Thanks to her clearly savvy blues-playing dad, Erin Harpe was introduced to the music of Mississippi John Hurt as a youngster. As such, this lovingly crafted tribute is a labour of love… Actually, it couldn’t have been in better hands. Harpe’s finger-picking guitar showcase displays the requisite dexterity, syncopation driven by thumbed bass and strident strings, all with ever-present old-time charm…
Recording in her Boston home studio, Harpe is accompanied throughout by husband Jim Countryman whose acoustic ukulele bass adds thump as needed but otherwise nicely understated. Respect for Hurt runs deep. Harpe is largely faithful to his arrangements but the 10 well-chosen covers become her own via vocals she often lets fly… she has a voice with enough character for it to be considered almost an extra instrument, notes soar… CLICK BELOW FOR FULL REVIEW!
Erin ALSO is featured with an interview in the June 2026 – Issue 294 of Blues In Britain!!
Full review:
Thanks to her clearly savvy blues-playing dad, Erin Harpe was introduced to the music of Mississippi John Hurt as a youngster. As such, this lovingly crafted tribute is a labour of love, one perhaps she even put on hold until completely relaxed about doing the venture full justice. Actually, it couldn’t have been in better hands.
Harpe’s finger-picking guitar showcase displays the requisite dexterity, syncopation driven by thumbed bass and strident strings, all with ever-present old-time charm. This genre’s basic structure demands each song’s deftly played melody is repeated throughout, meaning the delights just keep on coming. Recording in her Boston home studio, Harpe is accompanied throughout by husband Jim Countryman whose acoustic ukulele bass adds thump as needed but otherwise nicely understated.
Respect for Hurt runs deep. Harpe is largely faithful to his arrangements but the 10 well-chosen covers become her own via vocals she often lets fly. Aping Hurt’s relaxed style was never on, especially as she has a voice with enough character for it to be considered almost an extra instrument, notes soar and land back on track, appeal preserved.
Opener “Candy Man”; is bright and breezy, full snappy finger-picking and touches of slide, while the bolder vocal lets Harpe play on the song’s mild innuendo with an extra wink or two. A train whistle blows “Casey Jones”; down the track, fueled by Harpe’s expressive vocals. “Make Me A Pallet On The Floor”; matches verve and sparkle while the title track preserves the charm of Hurt’s 1928 original and is an absolute joy. The infectious “Got The Blues (Can’t Be Satisfied)” manages to be both earthy and bright. Hurt could match darkness with wit and lyrical originality, factors respected here. We get two murder ballads, the kind which feature tears and heads hung low. “Stagolee” is suitably stark, while an assertive “Frankie” credits five “writers”, who each made this song famous as “Frankie and Johnny.” As well as Mississippi John, Harpe
clearly hopes to have captured touches of Jimmie Rogers, Chet Atkins, Johnny Cash and, I suspect especially, the brassiness of Mae West. The set concludes with a wonderful “You Are My Sunshine”, naturally delivered with the fondness that fills this wonderful collection. Oh, and Casey Jones’ train whistles are available on her website’s merch page!
(Written by John Bottomley.)
Erin is ALSO featured in the June 2026 – Issue 294 of Blues In Britain!
“Let The Mermaids Flirt With Me: A Tribute To Mississippi John Hurt is award-winning blues artist Erin Harpe’s latest album, honouring one of her greatest influences, Mississippi John Hurt. Hailed by Living Blues magazine as “one of the finest finger-picking acoustic blues singers, the embodiment of today’s country blues”, the rising star’s dynamic approach to finger style Piedmont blues is captivating. Blues In Britain’s Trevor Hodgett talks to Erin Harpe.”
CLICK TO GET A COPY AND READ THE ARTICLE!
