Review Summary: To the very heart of blues
To be honest I did not expect that Gov’t Mule could surprise with a blues album, half of which is filled with covers. At worst I expected something along the lines of what
Eric Clapton has been releasing over the recent years – top grade performances and boring content borne from waning ambitions and elderly scolding. At best – material similar to what we see on
Joe Bonamassa’s records, a middling effort with several gems that shine as if trying to say ‘There you go, this is what you could see more of if the output was a bit scarcer’.
Bu the veterans produced such a heap of dynamite, its amount is enough to blow away the minds of bluesophiles for dozens of years in both directions!
Heavy Load Blues justifies its title in spades, and even one listen is quite sufficient to put the LP among the best albums from the band.
Without a doubt, an all-blues release was long overdue for Gov’t Mule – the musicians play in a related genre, sprinkling their blues rock with trademark elements in the form of heavy and fast riffs, extended improvisational solos and even some progressive inserts. Each album contains cuts performed in a staple blues vein. Moreover, the band is also strong live, often playing blues and progressive rock classics. And so, taking advantage of the prolonged pause in touring due to the pandemic and lockdowns, the band’s vocalist, guitarist and leader Warren Haynes decided to record two albums (I guess, we can expect another release, which might be more traditional for Gov’t Mule). According to Haynes both LPs were recorded simultaneously in one studio, but divided into two rooms. For
Heavy Load Blues they allocated the smaller of the two, set up in a way recordings were done in 1960s, where the bandmembers sat close to each other and worked only in the darker hours (periods with light were spent on the other album). The vocalist even brought over some vintage equipment – instruments and amplifiers. This resulted, as the chief ideologist said, in the sound reminiscent of those recorded between 1955 and 1975. And it is truly so. When listening you immediately and completely loose yourself in the recreated sound of the 1960s and 1970s – slightly resonant, with occasional noise and cracks, but resoundingly lush and vivid!
The album contains covers of such musicians as
Howlin’ Wolf,
Elmore James,
Junior Wells,
Ann Peebles, Bobby “Blue” Bland, as well as
Tom Waits and
The Animals, but also includes the band’s own compositions in an approximately 50/50 ratio. In one the interviews Warren confessed that on one hand they just wanted to do what made them happy, but on another – to attract younger audience’s attention to blues. And both of these undertakings are noticeable in the album. It’s been a while since I heard something as sincere and made with deep respect to the genre and songs selected for covers. But any of the new tracks can be easily placed alongside with the classic cuts, even though Haynes an co. threw in a little bit of trademark elements (speed, heavy viscosity and rock flavor).
Taking the bulls by the horns the album starts with classic
Blues Before Sunrise by Howlin’ Wolf, presented strikingly and expertly, then submerging the listener into the atmosphere of a smoke- and passion-filled bar on the lavish self-penned track
Hole in My Soul. And, to be honest, it’s been a while since I’ve heard something as ferocious and raw as
Wake Up Dead, a cut of such strength I have not encountered even on the previous Gov’t Mule release. Another track that demonstrates the band’s renewal of the genre is a multi-part and inventive
Snatch It Back and Hold It/Hold It Back/Snatch It Back and Hold It with Haynes’ guitar demolishing any doubts and balancing between blues, rock and jazz. Then there is a visceral reinterpretation / imitation of Tom Waits on
Make It Rain, and not only in the instrumentals but also vocals. One of the most outstanding tracks is probably
I Asked for Water (She Gave Me Gasoline), which due to its heavy riff and gloominess obtains an ominous metallic flavor. And
Black Horizon, a kind of acoustic blues western, serves as an excellent closing track.
However, even though I highlighted some of the tracks, it should be noted there isn’t a single cut that feels extraneous or marginal. All songs on
Heavy Load Blues are worthy of attention, and the album would only benefit if you hear it in its entirety, dedicating a bit over an hour to it.
In the end, the new LP presents both interpretation of the music that asserted influence over the course of its history, and its reinterpretation. It should also be noted that Gov’t Mule is not a part of the traditional blues scene, but still managed to record something this powerful, that it can be used as an example for any musician trying to achieve any kind of success in the genre. And for those who do not know or understand what blues is you can play this record and rightfully claim: ‘This is it’.
