Peter Veteska first grabbed my attention with 'So Far, So Good' a couple of years back — an album I still return to regularly — so news of a new release from the Jersey Shore bluesman was genuinely exciting. The good news? If anything, this record raises the bar even higher.
This is a beautifully curated set that balances classic blues from the 40s, 50s, and 60s with Veteska’s own originals, five of each. And that balance says everything about the strength of his song writing: the transition between standards and self-penned tracks is so seamless that the lines blur completely. You’re often left guessing which is which — and that’s high praise indeed.
The album doesn’t ease you in — it kicks the door open. Otis Rush’s ‘Checking on My Baby’ bursts out of the gate with real fire, followed by a confident, personality-filled take on the much-covered ‘Key to the Highway’. From the outset, Veteska makes it clear this is blues played with passion, respect, and individuality.
As he notes in the liner notes, he’s “drawing on sounds and genres that spoke to me, regardless of whether each song I covered or wrote fit neatly into the blues ‘box’.” That freedom of approach gives the album its richness and depth.
For me, the standout track is the self-penned ‘Home of the Broken Hearted’ — a song that sounds like it belongs in the august canon of blues classics. It’s been genuinely hard not to hit repeat every time it comes on, and given how often I’ve played this album, that says a lot. Draped in Peter’s elegant, expressive guitar work, it carries a subtle Motown feel and a gorgeous choral hook that lingers long after the final note.
‘Watch the Love Grow’ is another instant grabber, driven by yet more superb guitar work, while the album closes on a delightfully whimsical note with an acoustic rendition of Peggy Lee’s ‘I Don’t Know Enough About You’ — a charming, unexpected way to bring things home.
In truth, this is an album overflowing with rich, heartfelt songs, performed by a group of immensely talented musicians. There’s real joy here — the kind that reminds you why the blues still matters.
Veteska’s voice, seemingly born to sing the blues, shows remarkable versatility on the swing-leaning ‘Learning the Blues’, where he delivers a performance so evocative it’s impossible not to think of Sinatra — fitting, given the song’s association with Ol’ Blue Eyes himself.
It honestly remains a mystery why Peter Veteska isn’t a household name. Talent of this calibre doesn’t come around often, and his artistry — paired with a clear commitment to excellence — deserves far wider recognition.
There’s been talk of a European tour, sadly unrealised so far. Frankly, it’s time we started a petition — because this is an artist who needs to be heard on this side of the pond.