Seth James

Motormouth

Qualified Records

Texas blues and roots artist Seth James returns with “Motormouth,” a high-energy release that blends swagger, Southern rock grit, and groove-driven rhythm into a celebration of American roots music. Known for his expressive vocals, sharp guitar work, and natural sense of feel, James delivers a collection that honors Texas blues traditions while stretching comfortably into soul, R&B, and modern Americana.

Recorded with a seasoned group of veteran musicians, “Motormouth” moves effortlessly between tight rhythmic punch and laid-back, soulful interplay—hallmarks of James’ evolving sound. The album was produced by Kevin McKendree and tracked, mixed, and edited at his Rock House Studio in Franklin, Tennessee.

This release follows James’ earlier albums “That Kind Of Man” (2009), “Good Life” (2019), “Different Hat” (2021), and “Lessons” (2024), a tribute to Delbert McClinton. With “Motormouth,” James brings the focus squarely back to himself, showcasing the songwriting, musicianship, and personality that have made him one of the most respected voices in contemporary roots music.

Eleven tracks feature the ensemble “Dick 50,” which includes McKendree on piano and organ, Rob McNelley on guitar, Steve Mackey on bass, and Lynn Williams on drums. The horn section—Jim Hoke on saxophones, Steve Hermann on trumpet, and John Hinchey on trombone—adds depth and punch throughout. Two additional tracks feature The Time Jumpers, with their rich lineup of guitars, pedal steel, fiddle, piano, bass, and drums. Four tracks are co-written originals, while nine are carefully selected covers.

The album opens with the defiant blues-rocker “Why Should I Suffer,” written by James, Gary Nicholson, and Bob Britt. James delivers a raw, emotionally charged performance centered on betrayal and injustice, singing, “I’m not guilty of that other fool’s crime, only took what I thought was mine, don’t make me serve another man’s time.”

The title track, “Motormouth,” written by McKendree and James, follows with swagger and attitude as James sings, “well you got me in a small… it’s just the way that you do, give it time, lord your motormouth is a little too much, give it time, I see you talkin’ couldn’t hear you even if you shout.”

On “I’m In Trouble,” one of the album’s standout moments, James captures the electric pull of attraction that can’t be ignored. He admits, “I been dodging trouble for most of my life, but this kind of trouble is the kind I like.”

“It’s Later Than You Think,” written by Colin Linden and first recorded in 2008, carries a reflective warning as James sings, “Get yourhouse in order…cast your eyes on what’s important, it’s later than you think…come back to your senses, it’s later than you think, I wonder who your waitin’ for, it’s later than you think.”

“I’ll Be Gone,” featuring the horn section and written by H.R. Smith, was first recorded by The Fat Daddy Blues Band in 2005. James delivers the lyric with conviction: “be here for quite sometime, one eye is looking at me and the other at your watch…I should’ve left you a long time ago, I don’t want your pesos, I’ll begone, I treat you like the ‘Queen of Sheba’ I don’t want your pesos, I’ll be gone.”

On “High Horse,” written by Leon Russell, James leans into a groove-heavy arrangement, singing, “your attitude is making me crazy, sit on your high horse…well you sit on your high horse, I want to love you like a little baby, but you sit on your high horse, you make me crazy.”

“I Can’t Find Your Mind” explores emotional distance in a relationship, with James singing, “But you’ve been slipping away from me standing right here by my side, I can see every little step you take but I can’t find your mind.”

“Just A Thought,” written by Delbert McClinton and Al Anderson, reflects on regret and memory as James cries, “not a day goes by, wondering what might have been…I don’t know, just a thought…too many memories taken’ up my mind…I don’t know, just a thought, I catch myself crying, these little things, just a thought.”

“I Can’t Wait,” another McClinton composition, originally released in 1996, carries a hopeful tone as James sings, “the day she said goodbye I thought I wanted to die…I can’t wait for love again even if just for a little while, I can’t wait for love again.”

The album reaches a powerful emotional peak with “I Got To Know,” originally recorded by Don Bryant in 2017. James delivers a soulful plea for honesty, asking, “Is there someone else on your mind, so tell me…am I wasting my time?”

“Lonely Avenue,” written by Doc Pomus and made famous by Ray Charles in 1956, is delivered with classic blues feeling as James wails, “it’s a lonely avenue, I’m so sad and blue…it’s all because of you, it’s a lonely avenue.”

“I Feel The Burden,” written by Glen Clark and originally performed with Delbert McClinton in 1972, finds James digging deep as he sings, “I feel the burden off my shoulders, being lifted, being lifted off my shoulders, I feel it being lifted off my shoulders, being lifted, being lifted.”

The album closes with “Start A Brand New Day,” credited to C. Allen, where James offers a sense of renewal, singing, “don’t try to think we can make it like home again, it’s time to start a brand new day, time to make a go of you, it’s time to start a brand new day.”

Seth James has spent his career exploring not just what music can do artistically, but what it can do for people. As he puts it, “I don’t want to do a good job so that I can be successful and sell more records, don’t get me wrong, that would be great, too. But that moment where everyone is together, their glasses cheers-ing while they shake off the blues a little bit…I want to be part of that.”

With “Motormouth,” James delivers exactly that—a record that feels alive, grounded, and built for connection.

Richard Ludmerer

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