Saturday, he and his band Rottin’ Cottin’ will celebrate the new recording with a CD release show at Frederick Cellars, where Bo gigs regularly as a solo-acoustic artist.

Bo, born Brent Burgee, intentionally omits the name Rottin’ Cottin’ from his albums because the material is his own, like a solo album with a band — “like Police and Sting,” he said.

This is the first time he hired musicians from other locations to play on an album in addition to his bandmates, with a cellist from Baltimore, fiddler from Mississippi, mandolin player from Nashville and a drummer from Atlanta, where Bo spent 12 years of his life. The musicians, found through the Internet, recorded from their respective remote locations.

Now living in Frederick , Bo recorded, produced and engineered his CD in his basement studio, Bo Weevil Studios, a process that took him about three years.

The finished product, available at the show and online, is a collection of ragtime, bluesy, country and Old Time tunes. A third-generation musician, Bo said, “There’s a lot of call-outs to my family” on the album and “a lot of looking back.”

“Beau Daley Rag,” for one, is about Bo’s son.

“Ode to Jesse Culp” was written for his grandmother and begins with a recording of his grandfather playing “When the Saints Go Marching In” on harmonica. The recording was found after his grandfather died.

“Late Tonight” commemorates, if subtly, a piece of Bo’s life growing up as an Army brat. He uses trucker slang throughout, while telling the story of a guy driving a rig.

“The CB craze was big, a big fad,” he said. “I was a kid and we had to learn how to have fun being in the car for days on end. So we’d learn the CB lingo.”

He tells the flip side of the story in “Say Goodnight,” about watching his two boys, 6 and 9, grow up.

And with the sound of a 1941 hand-me-down piano from his mother-in-law, Bo plays the solo piece “Lowdown Blues,” a Eubie Blake cover he’s loved since he heard it at age 13 — a song, in fact, that got him into the blues. He acquired the instrument last summer, brought it home and tuned it up, but it “still sounds like a really old piano,” he said, which lends itself to the vintage appeal of the tune.

“I write about the things in my life,” he said, “or just fun, silly tunes.”

“That Rag,” a ragtime romp, and “Imbalance Blues,” a song that pokes fun at the New Age crowd, fall into that second category. Collectively, the album wanders through genres, as well as eras, emerging, in hindsight, with a lot of lessons learned.