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Reggie Wayne Morris - Don’t Bring Me Daylight
By James Walker
Blues Blast Magazine

11 tracks; 46:05 minutes; Suggested Styles: Electric Blues, “Boogie Woogie Rhythm & Rockin’ Blues”

“How can this guy be this good and not be nationally and internationally festival-famous?” These words are rarely spoken by this reviewer and Blues radio show programmer about a new CD, but in the case of Reggie Wayne Morris, they are true. One can imagine the large number of CD submissions received by the few radio stations that actually broadcast Blues music over the airwaves. Way too many of them leave us lamenting,not lauding.

Typically, our number one complaint about an unfamiliar artist is “can’t sing.” Here, on Morris’s third release, Don’t Bring Me Daylight, the smooth vocals are first rate. Secondly, too many CDs sent to our “Blues” radio show are not “Blues.” Morris’s album avoids any criticisms on that front by providing solid contemporary Blues as one will hear.

Raised on his grandparents farm in Charlottesville, Virginia, guitarist/singer/songwriter Reggie Wayne Morris is now based in the Baltimore, Maryland area He was reared on Gospel and Blues, learning the guitar at an early age from musical family members.

Reggie’s up-tempo guitar style developed from listening to Jimi Hendrix and B.B. King and fusing their influences with his own unique approach to create his “Boogie Woogie Rhythm & Rockin’ Blues” that allowed him to tour Italy, France, Hawaii, and the U.S. with an appearance at Carnegie Hall as a “career milestone.” He has the distinction of being the only artist to perform at the Baltimore Blues Society Festival nine consecutive years, having the unique opportunity to be both the opening and closing act on one particularly memorable occasion.

His current CD Don’t Bring Me Daylight pays homage to the past by showcasing contemporary, witty and humorous lyrics that speak to listeners of today with all original songs composed by himself and Gerald “Gypsy” Robinson, with one track by Ceophus Palmer. Joining Morris’s guitar and vocals in the studio are: drummers Chuck Fuerte and Ezell Jones, bass players Vinny Hunter, Pete Kanaras, Chris Sellman, and Ray Tilkens, along with keyboardists – Mark Stevens and Bob Borderman.

Cleverly switching an old cliché (son of a blues “man”), Reggie kicks off his set with “Son of a Blues Fan.” It is right from the opening piercing guitar notes that listeners are introduced to real deal, modern sounds that are upbeat, full in production, and thoroughly enjoyable. Morris sings with aplomb, “I was sitting on my daddy’s knee; he was listening to ‘The ThingsI Used to Do’”. Meanwhile, Stevens’ organ is pumping the melody under Morris’s guitar, all propelled by Jones on drums and Sellman on bass.

Attention new “Blues” artists: it is still ok to play actual 12 bar Blues! If you need tutoring, just listen to “I used to have a Woman” with its authentic feel and theme. Stevens’ organ is again nicely utilized on “Sign My Check” as Morris invokes the humor in the lyrics and punctuates it all on swinging guitar. Reflecting some influence from fellow Baltimore area Bluesman, Charles “Big Daddy” Stallings, Morris brings smiles on a wonderfully bouncy “Another Can of Worms.”

The title track is another example of Morris’s clever turn of a phrase. When a lover is out for the evening with friends and running late, what is the absolute last thing the partner wants brought home? According to Reggie, “... bring it on home on time ... don’t bring me ‘daylight’; you know I won’t understand!”

Slowing the tempo and pouring on the Southern Soul, Morris tells it straight about his devotion to his woman on “Ball & Chain.” Similar in musical style, “Too Many Cooks” echoes the familiar theme found in the old classic song “Too Many Drivers at the Wheel.”

Full of traditional sounds, this CD excels in expressing contemporary topics and issues by using bright new musical approaches. There is even a soulful ballad, “Meet Me,” and a surprising Reggae style on the closing “God Loves You.”

It is so refreshing to receive a new CD full of infectious passion, charm, and humor. With his knack for incredible, modern, real deal blues music, Reggie Wayne Morris should soon be “nationally and internationally festival-famous!”

Reggie Wayne Morris - Don’t Bring Me Daylight
By Nick Dale
DC Blues Society

Reggie Wayne Morris is a guitarist, vocalist and songwriter who was raised on his grandparents’ farm in Charlottesville, VA and then moved to Baltimore. He has been active in the region for many years and has toured nationally and internationally. In recent years, he has not been heard as much locally as before, but makes a strong re-entry with his latest CD. He opened for Nick Moss at our recent show on April 18. Morris and his producer Gerald Thomas wrote all the songs but one on this album, jointly or individually. He enlivens each with some tasty and energetic guitar breaks and solos. Along the way, he receives solid support from a variety of bassists, drummers and keyboard men. The songs address a variety of themes and moods. “Son of a Blues Fan” opens by staking his roots. He began listening to the blues at his Daddy’s knee at 5 and that’s who he is. He just loves to play, for pay or for free, and cut loose with his guitar. Three cuts about woman troubles follow. “Used To Have a Woman,” but she stayed out all night long, did him wrong and made him lose his self-respect. “Sign My Check” is all his woman does with no love in return. “Another Can of Worms” is opened when his friend confronts him for being with his girlfriend. The title track says it alright for his woman to go out and party as long as she brings it home to him at the end of the evening before it gets light, provided he can take the same liberties. more woman troubles follow. The artist wound up with a “Ball and Chain” when he played his guitar for her, but she went home with the drummer. “Too Many Cooks” is a dilemma caused by his woman wanting him to pay the bills, but she’s always trying t get away to see other men. He then slows it down with the lament “She’s Gone,” self-explanatory. “Meet Me” changes the mood. After a hard day, he wants her to greet him at the door with nothing but her thong for obvious results. “Ooooo Weee” is a tribute to her physical attributes. The disc closes on a different note, “God Loves You” is a plea for peace and love without crossing into the sappiness that often creeps into songs like this. All in all, a solid, relatable and enjoyable album from an artist who deserves wider exposure.

Reggie Wayne Morris - Don’t Bring Me Daylight
By Peter "Blewzzman" Lauro © June 2015

Since this is his third release, and since his first one dates back to 1998, I guess calling Reggie Wayne Morris a veteran bluesman would be appropriate. However, with it being over a dozen years since his second release, I guess you could also call "Don't Bring Me Daylight" his comeback release. Now I don't necessarily know where he's been, or for that matter if he even left, but from what I'm hearing I've got to say "Welcome back, Reggie".

Joining Reggie Wayne Morris, on vocals and lead guitar, are: Chuck Fuerte and Ezell Jones on drums; Vinny Hunter, Pete Kanaras, Chris Sellman and Ray Tilkens on bass; and Mark Stevens and Bob Borderman on organ & piano. Of the disc's eleven tracks, ten are originals written and/or co-written by Reggie and Gerald Robinson - the disc's producer.

Reggie's earliest recollection of the blues goes back to when he was five years old. Being the "Son Of A Blues Fan" he remembers sitting on his daddy's knee listening to "The Things I Used To Do". That could explain why his smokin' guitar work on this track rips a la Albert Collins. Also ripping on the track is the rhythm - Mark's a monster on the organ and making their only appearance on the disc, Ezell and Chris are nailing it on drums and bass. Blues fans with children - take heed.

On this track Reggie's sounding like he's got a bad case of the blues, and it's all because he "Used To Have A Woman" who stayed out all night long. That will do it, Reg! Real hot shuffle with Chuck and Pete getting the rhythm into a tight groove, some nice piano leads from Mark, and Reggie belting it on vocals and guitar. The more I listen the more grateful I'm becoming for Reggie's daddy.

"Ball & Chain" is another song about a woman not doing right by Reggie. It's almost like it's his woman - not his daddy - that are the real reason Reggie's singing the blues. This time, not only did his woman leave him but to compound the situation she left him for the drummer. Yikes! This is more of what I've been saying - or will be saying - on pretty much all of the tracks: great singing; great guitar playing; and with the use of two drummers, four bass players and two keyboard players, consistently strong rhythm.

"She's Gone", Reggie's hurting over it, and those two things make for one hell of a blues song. This smoker features some of Reggie's best guitar work and vocal skills. He's absolutely singing and playing his heart out right here. Also at disc's best is Chuck fiercely leading the rhythm with outstanding drumming, another great track!

"Meet Me" is a slow blues ballad about having to deal with a lot of life's stressful situations: Lots of things going wrong; bill collectors calling; food prices rising; rent being due; and on and on. You can actually feel the pain in Reggie's voice as he sincerely delivers the heartfelt lyrics. The only thing he has to look forward to each day is having his woman meet him when he comes home. You'll understand as you hear him tell her, "I want you to meet me, when I come me girl, with your thong on......." Yeah, I cracked up too. As it should be on a slow song like this, Chuck and Vinny are in a smooth rhythm groove and Reggie's laying down some real good slow blues guitar leads.

As the title would indicate, "God Loves You" contains spiritually uplifting lyrics and combining them to this beautiful Reggae beat was genius. This very well produced song flows so smoothly while it creates a strong desire to want to just sing along and sway to the music. Of course, in addition to it being beautifully sung by Reggie, it's the percussion and rhythm that highlight this one. Chuck, Vinny and Mark absolutely shine on the bass, drums and organ. This one's very catchy.

Other tracks on this excellent disc include: "Sign My Check" (Ceophus Palmer), "Another Can Of Worms", "Don't Bring Me Daylight", "Too Many Cooks" and "Ooooo Weeee".

To find out more about Reggie - and I'm highly recommending you do just that - simply go to Once you're there you know the'll tell him his new fan the Blewzzman sent you.

Peter "Blewzzman" Lauro
Blues Editor @
2011 Keeping the Blues Alive Recipient

Reggie Wayne Morris - Don’t Bring Me Daylight
By Dennis Rozanski
Baltimore Blues Society

Funny how irony works, huh? Don’t Bring Me Daylight will instead do just the reverse: usher him limelight. And rightfully so, since after 14 years of building anticipation, nothing less than the spotlight’s glow would be expected for such a long-overdue event as the newest album from a regional landmark. Blues, you see, can’t get any more Baltimore-bred than Reggie Wayne Morris, native son who has supplied some of this region’s more memorable nights—on a night-after-night, year-after-year, decade-after-decade basis. (Who can forget those weekend sets down at the Full Moon as the ’90s were dawning or, testing you further, those runs at the Paragon during the ’70s?)

Finally emblazoned with a fittingly cool cover shot, Daylight serves immediate notice that Morris is his own man, still confidently dishing up blues on his own contemporary terms, consistently crafted with their own streamlined sound. Part of that means no one puts words into the singing guitarist’s mouth. So all these bluesman grumblings set within smartly appointed arrangements are, along with the occasional ray of sunshine (“God Loves You”), originals. “Used to Have a Woman,” “She’s Gone” and “Another Can of Worms” quickly diagnose his songwriting as being grandly wounded by Miss Misery. Yet in the space of a few heartbeats, funky hormone surges reroute dilemma back into desire, rising to the Rick James level of hot-and-bothered when “Ooooo Weeee” comes panting out. Super freaky moment’s aside, for someone quite well known for pulling Hendrix from out of a Stratocaster onstage, Morris, when on record, commits to the song over the solo. Concentrating on the whole that way makes all the fretted flare-ups work in service of the good time at hand.

The timing between Daylight and 2001’s Blues Binge and 1998’s Gotcha By Your Blues would imply being roughly on an album-every-decade pace. But there’s good reason. Morris is simply not a record-making machine. He is instead a road warrior, busily hand-delivering the goods live and in-person, to a bandstand near you. So consider the autobiographical ring of “Son of a Blues Fan” and an easy rolling “Too Many Cooks” to be among a great preview here of what’ll be blowing into your town.

Don't Bring Me Daylight

"Don't Bring Me Daylight marks the beginning of an entirely new and exciting chapter in Reggie's music and career. His playing is strong throughout, the singing good, the product very well-produced with good variety in tempo and mood -- Congratulations, Reggie! I am proud to have played even a minor role in your development as a professional musician."

Larry Hoffman - Grammy Nominated Producer, Composer

Blues Binge

"Reggie sings like his life depends on it, he sings with such enthusiasm... with the enthusiasm that reminds me of a little child playing with a ball for the first time... When you go to a black church you expect to see a big fat lady get up and sing, that is how enthusiastic Reggie is in his delivery of the blues... It's all original and I really like that, I take my hat off to Reggie..."

Bobby Rush - Grammy Nominated Performer, Musician, Producer, Songwriter

"I really like Full Moon Saloon and Feel Like a King... Blues is in the House, I love it... Reg has got a lot of good songs, very well constructed. He did a great job on his second CD. Production of the whole project is hot! It's really happening, everything with the sound is in line..."

Bobby Parker - Guitar Player, Singer, Songwriter

"A good typical blues album, what you expect blues to be when you hear blues, like BB King, Bobby Bland, Little Milton..."

Millie Jackson - Entertainer, Singer, Actress

"There is more to Blues music than the Blah's... After listening to the Gerald "Gypsy" Robinson produced release from Reggie Wayne Morris, Blues Binge, I couldn't agree more"

Stephen Craig - Music Monthly Magazine - April 2003

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