From my earliest days of listening to music in my childhood, I remember the blues. My Dad is a huge fan of blues, roots and americana, so for as long as I can remember blues was something I listened to. When I started playing guitar at about 11 years old he started introducing me to the likes of Albert King, Stevie Ray Vaughan and Ry Cooder. In my late teens I started collections of some of the old masters: Robert Johnson, Blind Lemon Jefferson and Lead Belly to name a few. Even today a fair amount of the Heavy music I enjoy has a big influence from blues rock. So I was excited to throw myself into some modern blues with this new record from Mark Newman.
I wasn't familiar with Mark's prior work, but it's hard not to be impressed by the list of artists he has worked with: Sam Moore of Sam & Dave fame, Bobby Whitlock of Derek & The Dominos, and even John Oates, whom he covers on this album. It's a strong CV, and working with a number of great songwriters like this has clearly had it's influence on Mark Newman. This record goes beyond being a portrait of a highly proficient blues guitarist, and shows a talented song-writer with vibrancy and depth to his material.
The record kicks off with 'Scapegoat', a foot-stomping number full of crunchy guitar leads, smooth slide licks and an addictive rhythm. It's a cracking way to start any blues record, but there is something else that catches my ear on this song though, something that continues throughout most of this record. A hint of melancholy in the chord progressions and melodies gives this song another level of expression. Even when the chorus goes full on Stray Cats with it's call of “Rev it up! Rev it up!”, there is a taste of something more solemn in the tune which parries very well to the tale of injustice that the lyrics portray. I'm already intrigued by what this record will offer further.
'Life Without You' is a less traditional blues number, with some funky guitars and more intricate bass lines. It's a sad tale of having to accept change without truly being ready to, and the song takes a sombre tone in the chorus that continues to show some real diversity in Mark's song-writing. It contrasts nicely to the John Oates cover 'Mississippi Mile'. I didn't know the original before this, but Mark's performance of the tune definitely stands on it's own.
'When I Aim My Gun' was always going to be a big moment in the record – a song about gun control in the US has rarely been a bigger topic to take on. The way Mark Newman approaches it though is quite genius. It isn't just the usual rallying cry against firearms, but a more subtle story of one American's upbringing in a family of traditional gun owners combined with the anger driven by small-town living, and how this has come to result in a feeling of righteousness from gun ownership. There is no doubt from this song that Mark is pro-gun control, a lyric in the chorus like “I'll be your white knight when I aim my gun” is a fabulously bold line bringing racial issues into the topic, and rightly so. Musically the roots-folk feels wonderfully matched to the words, and Mark sings with a real passion and authenticity, particularly in the chorus. This is clearly the feelings of someone close to the issue.
The train-coming-down-the-tracks rhythms of 'One More Song About A Highway' is quite captivating, its the kind of classic rock 'n' roll rhythm I just adore. 'Are You Lonely For Me' is an excellent upbeat soul number, making great use of old style r&b backing vocals and Steve Cropper-esque percussive guitar licks. Both tracks still have that sorrowful feeling that dresses this record even when it steps away from the blues.
'Sharin' the Blues' might be the highlight of the record for me. The grizzly slide guitar and slow tempo evoke the spirit of traditional blues brilliantly, and again there is something wonderfully mournful about the tune that helps push Mark's soulful voice into something really exceptional. I also love how the song flows immediately into the romping blues rock of 'Pipeline', another song tackling issues of injustice in the states, this time environmental ones. It's a fantastic tune full of hooks that builds up well towards a crescendo. I wish however that something more had been done with the a cappella chorus vocal breakdown that comes in at the end. It almost feels like the start of something massive that doesn't quite take off.
'Everything You Know' is another funky number; this time it's an instrumental that mixes together some exuberant slide guitar harmonies, expressive organ leads, and a quite phenomenal guitar solo. If you needed any proof of how competent a musician Mark Newman is then its here. Being a good musician is nothing without passion though, and the spirit of blues coming out of Mark's fingers is sonically tangible. It's a great contrast to the closing couplet of the record: the raw roots-blues cover of Little Feat's 'Roll Um Easy' and the more subtly layered 'Lycanthropy'. It's a lovely way to finish this record showing off both sides of Mark's blues repertoire beautifully.
I enjoyed this album immensely. It's got a true feeling of blues throughout, even when it veers away from strict blues. Whilst a few of the songs passed me by a little more than others, Mark's outstanding guitar work across the album keeps the record continuously interesting. There are some brilliant song-writing efforts, songs which take the blues into Mark's own unique space. The often bold political lyrics in this record are a refreshing and thought provoking feature, particularly 'When I Aim My Gun' which takes on a troubling topic with the confidence and nuance of someone who really feels the issue.
Willie Dixon said that “the blues are the true facts of life expressed in words and song, inspiration, feeling and understanding”. I get all of that from this album in a way I haven't heard in a while. This is a marvellous album that Mark Newman can be very proud of indeed.
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