Unlike old soldiers, old rock stars rarely fade away. Instead, they persistently test the patience of archivists by continuously reappearing in public with a bewildering coterie of veteran sidekicks under myriad monikers. Paul Samson's story fits this mold, the difference being, surprisingly late in the day, that the guitarist was undertaking an exciting shift in direction, which would only reach its apotheosis posthumously. P.S. could have been Samson's epistle, instead it is his epitaph, and one in which the star can be eternally proud. Coming off the road in 2000 after his band Samson's successful tour, the guitarist began work on a new album. A year later, he brought in singer Nicky Moore and began anew, building songs around the blues. Joined by bassist Ian Ellis and drummer Billy Fletcher, with Samson himself and John McCoy also contributing bass, the men began recording in 2002. The album was incomplete at the time of the guitarist's death that August, and so it remained for several more years. Eventually however, McCoy was asked to complete the set, and so he did, quite magnificently. Understandably though, the album's original title, "Brand New Day", was scotched in favor of the far more appropriate P.S.. Within, Samson and co. throw themselves whole-heartedly into the bluesy sound that fired up the British scene in the late '60s/early '70s, and with such delight and exuberance, it's hard to believe that the guitarist hadn't always immersed himself in the style. Precious Time reflects the urgency that imbues the whole set, one to get back to the past, and in this case to tip a hat to Cream and the Yardbirds along the way. Check out as well the storming riff that underpins the song intended as the title track, the heavy atmosphere that settles over the equally stand-out Mean Woman, and the kicking rhythm of Right, with its echoes of Born to Be Wild, stunners one of all. Every number here has heft, even songs like When Tomorrow Comes which soars skyward, while kicking rockers like When Tomorrow Comes and Gettin' Ready can barely be restrained. In the dark and dirty blues stakes, Murder is the stand-out, while the heaving It's Going Wrong, with its twist of keyboards, would have brought any arena to its knees. The production, however, leaves a bit to be desired, the mix, is imperfect, but even with its flaws, McCoy did a superb job, completing an album that desperately deserves to be heard. A memorial to what had been accomplished, and all that Paul Samson was still determined to do. ~ Jo-Ann Greene, Rovi