Greg Nagy

Greg Nagy - Stranded

★★★★ Soul Blues

Notable singer - think of Tad Robinson-, this young 50-something who swims perfectly in the waters of Soul music should be checked out. Produced during a 25 year marriage, “the darkest period of my life”, he admits, this was an opportunity for him to convert the pain to optimism, trial to battle, dejection to resilience. His smart version of Ain’t no love in the heart of the city is all personal; pure, clean, and transformed, it could be a model for other artists to follow.

The writing talents of Greg Nagy break out elsewhere; Still doin’ fine flows smoothly to a medium tempo, Long Way To Memphis, dark and occupied, seduces and persuades with its deeply bluesy feel. Been Such A Long Time, hopping and feverish, drops us down again into the cherished groove of the Stax years.

Fourteen musicians in all - Zach Zunis and Dave Gross are the best known - collaborated on the universally “jagged” sound of this remarkable disc, no-frills and well mixed. Surprising, then captivating, the apparent simplicity of the music, a prerogative of great artists, skillfully serves a penetrating repertoire.

"...Nagy’s vocals recall Boz Scaggs at his most soulful and sophisticated." 

~SING OUT MAGAZINE

"A Michigan legend... his shows are not to be missed!" 

~WKAR

Nagy's vocal and guitar chops place him in the upper echelon of contemporary blues artists. He's an artist worthy of more recognition..." 

~Ken Bays ~Rollingstone.com, About.com, Former Editor Blues Revue


 

" Nagy...is the Northern industrial equivalent to Southern country of the 1950s and ’60s. He melds ’70s West Coast R&B, British blues rock, Albert King tones, dollops of Steely Dan, the Rascals and Elvin Bishop, and the unhurried approach of a player justifiably confident in his material."

Rick Allen

Vintage Guitar Magazine

Greg Nagy knows when to fly with a solo and when to kick back... a triple threat singer, songwriter guitarist Nagy has it all! 

~Living Blues 



A little Levon Helm, Rick Danko and Richard Manuel all rolled into one." 

~Jeff Paris: A&M Records (Writer for: Luther Vandross, Rod Stewart, Bill Wither, etc and music director for Keb Mo)

 

"An exceptionally soulful and creative blues artist..."

~All About Jazz
 

"Greg Nagy -- whether with his incredible band or solo -- is one of the best contemporary blues musicians out there. His guitar work is top-notch, but wait till you hear him sing!"

~Cal Stone 
Brighton Jazz and Blues Festival Director

"Straight shooting honesty... pure gold!   FOUR STARS!

 ~Downbeat Magazine

 

"Songs like “I Won’t Give Up” mark him as a soul singer who could rank with the greats!"

~Jeff Burger (byjeffburger.com) edited Leonard Cohen on Leonard Cohen: Interviews and Encounters and Springsteen on Springsteen: Interviews, Speeches, and Encounters, both published by Chicago Review Press.

"Greg Nagy’s Stranded has earned its spot at the top of various 2015 top ten lists. It landed in my top three. This dude hits every note, puts emotion in every word, and all the while comes across as cool as the other side of the pillow. I don’t have many blues albums on my personal playlists, but this one earns its spot with every song."

~Geoff Wilbur Music Blog

West Michigan Music Review

"Greg Nagy and his music is a rich personal statement finely honed and crafted, deeply felt..."

~Dick Shurman
Grammy winning producer for Johnny Winter, Roy Buchanan, Albert Collins, Robert Cray, Johnny Clyde Copeland, etc and music historian. 

 

"Greg Nagy’s beautifully soulful voice helps turn pain into promise. Duke Robillard calls “The Real You” an R&B classic! Nagy has been touring with the Larry McCray Band and also performs his own shows. This album is highly recommended, and will cure whatever ails you."

~Richard Ludmerer

Contributing Editor/Making A Scene

Greg Nagy: The Real You

"Greg puts his heart and soul into his vocal performance(s). What stands out in this album is the way Nagy uses his voice. He sings with an intensity that you rarely hear, and that makes the listening experience particularly compelling. With his voice, Greg takes the lyrics to a higher level. The combination of his bluesy roots and his soulful flair makes for a unique sound that is both familiar and innovative."

~Walter Vanheuckelom
Concert Monkey 
Belgium 

 

Greg Nagy: The Real You

Fantastic!  A fabulous artist and a damn fine album.  Hope it goes to #1! 

~Charles W. Ross
Tampa Bay Blues Festival Director 

Album: The Real You, November 2024

Can’t Miss Tracks: Mississippi Blues, Never Mine, All I Really Need Is You

Greg Nagy’s fourth studio album, The Real You, is a masterful exploration of soulful blues, heartfelt R&B, and emotional depth. Released on October 1, 2024, this album solidifies Nagy’s reputation as a versatile and highly skilled musician with a unique ability to blend various genres into a sound that is both refreshing and deeply personal.

A Brief Overview of Greg Nagy’s Musical Journey

Before diving into The Real You, it’s essential to understand the journey that has led Greg Nagy to this point. A former lead guitarist for the Michigan-based blues and soul band Root Doctor, Nagy’s career took off with the band’s 2008 album Change Our Ways, which earned a Blues Music Award nomination for Best Soul Blues Album. Nagy’s solo career began in 2009 with the release of Walk That Fine Thin Line, which earned him a nomination for Best New Artist from the Blues Foundation. His follow-up albums, Fell Toward None (2011) and Stranded (2015), continued to build his reputation, with Stranded even receiving high praise from publications like Downbeat Magazine, Soul Bag, and Vintage Guitar.

Now, with The Real You, Nagy has delivered an album that not only highlights his skills as a guitarist and vocalist but also as an arranger and bandleader. The album was produced by Nagy and Josh Ford, with executive production from Mick Kolassa, and recorded at Sound Shop Studios in Macomb, Michigan. The album features a mix of five original tracks and six expertly chosen covers that speak to Nagy’s eclectic influences.

What’s Inside The Real You?

From the very first track, The Real You sets the tone for the album. The title track opens with a soulful plea for authenticity, sung with passion and grace by Nagy: “I want to know the real you… when you try to hide a broken heart, it’s okay.” The song is driven by Jim Alfredson and Dave Grisa’s organ work, Keith Kaminski’s saxophone, and a rhythmic backbone laid down by John Barron on bass and Todd Glass on drums. Backing vocalist Lynne Calloway adds an extra layer of depth to the track, which quickly establishes the album’s theme of connecting with raw, unguarded emotion.

The album takes listeners on a journey through a wide range of emotions and musical styles. Mississippi Brown (also known as Willie Brown) is a traditional blues song first recorded in the 1930s, reimagined here with Peter Madcat on harmonica and Ray Goodman on dobro. The stripped-down version of this classic blues number emphasizes Nagy’s ability to remain faithful to tradition while adding his unique touch.

Another standout moment is Crazy, a song originally written in 1975 by Green, Mouse, Reverberi, and Reverberi. Nagy’s take on this track — made famous by Gnarls Barkley — features tight guitar work and a soaring vocal delivery that emphasizes the song’s raw energy.

In addition to his originals, Nagy’s covers show his ability to breathe new life into familiar songs. Never Mine, a smooth and soulful tune written by Nagy, is followed by a fiery guitar performance from Larry McCray. Come To Poppa, written by Earl Randall & Willie Mitchell, is a classic R&B tune that Nagy reinvents with lush horn sections and bluesy guitar. The duet of George Harrison’s Something with Thornetta Davis is another highlight, showcasing Nagy’s sensitive vocals and Davis’ soulful contribution.

The instrumental Cornell Ala King is a unique creation that features Kaminski’s saxophone and Walter White’s bass, providing an instrumental breather before the soulful Baby, What Took Your Love From Me — a song originally by O.V. Wright — brings the listener back to the emotional core of the album.

The album closes with The Joke, a cover of the Brandi Carlile song, and Nagy’s vocal performance here is hauntingly beautiful. His ability to convey deep emotion through his voice is evident in every track, making the album feel like a personal conversation between the artist and the listener.

What Stands Out About The Real You?

One of the most striking elements of The Real You is Greg Nagy’s ability to connect with his listeners on an emotional level. Each track, whether an original or a cover, reflects a deep sense of authenticity. The album isn’t just about the music; it’s about stripping away the noise of everyday life and connecting to what is real — a message that resonates across genres.

Nagy’s voice stands out throughout the album, with its soulful delivery and emotional depth. His guitar playing, which ranges from smooth and soulful to fiery and intense, only enhances the emotional power of the songs. The album is further elevated by the contributions of an all-star cast of musicians, including organists Alfredson and Grisa, saxophonist Kaminski, bassist Barron, and drummer Glass, as well as special guest appearances from Larry McCray, Peter Madcat, and others.

Perfect for Fans of Blues, R&B, and Soul

The Real You is a must-listen for fans of blues, R&B, and soul who are looking for an album that offers more than just a collection of songs. It’s an album that invites listeners to reflect, to feel, and to experience the beauty of vulnerability and authenticity. Whether you’re already familiar with Greg Nagy’s work or discovering him for the first time, this album is the perfect introduction to the “real” Greg Nagy — an artist whose music transcends genres and speaks directly to the soul.

In addition to his solo work, Nagy has toured with the Larry McCray Band and made guest appearances with The Bobby Murray Allstar Band. His versatility as an artist is evident in his collaborations with numerous other musicians, including Grammy-winning guitarist Bobby Murray and Michigan-based blues legends like Thornetta Davis and E.G. Kight.

Conclusion

With The Real You, Greg Nagy continues to prove that he is one of the most talented and innovative voices in contemporary blues and soul. His ability to blend tradition with innovation, soul with authenticity, and raw emotion with polished musicianship makes this album a standout in his impressive discography. If you’re looking for music that resonates with depth and sincerity, The Real You is the album to add to your collection.

Blues Beats

Greg Nagy – “The Real You” – The album is an excellent blend of blues and soul featuring Nagy’s expressive vocals and tasty lead guitar. The many highlights include the title track with its cool horn section that sounds like it could have been recorded in Memphis with Willie Mitchell, a cover of “Come To Poppa” that tops Seger’s version, and great duet with Detroit's Thornetta Davis on George Harrison’s “Something.”

~Michigan Rock-n-Roll Hall Of Fame 

Greg Nagy

Album: “The Real You”

(as translated from Spanish) 

It is always a pleasure to be able to review albums by artists who are practically unknown in Spain but who have enough quality to be discovered and recognized by the public.

Greg Nagy is a multi-faceted singer, guitarist and songwriter who is able to develop songs rooted in soul, rhythm & blues, rock, gospel and blues, always from an honest point of view that, in addition, possess an attractive freshness as well as a surprising sincerity.

His first album was nominated by the Blues Foundation of Memphis as Best New Artist, receiving excellent reviews. Now he publishes his fourth work in which he presents a repertoire of eleven songs, four of them his own compositions, which become a varied journey through the different styles that Greg usually interprets. In it we will find everything from the most sophisticated soul to the most traditional blues, without forgetting intense ballads with rock touches, blues in minors, shuffle, blues rock, some folk and even a successful version of “Something” by the always remembered George Harrison sung as a duet with Thornetta Davis, all of it interpreted with elegance, good taste and great doses of intensity by this excellent artist endowed with an interesting voice and a clean guitar sound with an undeniable technique.

Greg Nagy has surrounded himself with a good number of very professional musicians who would be long to name but who bring variety and quality to all the songs.

A varied album, very well performed and very enjoyable to listen to, which allows us to discover an excellent musician who should undoubtedly achieve the popularity he deserves.
 

~Vincent Zumel

https://lahoradelblues.com/greg-nagy-the-real-you/

Greg Nagy – The Real You

Self-release

www.gregnagy.com

11 songs – 43 minutes

Listening to The Real You is a curious experience if, like this reviewer, you haven’t come across Greg Nagy before. It’s a superb collection of 11 classy blues, soul, R’n’B and rock songs, beautifully recorded, with top drawer musicianship, all under-pining Nagy’s gorgeous blue-eyed soul vocals. Appreciation for and enjoyment of the music is counter-balanced by an insistent question: how the heck isn’t this artist better known?

The Real You is Nagy’s fourth release and is an absolute belter. Featuring a great mix of five originals and some wildly unexpected covers, the album is a delight from start to finish. It opens with the uplifting soul of the title track, written by organist Jim Alfredson, who used to play in Root Doctor with Nagy, before leaping into Willie Brown’s “Mississippi Blues” that features Nagy on acoustic guitar, Ray Goodman on Dobro and Peter Mudcat Ward on harmonica. Nagy’s soaring vocals take center stage on a stunning re-imagination of Gnarls Barkley’s “Crazy” that seizes and illuminates the soul at the heart of the song. It also contains an object lesson in how to craft a short, memorable yet melodic guitar solo.

Larry McCray’s always on point lead guitar is a highlight of the Robert Cray-esque blues-soul of “Never Mine”, before Bob Seger’s “Come To Poppa” is given a stripped-down, slowed-down, groove-focused re-awakening and The Beatles’ “Something” becomes a moving duet with Thornetta Davis while Josh Ford lets George Harrison’s original guitar melodies serve as a launch pad to fire off a series of potent solos that are all entirely his own.

Nagy uses a variety of musicians on The Real You with a core band of Nagy himself on guitars and vocals, Ford on guitars (and sometimes percussion and vibraphone), Dale Gris on organ, clav and Fender Rhodes, John Barron on bass and Todd Glasson on drums. They are joined at various times by Lynne Calloway on backing vocals, Keith Kaminski on saxophones, Walter White on brass, Richard Curran on strings, and Larry McCray and Bobby Murray on lead guitar.

Nagy’s instrumental shuffle “Cornell Ala King” is a loving tribute to both BB King and the great Cornell Dupree whilst another original, “Baby, What Took Your Love From Me” mines from the heart of the apparently inexhaustible seam of great soul-blues songs. “Where Do We” starts out as an acoustic blues before cleverly morphing into a blues-rock song with hints of Led Zep (albeit with less sloppy guitar from Bobby Murrary) and an ear-worm of a falsetto verse closing line.

Nagy accompanies himself on just a finger-picked acoustic guitar on “All I Need (Is You)” before the album closes with Brandi Carlile’s uplifting ode to society’s marginalized, “The Joke” with aching piano.

Produced, recorded and engineered by Nagy and Ford at Sound Shop Studio, Macomb MI, The Real You is an absolute delight from first note to last. Greg Nagy really should be better known. Highly recommended.

Reviewer Rhys “Lightnin'” Williams plays guitar in a blues band based in Cambridge, England. He also has a day gig as a lawyer.

https://www.bluesblastmagazine.com/issue-19-6-february-6.../

“Greg Nagy is an uncommonly talented singer-guitarist-songwriter whose music finds its essence in blues but sometimes interestingly crosses borders into soul and intelligent rock, New album The Real You is a shout of triumph.”

~Frank-John Hadley

longtime DownBeat critic

Album Review of Greg Nagy: The Real You

If you’ve been reading this blog for a long while – or if you live in Michigan – you know Greg Nagy is one of Michigan’s best bluesmen. (I reviewed his album Stranded in 2016.) Well, I hate to spoil the suspense in the first paragraph, but he’s only getting better, if that’s possible.

Greg Nagy’s voice and guitarwork form a style that’s uniquely his own. It’s a familiar mix of old-school blues, soul, smoother R&B, and even at times a hint of a modern big band-inspired pop sound, all in an identifiably unique combination. You know, probably a lot of that is the vocals – smooth but not too smooth, rich but not particularly deep, deploying phrasing that can be emotionally piercing, and a just slightly uniquely original tone. Sure, at his musical core, Nagy’s a bluesman’s bluesman, but the other elements in his music open it up to potentially appeal to a broad audience, obviously on some songs more than others.

The Real You is Nagy’s fourth album. It contains a mix of blues classics, Nagy originals, and inspired covers with arrangements and delivery styles that help Nagy make them all his own.

The album kicks off with a Nagy original, the title track, a smooth, soft blues ballad. Or near-ballad, at least. The horns, which add both depth and emphasis, are sometimes more enthusiastic than in a typical ballad, though they’re also responsible for moments in this song that hint at a big band influence – very cool. But yeah, you can slow dance to it, so it’s a ballad. Maybe at a wedding reception, for example, with lyrics like “I want to know the real you. I want to share the real me, too,” and especially with the uplifting vocal delivery Nagy employs on the song.

Track number two is one of the two old-school blues covers on the record. For “Mississippi Blues,” a modestly-paced number, Nagy relies on the grittier edge of his vocal range, pulling the anguish out of the lyric. He’s joined on this song by Ray Goodman on dobro and Peter Mudcat Ruth on harmonica. Indeed, the harp plays an important part in the feel of the song, particularly riffing off of the vocal line.

Jumping ahead to track five, the other old-school blues cover – and actually, it’s an old-school soul number – is “Come to Poppa.” Most familiar to those of us with Michigan roots as a Bob Seger tune, I investigated the song’s variants and discovered that Nagy’s rendition is a much closer match to Ann Peebles’ original recording of it, “Come to Mama.” Of course, Nagy’s rendition is more modernized, and the bass beat thumps a bit more as a good blues-rock number naturally would, though the pace is more that of a mid-tempo blues crooner.

Another cover worth noting is the very theater stage-styled, slow-blues-drenched rendition of the Beatles’ “Something.” It’s performed as a duet with Detroit’s Queen of the Blues, Thornetta Davis (whose Honest Woman album was reviewed here at the Blog by Detroit-based contributor Eric Harabadian, back in 2018). Before I return to Nagy’s originals, I want to comment on the two remaining covers, “Crazy” and “The Joke.”

Personally, while I absolutely love the Gnarls Barkley original, I think Nagy’s version of “Crazy” is an upgrade, at least for those of us with a particular fondness for mainstream-leaning blues and blues-rock. With a warm vocal tone in the verses, pleading vocal edge in the chorus, and varied phrasing, punching the right syllables while delivering some of the lighter lyrics wryly, Nagy pitches a perfect game with his vocals. Meanwhile, the music bed is rich and full, almost orchestral at times, with organ carrying some of its bridges and verses, delivering a memorable blues-infused, soft-rocking result that’s my pick for most likely to appeal to mainstream radio listeners.

If I’m wrong about that statement, it’s because the closing number on the record, “The Joke,” has broad appeal, too. It’s a brave and welcome choice for Nagy, putting his own spin on the Brandi Carlisle number that represents those who don’t fit the molds of modern society. It’s a song for the marginalized, the misfits, the underrepresented. The arrangement is rich and powerful, getting fuller and fueled by guitarwork that builds to power in key emotional sections. The arrangement – and Nagy’s vocal – will give you chills and leave a lump in your throat when he reaches the climactic vocal, “I have been to the movie. I’ve seen how it ends. The joke’s on them.” I’d still suggest “Crazy” as the more likely radio hit because “The Joke” is 5-and-a-half minutes long, and the opening is a little slow – effectively so, but we’re talking radio-friendliness here, not just quality. This is, however, almost certainly the most powerful song on this record. A great way to end the album.

However, if you’re a blues fan, you’re maybe more likely to like one of Nagy’s originals. In particular, “You Were Never Mine,” featuring top-shelf bluesman Larry McCray on guitar. And there are some filthy guitar riffs, indeed, on this tune, at times wailing in accompaniment with the smoothly-sung pain in Nagy’s vocals, particularly during the title lyric.

“What Took Your Love” comes later in the disc but has a mid-tempo blues-rock vibe, perhaps a touch more blues-rock than blues when compared with “You Were Never Mine,” at least in the guitar riffs.

“Where Do We,” with Bobby Murray handling the lead axework, is a straight-ahead, modestly-tempoed, thump-along, rockin’ blues number, for which Nagy utilizes his deeper, rougher-hewn, lean-into-the-blues vocal style.

Ballad “All I Need (Is You)” is lightly-instrumented, with a raw, live, man-and-his-guitar singer-songwriter feel, giving it an emotional honesty. It’s actually the record’s penultimate track, with its uncomplicated production flowing nicely into the soft, emotional opening of “The Joke.”

Finally, if you dig instrumental blues, as I do – it’s always nice to have one really good one on a blues record – “Cornell Ala King” is a nifty vocal-less entry. I found a recording of this song from 2010 on YouTube, so Nagy has been playing (and perfecting) this song for a while, and it shows! Guitar, organ, and horns all get their own opportunities to drive the song forward, resulting in an entertaining number with structured dynamics that would have made vocals unnecessary and redundant. Just kick back and enjoy, though the song isn’t particularly long, so it’s over almost before you know it.

In total, The Real You is an instant classic from the reliably exceptional Greg Nagy. It contains five potential crossover hits for mainstream music fans – two of the record’s five covers (“Crazy” and “The Joke”) and three of its six originals (“The Real You,” “You Were Never Mine,” and “What Took Your Love From Me”). At the same time, edging beyond the mainstream, “Where Do We” is likely to be a new favorite among blues and blues-rock fans. And the rest of the disc is a great listen, as well, even if I’m not predicting strong radio interest in the remaining tracks; they’re excellent songs that are ideal fits for the album. If you’re a blues fan, you should be waiting in line outside the record store on the release date (metaphorically) for each new Greg Nagy release. Rock and mainstream music fans, also, though, should give this record a listen, as there’s something here for everyone.

Looking Ahead

Greg has plenty of upcoming shows listed on the “Gigs” page of his website. All of his listed dates at the moment are from coast to coast in Michigan, except for one. On July 5th, my California readers can catch the Greg Nagy Band at the Sebastiani Theater in Sonoma. This is a rare opportunity, so get yourselves to wine country and don’t miss it!

Geoff Wilbur's Music Review 

GREG NAGY: THE REAL YOU

The Real You is Greg Nagy’s first studio release since 2015, and it marks a welcome return for the singer/songwriter/guitarist who first landed as a member of Root Doctor and then took off with three highly acclaimed solo albums: Walk That Fine Thin Line, Fell Toward None, and
Stranded.

The album, produced by Nagy and Josh Ford, is split almost evenly between originals and covers, with most of the former falling squarely under blues and several of the latter tackling some well-known (even to the most casual listeners) popular songs… sometimes a risky move.

The blues tracks do not disappoint and range from the acoustic (Willie Brown’s “Mississippi Blues”) to the soulful and funky (“Never Mine,” which features Nagy’s friend and former bandleader Larry McCray taking the lead on guitar and making it count) to “Where Do We” -an naturally authentic expression of who he is, and it is the dominant component of his musical DNA.  

It is the covers, however, that shine extra light on just what an outstanding artist he is.  Gnarl’s Barkley’s “Crazy,” George Harrison’s “Something,” and Brandi Carlile’s “The Joke,” are all tall orders for a musician to record because they’re easily activated earworms in the soundtrack of everyday life: follow their wriggling paths and never get around them; dissect them and risk mangling them beyond recognition.  

Nagy does neither and ranges from more than holding his own (on the excellent “Something” done as a duet with Thornetta Davis) to achieving the sublime (“The Joke”).  Especially cool Is the old school way in which he does it: operating within the songs’ parameters and interpreting, inhabiting, and pacing his way through them like an actor taking on Hamlet and nailing it.  

To get an idea of this, listen to his version of “The Joke” and then listen to Carlile’s.  In construction and lyrics, the two are essentially the same.  But whereas Carlile’s is soaringly defiant, Nagy’s is weathered and melancholy.  And whereas Carlile’s is an anthem of encouragement, Nagy’s is more a song of lived-in, hard-earned understanding.  Both are triumphs: Carlile’s because of what she has created, and Nagy’s because of what he has turned her creation into: a completely different but equally beautiful animal breathing in the same skin. 

The Real You is the real Nagy, and he sounds as great as ever.  

~Matthew MacDonald
Summer 2025 Blues Music Magazine 

[Live performance review from Sebastiani Theater Sonoma CA]

Greg Nagy is one of today’s most captivating blues guitarists and vocalists—an artist whose music delivers soul, style, and unforgettable emotion. His guitar work is rich and expressive, marked by impeccable tone and smooth, confident phrasing. As a vocalist, Nagy brings a warm, powerful presence that instantly connects with audiences.

A gifted songwriter, he blends classic blues roots with a fresh, modern edge, creating songs that stay with you long after they end. On stage, Greg Nagy’s performances are magnetic—full of heart, polish, and undeniable groove.

If you're looking for a blues artist who truly stands out, Greg Nagy is the real deal.

Janice King, President

Sonoma Valley Jazz Society

Greg Nagy: Just A Little More Time  
★★★★ FOUR STARS!

Mr. Nagy completes a hat-trick here, delivering from his pipes, pen and guitar pick on a thoroughly satisfying set. Respectable readings on classics “Rainy Night in Georgia” and the Dead’s “Sugaree” stand alongside nicely crafted originals such as “Breaking Me (but making me a better man)”, “Between the Darkness and the Light” and the title track. For good measure there’s his fat-toned fretwork. Good stuff!

Duane Vehr
Roots Music Report

Greg Nagy: Just A Little More Time

Across Just A Little More Time, Greg Nagy once again proves himself a master craftsman. His voice — soulful yet unpretentious — delivers emotion without artifice. His guitar tone is pure honey and heartbreak. And his arrangements walk that rare line between classic soul and modern production.

This is blues for grown folks — deeply felt, beautifully played, and sung with the wisdom of a man who’s lived every word.

Greg Nagy’s “Just A Little More Time” isn’t just another blues album — it’s a master class in soul, groove, and truth.”

Richard Ludmerer

Contributing Editor / Making A Scene

Greg Nagy: Just A Little More Time   "Splendid!"

(translated from French)
Characterized by an effortless elegance, whether on guitar or vocals, Greg Nagy is one of those bluesmen for whom time seems to have no bearing. Surrounded by a brilliant band, and even featuring Bobby Murray, Etta James's longtime guitarist, he blends a very contemporary blues with a soulful spirit, alternating between a well-controlled power and a delicate, refined feel. His performance is intensely moving, and on "Just A Little More Time," he demonstrates a profound and sincere emotion. 

After building a solid reputation with the band Root Doctor a few years ago as lead guitarist, Greg Nagy has rightfully launched a solo career. A seasoned songwriter, he gives free rein to his inspirations, and "Just A Little More Time" is his fifth album under his own name, since "Walk Than Thin Line," released in 2009. Firmly rooted in his time, the American artist doesn't turn his back on tradition, however, and he combines Blues, Soul, Rock, and R&B with great authenticity and the same intensity.

Always surrounded by seasoned and renowned musicians, Greg Nagy passionately delivers a multifaceted Blues, drawing from quite contrasting styles. With his velvety voice and fluid, clear playing, he undertakes a dual exercise on "Just A Little More Time," blending carefully selected, and sometimes surprising, covers with his own compositions. Recorded with an exceptional band, including a warm and highly precise horn section, the result is radiant.

With his distinctive personality, Greg Nagy takes these songs and rediscovers them in a new light. Whether it's   Tony Joe White's  " Rainy Night in Georgia " (1969),  John Lee Hooker's  "In The Mood" (1951), or the unexpected "Only Women Bleed" by Alice Cooper (1975), the singer and guitarist gives them a luminous boost with top-notch arrangements. And he also delights audiences with his own compositions ("Breaking Me," "Between the Darkness and the Light," the title track, and "Big City").  Splendid!

Francois Alaouret
Rock-n-Force
France

Greg Nagy: A Little More Time

The album opens with the title track, a sweet, soulful blues ballad in which Greg presents himself to his beloved as the ideal partner. Singing with vulnerability and tenderness, he tries to win over the woman of his dreams. Soft female backing vocals add warmth, while the horn section—Keith Kaminski on saxophone and Charlie Miller on trumpet—gives the song a rich, soulful glow.

The first cover on the album is It Hurts To Love Someone, the classic 1957 ballad by Eddie “Guitar Slim” Jones. Kaminski and Miller once again shape the song’s atmosphere, breathing soulful life into this emotional piece. Drummer Todd Glass and bassist John Barron form the steady rhythmic foundation. Jim Alfredson’s warm organ tones support the melody of Breaking Me (But Making Me A Better Man), while Greg’s delicate guitar solo is a highlight. Pain and hope intertwine in his voice as he sings, “You’re breaking me but making me a better man.”

Between The Darkness And The Light leans on the tight drumming of Todd Glass and the deep, driving bass of John Barron. Clif Metcalf shines with swirling organ work, and Greg’s brooding, psychedelic guitar solo opens the song wide.

Love Letter, co-written by Linnea and Bobby Murray, pays tribute to Etta James. Murray—who plays guitar on the track—spent twenty-three years as her guitarist, and the piece radiates passion and reverence. Nagy delivers a stunning vocal performance, matched by Bobby Murray’s expressive guitar solo. James Hughes (saxophone), Jimmy Smith (trumpet), and Matt Martinez (trombone) round out the superb horn section.

Things get funky on the instrumental My Buddy, where Greg’s and Josh Ford's guitars along with Clif Metcalf’s organ take center stage.

Greg brings his own interpretation to the Alice Cooper classic Only Women Bleed, a powerful song addressing domestic violence from Cooper’s 1975 album Welcome to My Nightmare. Alfredson’s organ and Greg’s acoustic guitar provide the emotional backbone, and Greg delivers a strong, moving vocal performance alongside singer Rae Williams.

The last song Greg wrote for the album is Big City, which captures the restless energy of urban life with its pounding groove. The timeless Tony Joe White classic Rainy Night in Georgia follows, dripping with melancholy in Greg’s interpretation. Alfredson’s flowing organ tones are breathtaking, beautifully complemented by Kaminski’s saxophone and Miller’s trumpet.

Next comes the Grateful Dead’s Sugaree, written by Jerry Garcia and Robert Hunter, which Greg reshapes with a distinctly bluesy feel.

The album closes with a nearly ten-minute live version of the John Lee Hooker classic I’m In The Mood. This slow-burning performance erupts during the extended instrumental section, showcasing outstanding organ and guitar work from Jim Alfredson and Greg Nagy. The live rhythm section features drummer Donny Brown and bassist Rocco Popielarski.

Just A Little More Time is, in my view, a highly successful album—one that proves Greg Nagy is not only a skilled guitarist, but also a storyteller and an artist with depth, versatility, and a strong sense of tradition. It’s an album for fans of blues, soul, and R&B, as well as anyone seeking soulful, sincerely delivered music of exceptional quality. With moments of pure beauty, emotional intensity, thoughtful arrangements, and rich atmosphere, the album shows that Nagy’s solo career is more than worthy of attention. In my opinion, Just A Little More Time deserves a place in the collection of every modern blues and soul enthusiast. (8.5/10)

Walter Vanheuckelom
Concert Monkey
Belgium 

JUST A LITTLE MORE TIME Greg Nagy (independent) ****

Smooth, soulful and blue… that’s Just A Little More Time, the latest from Greg Nagy. More than just blues this is an appetizing mix of R&B, rock, gospel and soul. His voice is warm and inviting, occasionally sounding like the late Doug Bennett of Doug & The Slugs, his guitar playing elegant and expressive, but when he rocks out on a cut like Between The Darkness & The Light man, he really cuts loose. This is darnn good stuff.

Nagy can count people like Duke Robillard as a fan, so you know he’s doing something right. His debut solo release (Walk That Fine Thin Line) earned him a “best new artist” nomination from The Blues Foundation in Memphis as well as favorable reviews from hard-to-please big city critics. The Real You from last year, his last solo album before this one, caused Robillard to gush “The Real You is an R&B classic! All top notch performances and tunes, and what a soulful voice!” No doubt the new album is going to generate similar reactions.

There are too many musicians involved with Just A Little More Time to mention by name (18), but I can tell you the disc was produced by Greg Nagy with Josh Ford, who also engineered and helped Greg with mixing. The sound is warm, articulate and spacious, and the album is roughly half covers including classics I’m sure you know such as Rainy Night In Georgia, I’m In The Mood and a surprisingly effective rendition of Alice Cooper’s Only Women Bleed. There’s a sort of economy to the playing here, not minimalist exactly but nobody tries to overwhelm a song with theatrics or flashy solo runs. Everybody knows their place, and that’s so satisfying.

Even though Just A Little More Time is filed in the “blues” section of my album collection, it’s more truthful to call it soul/ light R&B. Lots of good stuff to chill to here, that’s for sure.



HOT TRACKS: Between the Darkness & The Light, Only Women Bleed, Rainy Night In Georgia

~The Rock Doctor
John Keireff
https://gonzookanagan.com/the-rock-doctors-hot-wax-album-reviews-week-of-december-3/

Michigan Rock-n-Roll Hall Of Fame Museum 

Greg Nagy – “Just A Little More Time.” Greg Nagy’s killer combination of soulful vocals and tasty guitar highlight this collection of five great originals along with five high quality covers from a variety of artists including Jerry Garcia, Brook Benton, John Lee Hooker, and Alice Cooper. 

~Dr J (Gary Johnson)

Greg Nagy: Album Review (Just A Little More Time)

A Truly Great Singer/Songwriter/Guitarist:

When you can take a classic song, transform the original while maintaining the essence of that material, give the songs a unique interpretation, and bring something new to the table with a personal touch—well, that is a truly great singer-songwriter. When Greg Nagy and his bandmates take on tracks like “It Hurts to Love Someone,” “Rainy Night in Georgia,” “I’m in the Mood,” and even Alice Cooper’s “Only Women Bleed” (released on his debut solo album in 1975), you are introducing classic songs to a new generation while thrilling long-time fans.

Taking original compositions—“Just a Little More Time,” “Breaking Me (But Making Me a Better Man),” “Between Darkness and the Light,” “Love Letter,” “My Buddy,” and “Big City”—Greg and his A-list team of collaborative musicians and vocalists give each track a unique voice, bringing plenty of passion and soul to the songs with an unflinching honesty that resonates with all of us. With surprises around every corner just waiting for you, every original composition has something for everyone to enjoy: horn-driven rhythm and blues, simmering soul, ramped-up funky grooves, hypnotic blues notes, and spirited performances that put you right there in the room with these musical all-stars.

Greg Nagy and his dynamic bandmates gift us with Just a Little More Time, a masterwork with so many highlights to embrace and appreciate. Not predictable by any means, this album is overflowing with imagination, sincerity, and honesty. There is an infectious energy here that makes this an irresistible musical experience. Highly entertaining and timeless, this release is a great showcase for a singer-songwriter/guitarist that everyone should get to know.

And we enthusiastically applaud……

~John Muller
Blue Notes and Conversations

"[On Just A Little More Time] Nagy once again shines."

~Matt MacDonald
Blues Music Magazine

From the very beginning of his career, Greg has enjoyed the favor of critics—but more importantly, his quality has been consistently recognized by fellow professionals. It didn’t take long for numerous specialized publications and magazines to follow suit, openly praising Greg’s talent and acknowledging that his music carries that indefinable “something special.” Radio stations around the world took notice as well, making Greg a regular presence on playlists at many genre-focused broadcasters.

When he decided to release his new studio album on October 1, it marked, in many ways, the culmination of both personal and professional change. Just A Little More Time stands as his most complete and fully realized studio effort to date. As previously noted, the album reflects a period of deep personal transformation—an artistic statement meant to put a seal on a significant chapter of his life. Inevitably, this is reflected in the album’s presentation, vocal nuance, and overall atmosphere.

Taken as a whole, the album showcases everything that confirms Greg as a mature and compelling musician, guitarist, and vocalist. His playing bears an exceptionally strong and recognizable guitar signature, paired with powerful vocal ability and a remarkable gift for transformation.

“I like to be soulfully communicative,” Greg says himself. And if the blues is a path toward healing—toward turning pain into feeling—then Greg proves that recovery and renewal are always possible.

From its opening seconds, Just A Little More Time keeps you fully alert and emotionally engaged, pulling you into a wave of feeling that spans pain, suffering, joy, and the search for meaning, hope, and something genuinely good. This has always been the core mission of soul and blues music: to lift you out of difficult moments, offer hope, and give you a reason to move forward. By the end, if you haven’t already, be sure to seek out and listen to this album—it will win you over. Without a doubt.

~Poprock (Blues Corner)
Mladen Loncar 
Croatia 

"On Just A Little More Time: 

Greg Nagy sets melancholic or brighter moods with flair and determination... unpredictable in his personalized covers... 
and gives a good accounting of himself 
as a songwriter"

FOUR STARS!!! 

Frank Hadley
DownBeat Magazine 

Greg Nagy – Just a Little More Time

Self-produced CD

www.gregnagy.com

Don’t be fooled by the simple cover art of this one…it smokes! Guitarist Greg Nagy’s a former BMA nominee for best new artist who’s toured and/or recorded with Larry McCray, E.G. Kight, Bobby Murray and Ronnie Earl. But he’s a dynamic performer in his own right.

He delivers refreshing, honest tunes across the blues, soul and gospel spectrum while aided by a deep roster that includes Murray and John Ford on second guitars, Jim Alfredson and Clif Metcalf on keys and five horn players, too.

You’ll be blown away by “Just a Little More Time,” “It Hurts to Love Someone,” “Breaking Me (But Making Me a Better Man),” “Between the Darkness and the Light,” “Love Letter,” “My Buddy,” “Big City,” “Rainy Night in Georgia” and “I’m in the Mood.”

Marty Gunther
Chicago Blues Guide