” All the original 12 Son Of The Seventh Son cuts have been remastered by Julia Miller and Elbio Barilari, the President & CEO and V.P. and Artistic Director, respectively, of Delmark Records.

The original Son Of The Seventh Son tunes included a veritable roster of “who’s-who”, or, “first-call”, blues musicians who unfailingly add prized value and depth to the studio backing they provide. Those venerated pros include Muddy’s one time band mate Rick Kreher with his considerable guitar proficiencies, Billy Flynn also offering his indisputable broad guitar aptitudes, blues drumming elite Kenny “Beedy Eyes” Smith (son of Muddy’s longtime drummer Willie “Big Eyes” Smith), departed blues piano and organ giant Barrelhouse Chuck, along with both Bob Corritore and Harmonica Hinds plying their considerable harmonica talents to the mix, and bassist E.G. McDaniel (son of bluesman Floyd McDaniel) keeping the low end in-check on the bass.

These tracks could be primers of how to construct and musically interact in a blues ensemble format; how to do so collaboratively, while staying in one’s own lane, how to become communal in making truly inspired music, and through that collective respect, bringing out the best in one another, ultimately leading to the best collective end.

“Short Dressed Woman” finds Mud at his most Muddy, if you will, his vocal nuances, shades, and articulations causing even this jaded reviewer to do an auditory double-take to ensure it was indeed Mud roaring his appreciation for the lady at the center of the discussion. But the point here, and for the whole of this CD, needs to be made now: Mud is his own man, and as a singer, if an astute ear listens closely, he brings his own unique subtleties and precisions to his vocal outpourings as to firmly rise above any ill-advised charge that he is merely mimicking his father. Nothing could be farther from the truth. “Short Dressed Woman” (formerly “Short Dress Woman”) plows forward with an ensemble approach that is a blues racket in all the right ways. Once one jumps aboard Barrelhouse Chuck’s cascading piano train here, it is too late, for this highly-spirited ride is too infectious to jump from.

Another cut of particular interest is “Son Of The Seventh Son” (a “Studebaker” John Grimaldi composition), and the hyper sexuality that is assertively conveyed by Mud, with Hinds’ braying harmonica solos adding substantial tension, while Barrelhouse Chuck adds foreboding overtones to the proceedings. This tune is a shameless testament to male bravado; the song lurches and plows ahead with masculine passion and fury unabetted.

Also, Mud’s “Loco Motor” burbles with Corritore’s omnipresent harmonica, Barrelhouse Chuck’s joyful piano excursions, while Flynn’s guitar solo swings the outing with great aplomb. With accompaniment such as this, how could Mud not find and bring back the woman he envisions as his ideal?

Mud’s haunting “Midnight Lover” finds him in a more restrained vocal mood, considering the potential implications of his forbidden pursuit of love, knowing full well that his is a path paved with nothing but unfortunate outcomes. All backers on this heavy, deep cut play to the somber side of the scenario. In short, this is a fabulous story blues. Mud is at his best here, and his restrained temperament idyllically suits the no-win situation at-hand. This reviewer hopes to hear more of this side of Mud in the future.

Mud’s reading of his father’s “You Can’t Lose What You Ain’t Never had” is vocally dead-on with the original; but, there is an undeniable lift in emotional intensity that is difficult to put into words that he submits. It inhabits the first syllable of each line of lyrics, with the ending syllables drawn ever-so-slightly out. As such, Mud makes this song his own. The anxiety extended by the slicing slide guitar and keyboard work only adds to the power of this cut.

Mud’s “Blues In My Shoes” is his account of how he came to the station in which he finds himself, as the torch-bearer for both his father’s gloried blues contributions, and how his unique life’s experiences have framed him to be the blues force he has developed into. One wants to reach through the speakers at the end of the song and proclaim to Mud that he owes no justifications for his vast skill set and ancestry.

One of the new songs on Portrait, “Praise Him”, a gospel tune recorded in June, 2021 at Joyride Studios in Chicago, includes Rick Kreher and Delmark Records artist Mike Wheeler in guitar support, Mud providing a solid bass pattern, Cameron Lewis contributing the percussive elements, Luca Chiellini swirling on keyboards, and Felicia Collins, Shantina Lowe, and Demetrius Hall offering soulful backup vocals. This is a tune brimming with life affirmation and faith, and Mud sings with conviction regarding personal conversion leading to a better path through life. A special mention here to “Studebaker” John Grimaldi for arranging this tune.

The additional new song on Portrait, Sonny Boy Williamson I’s “Good Morning Little School Girl,” effortlessly rides the ensemble beauty comprised of Mud’s perfectly sung certain message of interest to the youthful lady who is the object of his affection, while Kreher’s and Flynn’s guitars easily intertwine, with Corritore’s harmonica solo economically and respectfully paying reverence to Williamson (the liner notes don’t credit him for his contribution here), along with Barrelhouse Chuck’s curlicuing keyboard runs , while Smith’s spartan drumming is the ideal percussive framework, and with McDaniel’s bass subtly shaping the necessary low timbre. This could easily be confused for a 1937 Bluebird label release; however, it is not a slovenly recreation, but instead a respectful outpouring of blues energies by a cast who know the tune’s place in Chicago’s blues lore. This tune too was recorded at Chicago’s Rax Trax Studios in 2011, produced by Phoenix, AZ’s Bob Corritore, but mixed by Delmark Records’ Julia Miller.

In total, Portrait is a living, breathing, dynamic blues document of a man who, while he came to the blues world a bit more direct than most, is utilizing his unique personal creative inputs to shape his blues visions, with the advancement of his competences being attained through demanding, hard work that allows him to stand tall upon his merits solely. Period. Without any qualifications whatsoever.

The highly-respectful ensemble approach here makes this a repeated go-to CD for the discerning blues fan. Kudos to all involved.

Sound across this release is vivid and rich due to the remastering by Delmark Records. Bravo.

Word is that Mud is currently recording brand new songs for a future album. While that’s something to greatly anticipate, this Delmark Records release is stirring in a contemporarily classic way, if that even makes any sense. It does, because this CD is proof of it, without stipulation.

For info or to buy the music:

About the Author: Curt Brown is the author of the weekly “Curt’s Blues” blog (Curt’s Blues – Blues. Only. Spoken. Here. ( He was the long-time late-night blues radio host on WSND FM 88.9 Notre Dame/South Bend. His Master’s Degree thesis from Indiana University dealt with the notion of travel in blues lyrics. He previously published a weekly blues article for the student newspaper of Indiana University South Bend, and has been interviewed by newspapers and magazines regarding the blues.

Windy City Wednesday – ‘Portrait’ by Mud Morganfield
Mud Morganfield’s ‘Portrait’ was released November 11, via Delmark Records

Normally, Windy City Wednesday shines a light on Chicago’s classic blues albums of the past. Portrait is a new(ish) album from Muddy Waters’ eldest son, Mud Morganfield, released just last week via Delmark Records.

The lowdown is that most of the songs on Portrait were previously released by Morganfield on his album, Son of the Seventh Son, on the Severn imprint. Since his signing with Delmark, they added two previously unreleased on CD songs, re-mastered the entire project, track by track, and presented it to the world. The result? Marvelous modern blues with exceptionally deep Chicago roots.
The first track, “Praise Him,” was arranged by “Studebaker”John Grimaldi, and recorded in 2021 at Joyride Studios in Chicago by Blaise Barton. It starts the CD out nicely, with a Mud Morganfield penned gospel tune, demonstrating his advancement in songwriting over the years. Mud handles the bass and vocals on “Praise Him,” with Rick Kreher and Mike Wheeler on guitars; Cameron Lewis on drums and percussion; Luca Chiellini on keyboards; and Felicia Collins, Shantina Lowe, and Demetrius Hall providing choir vocals.
In 2018, American Blues Scene‘s Barry Kerzner wrote, “It’s hard when you are the son of blues royalty. It’s even harder when you are the son of Muddy Waters. No matter how hard you try, you’re never going to be Muddy Waters. So, you have to forge your own path and build your own reputation with your own work. Mud Morganfield has done just that. This soft-spoken, humble man has grown into a giant talent in recent years.” Morganfield continues to forge his own path in Chicago blues, with his famous father never too far from his mind.

I remember as a kid, my dad used to buy me a set of drums. I played drums for like eight years, starting when I was seven, and he always made sure I had a new set, because the first couple I tore up. But I think maybe even tapping on my mother’s stomach, I come here with these music notes running through my head. I got scolded lots of times for beating on furniture, like the sides of dressers, but I had to get that stuff out. Dad would come home after a tour and all he wanted to do was sleep and watch the White Sox. We had a ‘do not disturb’ sign on him when he was home, because he’d be gone for like two months at a time. It’s been a trip for me to be able to share even any parts of the legacy my dad left here. I’m Mud Morganfield, but when I’m up on stage I always feel Pops is there with me and it means so much that I can get on stage and keep his music alive around the world.

Later on Mud switched to bass guitar, and began dabbling in songwriting, but never really entertained the idea of becoming a professional musician himself, until his father’s passing in 1983. It was his introduction at a tribute concert to his father in 2007, and then his performance that year at the Chicago Blues Festival, that had folks really beginning to pay attention.
I see my career today as, I don’t want to say a last minute ditch, but I know that I have to continue to move forward. I have a destination. I have things I have to do before I leave you guys. I’m doing my best to get ’em done by recording new albums, and new songs. It’s just really easy to leave something bad. But it’s really, really easier to leave something good. So I’m determined to leave something good here that people can say about me once I’m gone.

On Portrait, Morganfield is surrounded by a galaxy of blues stars, including Kreher and Billy Flynn on electric guitar; bassist E. G. McDaniel; Kenny “Beedy Eyes” Smith on drums; and Barrelhouse Chuck on piano and organ. Harmonica duties are split between Harmonica Hinds, and Bob Corritore, who produced the original album. Tracks 2 through 13 are in the exact order as they were on Son of the Seventh Son, so if you’ve heard that album, you’re familiar with the music, but haven’t heard it quite like this. The Delmark remastering takes the songs to a cleaner, more powerful level, making them sound brand new.
The final track, is the previously unreleased “Good Morning Little School Girl.” The Sonny Boy Williamson classic was recorded in the same sessions but given a loving mix and digital master by Delmark’s Julia A. Miller at Riverside Studios in August of this year. While “Praise Him,” is sung in Mud’s (trying not to sound like his father) voice, on “Good Morning Little School Girl,” it’s sometimes hard to tell whether whether it’s Mud or Muddy. Morganfield has always been told he sounds hauntingly like his father, and at times that has become a double edged sword in the son’s career.
Morganfield wrote 8 of the 14 tracks on Portrait, and while his voice sometimes is near identical to his father’s, his songwriting does differ.

I write about a lot of life experiences, but sometimes I want to see people dance and have fun. I remember once my dad was telling me that he was really down and out because people were saying his music was too slow. Too still Southern, and he had to pick it up. And he did, but I’m just saying with my songwriting, I was born and raised right here in Chicago, so I had another entity to teach me about myself and the blues. That’s what I write about. You can’t just get up, come out your house and say, ‘Look at me. I’m a blues man.’ You gotta go through something like cancer survival, drug addiction, alcoholism. I think you got to go through something to really understand what the blues is. It doesn’t always have to be pain, but you just don’t get the blues because you can play the blues. You gotta get some blues, and that’s what I’ve been doing, getting me some blues.

Should you add Portrait by Mud Morganfield to your collection? Is a crocodile’s t-shirt close to the ground?
Mud Morganfield
Purchase Portrait via Delmark Records

I also review the “brand new” album by Mud Morganfield. This November 11th, Delmark Records release is Morganfield’s debut album on this iconic label. It is entitled Portrait. It is a good listen.

Album Review: Mud Morganfield – Potrait

Mud Morganfield is set to release his latest offering and debut on the Delmark record label on November 11th. If this album sounds familiar, it should. Twelve of the fourteen songs were released back in 2012 as the album Son of a Seventh Son on Severn Records.

Industry folks are abuzz over how this record’s contents went from one label to another and have reappeared after ten years. You folks should be able to figure this out. As to the general listening public, you don’t care, nor should you. Some great music has been given some new life and is available on the oldest label in the blues field. 

Here Morganfield will put listeners in mind of his father, Muddy Waters. If you are a blues singer, you could do a lot worse and it’s hard to imagine striving for a higher mark. Of the numerous singers who have used Muddy Waters as a vocal template, if not as a subject for hackneyed mimicry, nobody comes anywhere near Mud Morganfield in terms of sounding like “Pops.” Of course, Mud has a distinct advantage in this realm.

Then it is a matter of choosing the right material and musicians to capture the sound he is trying to achieve. Check and check…

With Kenny “Beedy Eyes” Smith on drums and E.G. McDaniel on bass the rhythm section is in order. Billy Flynn shines on guitar.

The late Barrelhouse Chuck channeled the history of Chicago blues piano every time he sat down at the piano bench. This recording is no exception. Chuck of course plays in the spirit of his mentor and friend Little Brother Montgomery and to the granddad of the Chicago blues piano Sunnyland Slim but also, as expected, gives a nod to Otis Spann. This particular mix brings his playing to light that in many ways was absent on many of the original recordings from which this album takes its inspiration.

The album’s original producer Bob Corritore handles the harmonica duties on seven of the album’s fourteen tracks. A long-time resident of the Sonoran Desert, Corritore makes a good accounting of himself, as he has made a career out of paying tribute to the music from his hometown.

The twelve songs that made up the original 2012 album sit as tracks 2-13 here and have not been re-sequenced. The album’s final song is from John Lee Williamson aka Sonny Boy 1 and had been covered by Muddy and others, Good Morning Little School Girl. It is from those original sessions.

The only brand-new tune is a Mud Morganfield original, Praise Him. As the song title suggests, it is a gospel number. The song while listenable, doesn’t add anything to the album and in fact sets it off on the wrong track.

The album straightens itself out quickly with J.T. Brown’s Short Dressed Woman and chugs down the Chicago blues rails aided by seven more Mud Morganfield originals that are more suited to his unique pedigree in this field.

Few artists, if any, have cast a larger shadow on the blues field than Muddy Waters. In many ways that umbra follows the music everywhere. For Mud Morganfield it must feel like a total eclipse. I’m sure it is a natural instinct to follow one’s own muse and musical instincts. However, Mud Morganfield shines brightest when he embraces his legacy head on. He does that here and we are all the beneficiaries of that decision. On this new release the first son of the seventh son paints a portrait that is worth a second look.

–  David Mac

Muddy Waters’ Son, Mud Morganfield, to Release New Album ‘Portrait’

Muddy Waters’ son, Mud Morganfield, is set to release his new LP, Portrait, this winter.
The offspring of the legendary guitarist said the forthcoming record will drop on November 11. The new album is out on Delmark Records and Morganfield will record the album release party at The Venue (in Aurora, Illinois) on December 23.
According to a press statement, “Portrait offers fourteen powerful numbers by Muddy Waters’ eldest son, Mud Morganfield, including two previously unreleased songs. Mud appears surrounded by a constellation of first-rate blues musicians including Rick Kreher (Muddy Waters’ final guitarist) Billy Flynn, Kenny “Beedy Eyes” Smith, and Barrelhouse Chuck along with harmonica from Bob Corritore and Harmonica Hinds. All tracks have been remastered especially for this first Mud Morganfield album on Delmark Records. Unreleased tracks include a Mud Morganfield original, ‘Praise Him,’ as well as a cover of the iconic tune ‘Good Morning Little School Girl.’”
“Mud Morganfield has grown into a superstar on the blues circuit,” said Kreher of Waters’ son, “Certainly, there will be comparisons to his dad, but that can be expected and rightly so. Mud comes as close to the Muddy experience as one can get. He will always pay tribute to his dad with the Chicago blues ensemble sound that Muddy created. But Mud was also brought up musically when soul, Motown, and R&B ruled the world. Mud played bass and performed with bands playing the hits of that era. This, along with his blues pedigree, has influenced Mud’s own songwriting skills, which are constantly evolving.”

In 2021, Mud Morganfield signed with Delmark Records, releasing a single shortly afterward.  The label has now issued Portrait, a fourteen song set which collects and remixes the dozen tracks from Morganfield’s 2012 release, Son of the Seventh Son, bookending it with two new tracks, including the aforementioned single.  Morganfield looks and sounds very much like his famous father, but with subsequent releases he managed to expand his sound into soul and R&B territory, so listening to his previous work proves that he’s no mere imitator…..very much his own man. 

The original release, one of my favorites of 2012 is defintely worth revisiting, but the newer tracks add to an already impressive package.  One of the new tracks is the album opener, “Praise Him,” the single Morganfield released last summer.  A self-penned gospel track, it describes Morganfield’s own spiritual walk and how it continues to lead him in a positive manner.  Morganfield also plays bass on this inspirational track and he’s backed by guitarist Rick Kreher and Mike Wheeler, with drummer Cameron Lewis and Luca Chiellini on keyboards.

Kreher played guitar on the 2012 release, along with Billy Flynn.  E.G. McDaniel played bass and Kenny “Beedy Eyes” Smith played drums, with the late Barrelhouse Chuck working wonders on the keyboards and producer Bob Corritore and Harmonica Hinds splitting the harmonica duties.  Morganfield does a couple of songs associated with his father, such as “Short Dress Woman” (written by J.T. Brown),” and Waters’ own “You Can’t Lose What You Ain’t Never Had.”

He also proves himself to be a very good songwriter, submitting seven original tracks including the playful “Love To Flirt,”  “Catfishing” and “Health,” which both feature Barrelhouse Chuck playing some very 60’s psychedelic organ, a great train song (“Loco Motor”), a cool slow blues (“Midnight Lover”), the swinging “Leave Me Alone,” and “Blues In My Shoes,” a nice mid-tempo shuffle.  Studebaker John Grimaldi contributed “Son of the Seventh Son,” a slow burning sequel to “Seventh Son,” a favorite from his dad’s repertoire, while Corritore and Flynn each penned a track (“Go Ahead and Blame Me” and “Money (Can’t Buy Everything)” respectively).

Morganfield’s other new song rounds out Portrait, a faithful reading of the blues standard “Good Morning Little School Girl,” the John Lee Williamson tune that many a blues man, including Muddy Waters, covered over the years.  The vocal similarities are remarkable between father and son and the musical backing gives the tune a late-50’s Chess feel.

If you missed Son of the Seventh Son when it came out in 2012, Portrait is a great opportunity to check out what you missed, and then some.  The excellent new tracks show that Mud Morganfield figures to be a great addition to the Delmark roster. 

Graham Clarke

ROOTSTIME (Belgium), by Freddy Celis

McKinley Morganfield, better known worldwide as Muddy Waters, is also called ‘King of the Blues’. And as befits a good king, despite the fact that he was married, he maintained several relationships. One of those relationships was Mildred McGhee, then 19. From that relationship, a boy named Larry Williams, later Mud Morganfield, was born on September 27, 1954. According to tradition, Muddy Waters was a good man and he took his responsibility by creating a family situation for his sweethearts and providing a roof over their heads. It then took a long time before Mud Morganfield fully devoted himself to music and came up with an album. In that respect, his half-brother Big Bill Morganfield has already gotten ahead of him, but hey, Mud Morganfield was introduced to the public at a tribute concert for his father in 2007, and he has since toured the world, mixing self-penned songs with his father’s evergreens. He made his debut a year later in 2008, when he was already 54, with the album “Fall Waters Fall” on which he was accompanied by the likes of Tom Holland (guitar), Harmonica Hinds (harmonica) and Rick Kreher (guitar), on which pure Chicago Blues could be heard, somewhat in the wake of his peerless father. Although he looks a lot like him, also in voice, he never thought of following in his father’s footsteps. where self-written songs are combined with father’s evergreens. He made his debut a year later in 2008, when he was already 54, with the album “Fall Waters Fall” on which he was accompanied by the likes of Tom Holland (guitar), Harmonica Hinds (harmonica) and Rick Kreher (guitar), on which pure Chicago Blues could be heard, somewhat in the wake of his peerless father. Although he looks a lot like him, also in voice, he never thought of following in his father’s footsteps. where self-written songs are combined with father’s evergreens. He made his debut a year later in 2008, when he was already 54, with the album “Fall Waters Fall” on which he was accompanied by the likes of Tom Holland (guitar), Harmonica Hinds (harmonica) and Rick Kreher (guitar), on which pure Chicago Blues could be heard, somewhat in the wake of his peerless father. Although he looks a lot like him, also in voice, he never thought of following in his father’s footsteps. a bit in the wake of his peerless father. Although he looks a lot like him, also in voice, he never thought of following in his father’s footsteps. a bit in the wake of his peerless father. Although he looks a lot like him, also in voice, he never thought of following in his father’s footsteps.

Four years later his second album “Son of the Seventh Son” (2012) was released, a CD produced by Bob Corritore and recorded in just 2 days, but this is the perfect record in the traditional West Side style, pure, energetic and with respect for the illustrious Chess period. Also a CD where the comparisons with his father are not far to seek. And now, after “For Pops: A Tribute To Muddy Waters” (2014) and “They Call Me Mud” (2018), there’s the ‘newest’: ” Portrait, released for Delmark Records. Latest, indeed in quotes, as it is a remastered, remixed new and improved version of his Severn release, “Son of A Seventh Son”, with 2 new songs, never before released on CD, “Good Morning Little School Girl” by that session, along with the killer gospel blues “Praise Him”. On “Portrait,” Morganfield is surrounded by a cast of blues stars, including Rick Kreher and Billy Flynn on electric guitar, bassist EG McDaniel, Kenny “Beedy Eyes” Smith on drums, and Barrelhouse Chuck on piano and organ. The harmonica duties are divided between Harmonica Hinds and Bob Corritore. Tracks 2 through 13 are in the same order as on “Son of the Seventh Son,” so if you’ve heard that album, you know the music, but not yet like this.

The first track, “Praise Him,” was recorded in 2021 at Joyride Studios in Chicago by Blaise Barton. It’s a nice start to the CD, with a gospel track by Mud Morganfield showing his progress in songwriting over the years. Mud provides bass and vocals on this track with Rick Kreher and Mike Wheeler on guitars, Cameron Lewis on drums and percussion, Luca Chiellini on keyboards, and Felicia Collins, Shantina Lowe, and Demetrius Hall on backing vocals. The following “Short Dress Woman” immediately pricked up our ears, just use your imagination to fill in the rest lyrically. The fantastic title track is written by Studebaker John and contains quite a few references to Muddy Waters, at the same time the song is a third bull’s eye. Morganfield’s self-penned numbers are , in combination with the sound of the band, somewhat in the style of the sound of the Muddy Waters Band in the mid-1960s. It doesn’t take much imagination to imagine yourself in some dark blues bar from the sixties. You feel the smoky atmosphere, the rich flow of the spirit-rich drink, the subcutaneous flirtation, the hidden seduction game. Man’s lyrics also lend themselves to it, women, health, affairs and other miscellaneous pleasures of life. Morganfield is at the same time the proud owner of a powerful, clear voice and a wonderful sense of spicy humor. In “Loco Motor” he lets you admire this in a hidden way. I’ll let you discover it yourself, it’s worth it! Nice detail to know is that Kenny ‘Beady Eyes’ Smith can be admired in this song. The man is the son of the late Willie ‘Big Eyes’ Smith,

The last track is the previously unreleased “Good Morning Little School Girl”. The Sonny Boy Williamson classic was recorded in the same sessions, but was given a loving mix and digital master by Delmark’s Julia A. Miller at Riverside Studios in August of this year. While “Praise Him” ​​is sung with Mud’s voice trying not to sound like his dad, on “Good Morning Little School Girl” it’s sometimes hard to tell if it’s Mud or Muddy. Morganfield has always been told that he sounds hauntingly like his father, and sometimes that’s like a knife that cuts both ways in the son’s career. Morganfield wrote 8 of the 14 songs on “Portrait”, and while his voice is nearly identical to his father’s at times, his songwriting differs. Mud Morganfield has a shared, heavy, musical legacy to bear. Rest assured he does this with verve. It will mainly be looking forward to Mud’s next disc with new material. Nevertheless, “Portrait” has become a very pleasant album and a definite asset to your collection!

BIG CITY RHYTHM & BLUES (Dec ’22/Jan ’23)


68-year old Mud Morganfield, Muddy’s eldest son, has the same inviting baritone voice and spot-on knack for blues phrasing that made his dad a blues icon and him a closer on the current blues circuit. On his first album for the revered Delmark label, and fourth overall, he delivers fourteen POWERFUL numbers (including a pair of previously unreleased titles) surrounded by a coterie of top-notch blues masters on the order of guitarists Rick Kreher and Billy Flynn, drummer Kenny “Beedy Eyes” Smith, pianist Barrelhouse Chuck and the harmonica handiwork of both Harmonica Hinds and Bob Corritore along with “arranging” by “Studebaker” John Grimaldi—nicely replicating the Chicago blues ensemble sound that Muddy all but created. As liner contributor Randy Wetnight (really) comments—“Mud seamlessly merges a traditional blues sound with twentieth-century sensibilities. With understated crooning and fluid, molten-metal instrumentation, Mud’s blues glows red-hot as Damascus steel being poured in a foundry.” Choice cuts include an adventurous “Short Dressed Woman” (composed by enigmatic Chess studio pianist Lafayette Leake), an eerily moody cover of the Muddy tune “You Can’t Lose What You Ain’t Never Had,” a laidback, organ-studded version of Billy Flynn’s original “Money (Can’t Buy Everything)“ and the philosophical “Go Ahead And Blame Me,” a Corritore composition. Standout numbers among Mud’s eight originals comprise “Catfishing,” the lengthy, soulfully mysterious and unerringly tasteful “Midnight Lover,” the sparkling “Love To Flirt” and the reflective “Leave Me Alone.” Muddy is smiling somewhere.—Gary von Tersch

KEYS & CHORDS (Belgium)

Let there be no doubt that Muddy Waters was one of the most influential blues artists in contemporary music history. The Stones, The Yardbirds, Eric Clapton, Johnny Winter and even Led Zeppelin, among others, could not resist the raw electrified Chicago blues sound of Muddy Waters. Larry Williams aka Mud Morganfield is the eldest son of McKinley ‘Muddy Waters’ Morganfield. Larry was raised by his mother and uncles and was a truck driver. It was only after the death of his father that he thought about a musical career. With his CD ‘Son Of The Seventh Son’ from 2012, he unconditionally followed in his father’s footsteps. Both looks and the stellar vocal parts have an obvious comparison. The traditional Chicago West Side style is therefore a constant factor in his songs. In 2014 Mud shone alongside Kim Wilson in the excellent release ‘For Pops’ (A Tribute To Muddy Waters), a long player that found a successor four years later in ‘They Call Me Mud’. Now there is the release ‘Portrait’, which is a remastered, remixed and new and improved version of his Severn release ‘Son of A Seventh Son’, including two new songs with ‘Good Morning Little School Girl’ and the great gospel blues ‘Praise Him!’, which have never been released on CD before. Over the earthy Chicago blues and soulful vocals of Mud Morganfield, he was backed by an all-star rhythm section featuring Billy Flynn, Rick Kreher and Mike Wheeler (guitar), Kenny ‘Beedy Eyes’ Smith and Cameron Lewis (drums, percussion), Barrelhouse Chuck and Luca Chiellini (keyboard), bassist EG McDaniel, Harmonica Hinds and Bob Corritore on harmonica and the choir Felicia Collins, Shantina Lowe and Demetrius Hall. So all tracks have been specially remastered for Mud’s first album on Delmark Records. The long player ‘Portrait’ is a contemporary version of the traditional Chicago blues.
Phillip Verhaege

This is Mud’s first album for Delmark Records. All but the first track is produced by Bob Corritore. Corritore plays harmonica on half the tracks splitting the harp time with another harp ace Harmonica Hinds. Guitarists include Rick Kreher on all tracks and Billy Flynn on all but the first track. The bass chores are mostly performed by EG McDaniel except for the first track which features Mud on bass. Kenny “Beedy Eyes” Smith is featured on drums on all but the first track. Also guesting is guitarist Mike Wheeler who plays on the first track. Barrelhouse Chuck plays piano and organ on all but the first track which includes Luca Chiellin. This is Mud Morganfield’s newest album. Included are seven originals and seven covers.




Delmark Records

As the eldest son of Muddy Waters, Mud Morganfield knows a thing or two about real blues music. This latest release includes some of his own original music as well as selections that point directly to his father. At 68, he’s been there, done that, and he has the opportunity to tell it in song.

Mud Morganfield reaches back to the era that we remember so well, but he also fills the session with new and original material. His vocals turn it loose; the feeling is there and his demeanor is all about good old-school blues.

Including Rick Kreher, Mike Wheeler and Billy Flynn on guitar, E.G. McDaniel on bass, Barrelhouse Chuck on piano, Cameron Lewis and Kenny “Beedy Eyes” Smith on drums, the band provides all the necessary rhythm to keep Morganfield’s vocals driving. Harp players Bob Corritore and Harmonica Hinds provide an ambience that one simply cannot do without.

Morganfield’s original song “Health” stands out as a symbol of what blues does for an audience. You’d likely hear “Amen” and “Yes Sir” from his listeners. A statement on life’s values and what matters to us all will always attract. As a bonus, Harmonica Hinds adds a dreamy interlude to help drive the message home.

His “Midnight Lover” presents an equally poignant situation with its slow tempo and romantic message. Here, piano and guitar deliver sultry interludes that cast a spell. Eight of the album’s 14 selections are Mud Morganfield originals. He creates well. But when he delivers his dad’s “You Can’t Lose What You Ain’t Never Had,” the similarity between them jumps out at you like a meteor in the sky. The lights go on and the recollection comes easy. Mud Morganfield has been blessed with his father’s special talent.

–Jim Santella


Mud Morganfield – Portrait

December 1, 2022  Jose Luis Garcia Fernandez

Chapter 31: Mud Morganfield – Portrait (Delmark Records 876 – 2022)

Mud Morganfield , the eldest son of legendary bluesman “Muddy Waters,” was drawn to music at a young age. He learned to make the most of his famous father’s hectic touring schedule, seeing Muddy for only brief respites at his Chicago home. Always a generous father, Muddy bought his son a drum set for Christmas, which Mud learned to play at the age of seven. Later, he switched to bass as he delved into songwriting.

Mud entertained the idea of ​​becoming a professional musician after his father’s death in 1983. Blues fans were introduced to him at a Waters tribute concert in 2007, but his performance at the Chicago Blues Festival that same year earned him a instant recognition. He composed most of the songs on her award-winning 2012 album, Son of the Seventh Son . He also performs the Muddy Waters tune, “You Can’t Lose What You Ain’t Never Had”. According to producer and harmonica player Bob Corritore, the cd ” brings you to the great Mud Morganfield in all his glory .” It was recorded in Chicago and features some of the best blues musicians in the city.

On 2014 Mud’s album For Pops , recorded as a tribute to his late father, alongside fabulous Thunderbirds frontman Kim Wilson, sees him making a very personal statement about his roots. In March 2018, Mud’s album, They Call Me Mud , was released on Severn Records to critical acclaim. Produced by Mud Morganfield and Rick Kreher (who also plays guitar on the record and was a guitarist in Muddy Waters’ band), the record was recorded at Joyride Studios in Mud’s hometown of Chicago. He wrote 10 of the album’s 12 songs, with another two coming from his illustrious father’s catalogue, “Howling Wolf” and “Can’t Get No Grinding”.

Travels have taken him and his music all over the world, with appearances at the biggest festivals and venues, including the legendary: Ronnie Scott’s Jazz Club and the Royal Albert Hall Blues Fest in London, England, and on shows iconic television shows such as: Later… with Jools Holland on BBC TV in the UK, as well as appearing in a television documentary of internationally renowned modern bluesman Hugh Laurie, with whom he also appeared on the Chicago stage.

In 2021, it was announced with great fanfare, its incorporation into Delmark Records, as well as the publication on this iconic label, of a single album, which was published on August 20, 2021. “Praise Him”, is the title of this excellent recording, a ‘Deep Gospel Blues’; made by Blaise Barton at the Joyride Studios in Chicago, on June 1 of that year; and that, in addition, it had great musicians in the lineup; Rick Kreher: guitar; Mike Wheeler: guitar; Cameron Lewis: drums and percussions; Luca Chiellini: keyboards; Felicia Collins, Shantina Lowe and Demetrius Hall: backing vocals; Mud Morganfield: vocals and bass.

In September of this year 2022, the relaunch was made, and the second single from his new album, of an original piece by Mud, “Blues in My Shoes”, an extraordinary song that has a fabulous production and a group of first-class musicians. line, Mud Morganfield: vocals; Rick Kreher: guitar; Billy Flynn: guitar; Barrelhouse Chuck: piano; EG McDaniel: bass; and Kenny “Beedy Eyes” Smith: drums.

Just in mid-November of this 2022, his first album has been published on Delmark: Portrait , which in a certain way is the updated and remastered version of his album: Son of the Seventh Son(2012).

Without a doubt, it is an extraordinary album, very reminiscent of his father’s records, with a traditional Chicago Blues, seasoned with the vitality, presence and freshness of Mud, and the splendid musicians in the line-ups of each song. I wanted to highlight the most outstanding topics, but I found that… they all are! It’s that simple.

Well done Mud!


Larry “Mud” Morganfield is the oldest son of Muddy Waters. He bears a striking resemblance to his father vocally and physically. Portrait, issued by Chicago’s Delmark label, is a painstakingly remixed and remastered version of Morganfield’s proper 2012 studio debut, Son of the Seventh Son. It differs from its predecessor by the inclusion of two bonus tracks: the crossover blues-gospel hit “Praise Him” that’s registered on terrestrial and satellite radio, and an archival cover of “Good Morning Little Schoolgirl” recorded during the album sessions. Morganfield sounds like a seasoned pro here and delivers a blistering set that honors his dad’s legacy while foreshadowing his later career.

The inclusion of “Praise Him” as the opener, almost calls for a reconsideration of the album. Written in response to the loss of close friends to COVID-19, Morganfield employs the Chicago blues tradition in asserting spiritual gratitude. His vocal is committed, resonant, full of conviction. He rises above the band and a female gospel chorus in a fingerpopping meld of modern blues, vintage-style R&B, and street corner gospel. While the groove may be strictly Saturday night, the lyric is pure Sunday morning. “Short Dress Woman” uses the changes from his father’s version of Preston “Red” Foster‘s “Got My Mojo Workin’,” and Morganfield’s vocal is sharp and energetic as he sings the praises of a big-legged woman. The title track, written by John Grimaldi, is a celebration of sexual prowess that deliberately integrates images from Muddy‘s repertoire into the lyric. He sings with understated menace, accentuating its slow, darkly sexual vibe. Morganfield’s original songs stack up very favorably against his dad’s. “Love to Flirt” rides an easy-rolling rhythm to tell the story of a woman who makes eyes at every guy she sees. He sings with a combination of irritation and weary resignation. “Leave Me Alone” is a weary, classic blues lament with a bouncy tempo and ironic humor. Bob Corritore‘s smoking harmonica fills duel with the singer’s growling vocal. The funky “Catfishing” is obviously not about fishing, as Morganfield’s sly vocal implies; Barrelhouse Chuck supplies playful, bubbling, sometimes stinging organ fills. The reading of Muddy‘s “You Can’t Never Lose What You Never Had” is at once fiery and eerie in its close resemblance to the original as the band channels the vibe of a ’50s Chess Records session. It contains excellent work from pianist Barrelhouse Chuck (Goering) and soulful slide guitar from Billy Flynn. Closer “Good Morning Little Schoolgirl” follows suit. Its raucous piano, simmering harmonica, bumping bassline, and frame-biting guitar licks are buoyed by a snare and hi-hat shuffle under Morganfield’s passionate, reverb-laden vocal. When Son of the Seventh Son was released, it drew rave reviews globally for its presentation of vintage Chicago blues. Morganfield’s consistently excellent catalog proves it was no fluke. Delmark’s Portrait — especially with the inclusion of “Praise Him” — improves on the original with a sonic presentation equal to the kinetic, hip-shaking music.


Mud Morganfield, the oldest son of the legendary bluesman Muddy Waters takes his music seriously.  Closely following the path of this father, Mud sets the bar high when it comes to performing the blues.  Additional influences of Motown, soul, and R&B are absorbed into his songs.  Portrait is a remix of Mud’s entire debut album Son of the Seventh Son topped off with two additional brand-new songs.  With the exception of the two new songs, this work was produced by Bob Corritore with Mud on vocals, Rick Kreher on electric guitar, Billy Flynn on guitar, E.G. McDaniel on bass, Kenny “Beedy Eyes” Smith on drums, Barrelhouse Chuck on piano/organ, and Harmonica Hinds and Bob Corritore on harmonica.

Portrait opens with the funky southern soul track “Praise Him”.  With Mike Wheeler on electric guitar, Luca Chiellini on keys, and the backing vocals of Felicia CollinsShantina Lowe, and Demetrius Hall, the song is indeed a glorious one.  BarrelhouseBeedy Eyes, and Hinds sound downright amazing as they turn the flame on to the slow-cooked blues of “Son of the Seventh Son”.  The intoxicating groove on “Catfishing” reels me right in.  Mud’s vocals are strong and confident just like his father’s.  “His presentation is smooth and buttery on “Blues In My Shoes” while the band gels perfectly together.  Portrait comes to a close with a spectacular cover of John Lee “Sonny Boy” Williamson’s “Good Morning Little School Girl.

It was great to hear this remastered release of Mud Morganfield’s.  The songs are fantastic, and the sound is fresh and clean.  I’d recommend this album to anyone who is a blues fan.

By Phillip Smith

Original source :

JAZZ & BLUES REPORT  (Nov/Dec 2022, #405)


“Portrait” is a rerelease of Larry ‘Mud’ Morganfield’s second album, “Son of the Seventh Son,” which was initially issued on Severn Records. The recording, by the eldest son of the legendary Muddy Waters, is augmented by a previously unissued track from the original 2011 sessions and a newly recorded gospel song. Morganfield’s vocals on this recording were backed by a stellar studio band of guitarists Rick Kreher and Billy Flynn, pianist Barrelhouse Chuck (Goering); bassist E.G. McDaniel with Kenny ‘Beedy Eyes’ Smith on drums. Producer Corritore and Harmonica Hinds share the harmonica duties for these February 2011 recordings. On the recently recorded track, Morganfield is on bass and joined by guitarists Kreher and Mike Wheeler, keyboardist Luca Chiellini, and drummer Cameron Lewis. About the music on “Son of the Seventh Son, I wrote in 2012 “From the opening notes of the reworking of J.T. Brown’s “Short Dress Woman,” to his own “Blues In My Shoes,” celebrating his father’s legacy, Mud Morganfield evokes his legendary father. The performances are solid blues in the style of his father and the backing band does a solid job of evoking the Muddy Waters Band sound of the mid-sixties through the end of Waters’ celebrated career. This is a solid band that sounds so at home playing in the style of Waters. “Mud may not quite match his father’s style, but he comes close. The level of the performances are solid throughout although several stand out including the opening reworking of his father’s recording of” Short Dress Woman,” Studebaker John’s “Son of the Seventh Son,” the amusing “Catfishing,” (where he goes all the way to the bottom because that’s where all the fat cats go) on which Barrelhouse Chuck is on organ and Harmonica Hinds is on harp, and “Health” on which Corritore shines in his harp accompaniment as Mud strongly sings about having money and fame don’t mean anything if one does not have good health. The playing is strong throughout and certainly captures the flavor of Muddy Waters recordings from the seventies. I am not sure who takes the guitar solo on “Loco Motor,” but the guitarist does a good job of evoking Jimmy’ Fast Finger’ Dawkins in his guitar solo.” Listening to these selections today, I am again struck by how fresh they still sound. Furthermore, one is reminded just how great Barrelhouse Chuck was, especially on piano. The aforementioned “Loco Motion” has one of his several dazzling solos on this album to go with some spectacular harmonica from Corritore, who produced the original album. The new song, “Praise Him,” is a heartfelt thanks to the Lord, although different in tone from the rest of the music. Previously unissued is a solid rendition of “Good Morning Little School Girl,” with Corritore on acoustic harmonica with some tasteful backing. As I wrote in 2012, “Mud does a strong job of conjuring up his late father’s blues and the backing band certainly contributes to the overall feel of this band.” Delmark has remixed the previously issued recordings, and even if this were a straight reissue of the earlier album, it would be quite welcome. Hopefully, it will bring Mud Morganfield’s blues to the fore. That will be a very good thing.

Ron Weinstock



Posted by Daniel Leon | September 11, 2022 | Blues , Vocals , Chicago Blues | 0|    

Mud Morganfield’s next album will be called “Portrait” and will be released by Delmark… “very soon” (very soon), to use the terms of the Chicago label. A CD on which the singer offers himself an accompaniment to make pale, with Rick Kreher and Billy Flynn on guitars, Barrelhouse Chuck on piano (although this artist left us in 2016, which suggests that it could be from a compilation), EG McDaniel on bass and Kenny “Beedy Eyes” Smith on drums. Born September 27, 1954 in Chicago, Larry “Mud” Morganfield is the eldest son of Muddy Waters. He grew up surrounded by music but took his time before starting a musical career, although he had dreamed of it since his childhood. After his father’s death in 1983, he performed more regularly at clubs in the Windy City, especially on the South Side. However, it was not until 2008 that he released his first album, followed by half a dozen others that were well received by critics. Vocally, Mud Morganfield is reminiscent of his father, but he does not fall into imitation, especially as he writes personal and interesting texts. I now suggest you listen to an excerpt from his next album, a song calledBlues in my shoes .

©: Marco van Rooijen:

©: Louder.

Big Bill and Mud Morganfield. ©: Cultura Blues.

Jerry Portnoy, John Primer and Mud Morganfield, Chicago Blues Festival, 2015. ©: Brigitte Charvolin / Soul Bag.








DE-876 – 2022


NOVEMBER 11, 2022



Larry “Mud” Morganfield was born in 1954 in Chicago. He is the eldest son of the legendary Muddy Waters.

Mud lived as a truck driver until, after his father deat in 1983, he progressively began his foray into the music industry as a singer, bassist and occasionally drummer.


In 2014, together with harmonica player Kim Wilson, he released the Muddy Waters tribute album “For Pops” which was awarded at the 2015 Blues Music Awards in the ‘Traditional Blues Album’ category.

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Mud Morganfield has been an indisputable staple of Chicago blues for the past three decades. His mere presence on the scene would justify that statement, but his significance goes further. He has never tried to escape from the reality that undoubtedly associates him to his father, among others the characteristic tone of voice and the structures of the songs, but Mud’s professionalism has achieved his own personality that has placed him on his own merits as an indisputable blues figure of this century. Not only he has recorded unsurpassed quality albums , “Son Of The Seven Son” (2012), “The Blues Is In My Blood” (2013), or “They Call Me Mud” (2018), but his name has catalyzed the interest of fans around the world and his recurring hints to Muddy Waters have been understood as an inevitable deference to the greatest Chicago bluesman. Listening to him is an exercise in evaluating his wealth as a musician, a deep singer who does not speculate with easy clixes and throws himself with devotion and loyalty into the progress of songs that, I have no doubt, only he can face. About “Portrait” this new album released by Delmark Records , contains the twelve tracks from “Son Of The Seven Son” released by Severn Records, updated and remixed plus two unreleased ones, the introspective “Praise Him” ​​and the closing title  “Good Morning Little School Girl”, bringing John Lee “Sonny Boy” Williamson’s classic to the fore.

 “I came up in Chicago and listened to Motown and Stax Records, The Temptations, Barry White and people like that. So that’s what I related to as a kid in the late Sixties and early Seventies. So that’s what I do. I keep an open mind. I don’t want to be associated only with what Dad did. I have to be me” (M.M. 2019)


Portrait offers fourteen powerful numbers by Muddy Water’s eldest son, Mud Morganfield, including two previously unreleased songs.

Surrounded by a constellation of first-rate blues musicians, all tracks on Portrait have been remastered especially for this first Mud Morganfield album on Delmark Records, the oldest continuously operating blues and jazz independent record label in the US.

Rick Kreher, who played guitar on all the tracks, had this to say: “Mud Morganfield has grown into a superstar on the blues circuit. Certainly, there will be comparisons to his dad, but that can be expected and rightly so. Mud comes as close to the Muddy experience as one can get. He will always pay tribute to his dad with the Chicago blues ensemble sound that Muddy created. But Mud was also brought up musically when soul, Motown and R&B ruled the world. Mud played bass and performed with bands playing the hits of that era. This, along with his blues pedigree, has influenced Mud’s own songwriting skills, which are constantly evolving.”

Mullti-award-winning artist Mud Morganfield is an established star in the world of blues music. Acclaimed by both critics and artists such as Buddy Guy and Jools Holland for his own musical ability, the eldest son of the legendary Muddy Waters was brought up surrounded by many of the finest musicians in the blues. Mud’s singing is firmly in the best of traditions of Chicago Blues, and he’s also a writer of great new songs and is backed by some of the best musicians playing today.

“I’ve done and seen many things in my life. From drugs to gang wars, to hustling the streets. I not only have a duty but a responsibility to tell you all that I am a walking testimony to what God can do,” said Morganfield in a statement.

Blues Magazine (Netherlands)

PORTRAIT offers fourteen powerful numbers by Muddy Waters’ eldest son, Mud Morganfield, including two previously unreleased songs. Mud appears surrounded by a constellation of first-rate blues musicians. All tracks have been remastered especially for this first Mud Morganfield album on Delmark Records.




 Wrote Mladen Lončar – Mike Created: December 11, 2022

Definitely a respectable global publishing house, Chicago’s Delmark Records is marking and celebrating its 70 years of existence, work and activities this year. In their celebratory mood, on November 11, they offered us the album “Potrait”, signed by Mud Morganfield, who is the eldest son of the legendary Muddy Waters aka. McKinley Morganfield.

It is indeed with great pleasure that I promote and present this album to you. Of course, all of this would not be possible if Elbio Barilari, vice president of the publishing house and art director, as well as Lynda A. Weingartz, media promoter of AirPlayDirect, were not included in the whole story.

Mud Morganfield has grown into a true “blues star” and, of course, comparisons with the great father immediately begin, but this could be expected, because it is actually inevitable. But as it is – it is so, and Mud is certainly very close to his father’s musical expression and that “Chicago blues” simply cannot be distanced from his musical being. “Praise Him” ​​is a song that stands out and very strongly from the other 13 in which Mud really sounds like the great Muddy Waters. By the vocation of a bass player, who performed with bands that dusted soul, Motown and R&B things and created great songs, hits of that time and when it is combined with his inevitable blues heritage, then Mud can only smile a little and give everyone a smile: “what’s the problem?”. There is no problem, he is certainly on his own turf.

“Potrait” offers us fourteen powerful songs, including two previously unreleased songs. Mud appears surrounded by a galaxy of top blues musicians, and all songs have been remastered especially for this first Mud Morganfield album for Delmark Records. Here is the complete team: Mud Morganfield (vocals, bass 1); Rick Kreher (electric guitar); Billy Flynn (electric guitar 2-14); Mike Wheeler (electric guitar 1); EG McDaniel (bass 2-14); Kenny “Beedy Eyes” Smith (drums 2-14); Cameron Lewis (drums, percussion 1); Barrelhouse Chuck (piano, organ 2-14); Luca Chiellini (keyboards 1) ; Harmonica Hinds (harmonica 3, 4, 6, 11, 12, 13, 14); Bob Corritore (harmonica 2, 5, 7, 8, 9, 10); Felicia Collins, Shantina Lowe, Demetrius Hall (backing vocals 1) and all together recorded an album for us, which blues connoisseurs simply cannot ignore.

There’s no doubt, Mud Morganfield does what it does best, truly seamlessly blending traditional blues with 21st century sensibilities and influences. Combining, fusing traditionalism and contemporary blues in a very impressive way can only be done by those who are in this musical “home”. Of course, no one will be like Muddy or even Mud, but he simply works, clears and paves his way and builds his career. And this is exactly what this incredibly gentle, modest man, a great blues musician, who has shown everyone in recent years that he has grown into a huge talent, does.
Like every great album, “Portrait” turns its over an hour into an album that simply flows in one moment. The content and weight of the material is another big item of this musical story, namely, there is no place for some “easy notes” here, this is “blues par excellence”.


If this is truly the album “blues par excellence”, then there is nothing more to add or explain. ”Portrait” by Mud Morganfield must be part of your music library. Owning this album in itself has and carries a certain weight and ranks you among those blues devotees who, like this album, deserve absolute respect!

Find out more about everything at:
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#4 on NACC- College radio charts!

Here he is on the ROOTS MUSIC REPORT main blues charts at #4!!

The Roots Music Report’s
Top 50 Blues Album Chart
for the Week of Nov 12, 2022

The Blues Don’t Lie
by: Buddy Guy

Buy Now:
Label: RCA
Sub Genre: Contemporary Blues
Connect with the Artist:
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Take Your Time
by: Ben Levin

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Label: VizzTone
Sub Genre: Contemporary Blues
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Buchanan Lane
by: Yates McKendree

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Label: Qualified
Sub Genre: Classic Blues
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by: Mud Morganfield

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Label: Delmark
Sub Genre: Contemporary Blues
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Hard Times
by: John Primer

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Label: Blues House
Sub Genre: Classic Blues
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“BLUES IN MY SHOES ” is up to #9 on blues songs

The Roots Music Report’s
Top 50 Blues Song Chart
for the Week of Nov 12, 2022

TWLWSong TitleBand/Artist NameSub Genre
13I Let My Guitar Do the TalkingBuddy GuyContemporary Blues
21Blues Don’t LieBuddy GuyContemporary Blues
*NEW*3We Got the BluesAnnika Chambers & Paul DesLauriersContemporary Blues
4Well Enough AloneBuddy GuyContemporary Blues
*NEW*5Take Your TimeBen LevinContemporary Blues
618Ruby LeeYates McKendreeClassic Blues
78I’ve Got a FeelingBuddy GuyContemporary Blues
827The World Needs LoveBuddy GuyContemporary Blues
947Blues in My ShoesMud MorganfieldContemporary Blues

#3 on Contemporary Blues album charts

The Roots Music Report’s
Top 50 Contemporary Blues Album Chart
for the Week of Nov 12, 2022

The Blues Don’t Lie
by: Buddy Guy

Buy Now:
Label: RCA
Sub Genre:
Connect with the Artist:
Visit Artist Website
Take Your Time
by: Ben Levin

Buy Now:
Label: VizzTone
Sub Genre:
Connect with the Artist:
Visit Artist Website
by: Mud Morganfield

Buy Now:
Label: Delmark
Sub Genre:
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and #1 on Illinois State charts, with Demetria #2

The Roots Music Report’s
Top 50 Illinois Album Chart
for the Week of Nov 12, 2022

by: Mud Morganfield

Buy Now:
Label: Delmark
Sub Genre: Contemporary Blues
Connect with the Artist:
Visit Artist Website
Doin’ What I’m Supposed to Do
by: Demetria Taylor

Buy Now:
Label: Delmark
Sub Genre: Chicago Blues
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top album of the month in AIRPLAY DIRECT!

APD Global Radio Indicator Charts ™

  • Top 50 Albums – November 2022 (as of 10:28am Wednesday, November 16th 2022)
ResultImageTrack NameDownloadsCreds
1Mud Morganfield – Portrait66740
Location: AMERICA NORTH: USA:Illinois (IL)
2Crossroads Airplay Sampler (November-December 2022)58213
Location: AMERICA NORTH: USA:North Carolina (NC)
3Williamson Branch – Very Merry Christmas5137
Location: AMERICA NORTH: USA:Tennessee (TN)
4Billy Flynn – Lonesome Highway49126
Location: AMERICA NORTH: USA:Illinois (IL)
5Bridget Kelly Band, “Winter’s Coming” (2022)42410

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