Brother John

Black Crow

Independent

The core of Brother John is the duo of two well-seasoned Philadelphia blues artists: Johnny Never and John Colgan-Davis. The name “Brother John” reflects the strong bond of their musical partnership, as well as the humanity and enduring power of collaborative creativity that has always defined the blues.

Johnny Never is an independent blues songwriter and acoustic fingerstyle and slide guitarist. He has been writing and performing Delta and Piedmont-style blues for over two decades. A two-time Quarter Finalist at the International Blues Challenge, Never has performed throughout the Mid-Atlantic U.S. and Canada.

John Colgan-Davis has been performing since the 1970s. He recorded and performed with Bonnie Raitt in Philadelphia in 1973 and toured with Sparky Rucker and the John Cadillac Band. He is also a founding member of Philadelphia’s The Dukes of Destiny. While Brother John is most often heard as a duo, they occasionally expand the lineup, as they do on Black Crow.

Johnny Never handles guitar, slide guitar, stomp box, and all lead vocals. John Colgan-Davis plays harmonica and provides backing vocals. Additional musicians include pianist Chicago Carl Snyder; bassists Jimmy Pritchard and Alan Lewine; percussionist Mark Shewchuck; and background vocalists Holly Hoffman, Shannon Roberts, and Monica Moran.

The duo opens with “Bread and Salt,” a gospel-inspired number featuring the three background singers. Never sings, “My baby left me nothin’ but bread and salt… I stayed out one night too long, when I got home my baby was gone.” It’s a cautionary tale delivered with traditional flair.

“New Sovereigns Blues” is a blues for troubled times, with nods to Robert Johnson and Big Bill Broonzy. Never plays a 1927 Oscar Schmidt Sovereign guitar as he delivers lyrics rooted in old-school wisdom and modern reflection.

“Svelte Man Blues” is a playful autobiographical traditional blues, while the title track, “Black Crow,” performed in open D tuning, reflects on the death of a cherished love. With Shewchuck on percussion, Never delivers a tormented vocal asking the “big black crow” to bring his baby back home.

The lone cover, “Dirt Road Blues,” originally written and recorded by Charley Patton in 1929, stays true to its Delta roots. Never captures its weary resignation with authenticity and reverence.

“Wandering Eye Blues” is a beautiful Piedmont-inspired meditation on temptation and self-awareness, featuring Shewchuck on percussion and Lewine on upright bass. Never’s vocal conveys both regret and inevitability.

The love song “No Place Like Home” features Never on resonator guitar and Pritchard on acoustic bass, offering a warm and heartfelt declaration of devotion.

“That Thing Your Dad Did Last Night” injects humor and swagger, while “Old Man Mose” offers folk-blues social commentary, supported by background vocals that deepen its communal feel.

“Sexy Baby Blues” adds a jazzy twist with expressive harmonica work, capturing the angst of loving someone captivating and unpredictable. “Whiskey Glass” is a rearranged minor blues, reflecting loneliness and morning-after regret.

“Five Miles” explores hardship and endurance, painting a vivid picture of physical and emotional exhaustion. The album closes with “Cook It to the Bone,” featuring Snyder on piano and Shewchuck on percussion, ending the record with playful energy and rhythmic bounce.

Johnny Never states, “There is really something primal about the roots of blues. It is in our DNA, it seems. For over a century and a quarter this art form has not only endured but flourished. Not a generation passes without being pulled by its buoyant gravitas, its graceful depiction of human woes and joys.”

With Black Crow, Brother John taps directly into that tradition, proving once again that the blues remains alive, vital, and deeply human.

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