NYC experimental rock outfit The Mortal Prophets (helmed by John Beckmann) recently announced the forthcoming release of their debut LP, ‘Me and the Devil,’ due December 9.

On the record, Beckmann joined forces with Irish musician and producer William Declan Lucey (Rubyhorse, Leftbank), with whom he developed the record’s atmospheric, noisy sound. Additionally, it features collaborations with Morphine’s Dana Colley, vocalist Aoibheann Carey-Philpott, and more.

Today, Beckmann and The Mortal Prophets have shared two more singles off their forthcoming record, ‘Crossroad Blues’ and ‘Baby Please Don’t Go.’ Each track takes inspiration from classic tracks that helped mold America’s musical landscape, described as “contemporary reinterpretations.”

As Beckmann wrote on the first of the two new tracks:

“‘Cross Road Blues’ (also known as ‘Crossroads’) is a blues song written and recorded by American blues artist Robert Johnson in 1936. Johnson performed it as a solo piece with his vocal and acoustic slide guitar in the Delta blues-style. The song has become part of the Robert Johnson mythology as referring to the place where he supposedly sold his soul to the Devil in exchange for his musical talents, although the lyrics do not contain any specific references.”

On the next single, he continued:

“‘Baby, Please Don’t Go’ is a traditional blues song that was popularized by Delta blues musician Big Joe Williams in 1935. Many cover versions followed, leading to its description as ‘one of the most played, arranged, and rearranged pieces in blues history’ by French music historian Gérard Herzhaft.

‘Baby, Please Don’t Go’ is likely an adaptation of ‘Long John,’ an old folk theme which dates back to the time of slavery in the United States. Blues researcher Paul Garon notes that the melody is based on ‘Alabamy Bound,’ composed by Tin Pan Alley writer Ray Henderson, with lyrics by Buddy DeSylva and Bud Green in 1925. The song, a vaudeville show tune, inspired several other songs between 1925 and 1935, such as ‘Elder Greene Blues,’ ‘Alabama Bound,’ and ‘Don’t You Leave Me Here.’ These variants were recorded by Charlie Patton, Lead Belly, Monette Moore, Henry Thomas, and Tampa Red.”

Continuing on the premise behind the upcoming record and its inspirations, Beckmann wrote:

“These songs are the essence of America’s primal scream, they are chilling, and profound in their austere beauty and directness, they are so full of tragedy and hope, lost loves, and personal and societal struggles, not much has changed in a hundred years. They are all songs that I find deeply moving and poignant. My versions are not covers, in the true sense; they are contemporary reinterpretations, it’s a poetic attempt that hopefully, people will appreciate, and I’m very proud of it.”

Earlier this year, The Mortal Prophets shared their highly anticipated debut EP, ‘Stomp the Devil,’ produced by David Sisko and featuring collaborations with Gary Lucas (Captain Beefheart).

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