Album Review: Piper & the Good Times – Good Company

The core of this Nashville-based group – vocalist Al “Piper” Green, Steve Eagon on guitar, and drummer Dave Colella – has been together for two decades playing roots rock. With keyboardist Amy Frederick and bassist Parker Hawkins, they became Piper & the Hard Times. The band released its debut, Revelation in 2024. Combining a saucy New Orleans vibe and a blues sensibility, that album found the group digging into a deep groove.

There wasn’t anything especially novel or revolutionary about what the band did on Revelation, but their traditionally-minded approach was heartfelt and well-executed. The album took the top spot on Billboard’s Blues Albums chart, and was named Best Emerging Artist Album at the Blues Music Awards. Piper & the Hard Times also earned the Best Band award at the 2024 International Blues Challenge in Memphis.

Less than a year later the group has returned with Good Company. It’s another twelve-song collection of original tunes from the Green/Eagon/Colella triumvirate. As of this writing, the band’s website mentions the album’s release date for “early 2026,” but it was pushed up to late August ‘25.

Green’s assured, husky vocals are out front on the title track that opens the album; the band provides sleek and solid instrumental support. The New Orleans flavor that characterized Revelation is conspicuous in its absence; Good Company is straight-ahead roots rock. “Now I’m Lovin’ You” puts honkin’ sax and some searing lead guitar work out in front of a funky rhythm; here a contemporary N’awlins vibe shows up to enliven the standard melodic framework. “Tear it Down” aims for a smoky vibe and largely hits its target; the song’s feel suggests that it would work well in the band’s live set.

The lyrics of “Cowboy Gucci” seek to move the country and western aesthetic beyond clichés about pickup trucks, jeans and ‘Murica. The music itself is miles away from country, instead exploring a riff-based rock approach. The simmering “In the Meantime” applies subtlety to the band’s delivery; the song’s mix of loud and quiet elements makes it an effective number.

Piper & the Hard Times get truly understated and bluesy on “Turn the Tables.” It’s far from the party atmosphere that informs most of the group’s material, and features only the superbly soulful duo of Green and guitarist Eagon. It’s the record’s shortest track, and quite possibly its best as well.

The festive vibe returns for “Runaround Man”; built around a kinetic guitar riff with some gurgling organ, it’s a peppy execution of standard blues changes. “Cheatin’s Gotta End” mines a swaying blues feel with a sharp melody and powerhouse vocal to match. The uptempo “Keep It to Yourself” is more party blues; reminiscent of the band’s method on Revelation, it’s far from groundbreaking yet commits no sins.

The sophisticated “Not Your Fault” is much stronger, with inventive stop-and-start arrangement, a saucy vocal and some of the album’s best playing. The prominence of sax – always tasty sax, it should be emphasized – on the track and throughout the album does raise the question as to why a horn player isn’t part of the band’s official lineup.

The band moves assertively toward rock on “My Place,” built around an appealing bass figure. Despite the lyric’s exhortation to “listen to the blues,” the tune’s circular guitar riff and prominent wah-wah pedal work take it far from the blues aesthetic. A gospel feel informs the album closer, “Those Days.” Green’s extended spoken intro sets up a contemplative tune with some sentimental lyrics. It’s a suitable wrap-up to a workmanlike and enjoyable album.