Greg Nagy

Just A Little More Time

Independent

Just A Little More Time is the fifth studio release from Greg Nagy, a powerhouse guitarist, singer, and songwriter who continues to blur the lines between blues, soul, and R&B with an emotional authenticity that few can touch.

Nagy first caught national attention as the lead guitarist for the Michigan-based blues and soul band Root Doctor, whose 2008 release Change Our Ways earned a Blues Music Award nomination for Best Soul Blues Album. A year later, Nagy stepped into the spotlight with his solo debut, Walk That Thin Line (2009), which landed him a BMA nomination for Best New Artist. His follow-ups — Fell Toward None (2011) and Stranded (2015), the latter earning a four-star review in DownBeat Magazine — cemented his reputation as a deeply expressive artist rooted in blues tradition but driven by modern storytelling.

Co-produced by Nagy and Josh Ford, Just A Little More Time blends fresh originals with handpicked covers, each delivered with precision, power, and purpose. The set features five new originals and five reimagined classics, unified by Nagy’s soulful voice and expressive guitar tone.

The ensemble is stacked with top-tier talent: Nagy handles all guitars (except for one track) and lead vocals; Josh Ford adds rhythm guitar and percussion; keyboardists Jim Alfredson and Clif Metcalf bring lush Hammond and piano textures; Bobby Murray — Etta James’ longtime guitarist — guests on one track; bass duties are split between John Barron and Rocco Popielarski; and drums are handled by Todd Glass, Renee Gonsalves, and Donny Brown. A full horn section adds fire and finesse, featuring Keith Kaminski and James Hughes on saxophones, Charlie Miller and Jimmy Smith on trumpets, and Matt Martinez on trombone.

The album opens with the title track, “Just A Little More Time,” a slow-burning, soulful plea that sets the emotional tone. Nagy sings with conviction and vulnerability — his phrasing rich, his guitar lines aching with feel. It’s a perfect entry point into the album’s blend of reflection, groove, and grace.

Next comes the first cover, “It Hurts to Love Someone,” written by Eddie “Guitar Slim” Jones in 1957. Nagy injects the classic with warmth and sincerity, channeling the heartbreak and grit of Guitar Slim while adding his own smooth polish.

“Breaking Me (But Making Me a Better Man)” is one of Nagy’s standout originals — a slow soul burner that finds him testifying through both his voice and guitar. “Breaking me, but making me a better man,” he chants, balancing pain with hope in a way that feels deeply personal.

“Between the Darkness and the Light” continues that introspective thread, showcasing Nagy’s gift for soulful storytelling. His voice glides over lush chords, backed by shimmering organ and delicate horn accents.

On “Love Letter,” written by Linnea and Bobby Murray in tribute to Etta James, Nagy finds the sweet spot between reverence and passion. Bobby Murray’s presence gives the track extra weight, his guitar perfectly complementing Nagy’s vocals.

The original “My Buddy” brings a moment of tenderness — a heartfelt ode to friendship and loss, delivered with understated grace.

Nagy takes a bold turn with “Only Women Bleed,” the Alice Cooper classic about domestic abuse. His interpretation strips the song down to its emotional bones, revealing the compassion and anguish in every line: “Man got his woman to take his seed… she spends her life through pleasing up her man… only women bleed.” It’s powerful, respectful, and devastatingly real.

The final original, “Big City,” bursts with swagger and groove. Nagy’s guitar snarls with attitude as he sings about survival, ambition, and the loneliness that comes with chasing the dream.

From there, Nagy shifts into interpretation mode with three striking covers. “Rainy Night in Georgia,” Tony Joe White’s 1969 masterpiece, becomes a soulful highlight here. Nagy’s phrasing drips with melancholy — “Hoverin’ by my suitcase, tryin’ to find a warm place to spend the night…” — while the arrangement shimmers with atmosphere.

He follows with “Sugaree,” written by Jerry Garcia and Robert Hunter. Nagy infuses it with bluesy fire, his guitar work paying homage to Garcia’s fluid lines while bringing his own emotional depth to the performance.

The album closes with a timeless classic — John Lee Hooker’s “I’m in the Mood” (1951). Nagy’s version simmers with sensuality, every note deliberate, every lyric felt: “I’m in the mood for love… night time is the right time to be with the one you love.” It’s a fitting closer — relaxed, confident, and steeped in tradition.

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

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