Review: Foghat ‘Sonic Mojo’

Review: Foghat ‘Sonic Mojo’

By Stephen Guppy

What is it with English blues bands? They seem to go on forever, withering away in foggy London only to spring from the ground in California like tropical vines, sprouting new drummers and guitarists as they go. Venerable boogie band Foghat’s new release Sonic Mojo, their 17th studio album, begs the question of whether these indefatigable blues crusaders can still be relevant half a century after the original members piled into a rented van and began their endless tour. Is there another “Slow Ride” or “Fool for the City” among the new tracks they’ve laid down for this latest offering? Have they still got their Sonic Mojo?

Even within the pantheon of British blues-rockers, Foghat seems a model of persistence. Of the original quartet that spun off from Savoy Brown, only drummer Roger Earl remains. American guitarist Brian Bassett, formerly of Wild Cherry and Molly Hatchet, has been on board since 1999 and appears on half a dozen Foghat albums, but the other two members of the band, singer/guitarist Scott Holt and bass player Rodney O’Quinn, are more recent arrivals.

Foghat has a tradition of mixing blues standards with originals penned by band members and their contemporaries earning them eight Gold records and one Platinum and one double-Platinum. This time around, they’ve collaborated on a several new songs while adding to their long list of covers on their newest offering Sonic Mojo, out November 10th on Foghat Records. There’s a special treat here, however, as Savoy Brown’s leader and resident guitar wizard Kim Simmonds gifted his old mate and former drummer Roger Earl with three new songs, all of which have been completed by the band members’ contributions. The inclusion of Simmonds’ co-writes is particularly poignant as, sadly, the renown guitarist passed away shortly after.

“Drivin’ On”, the first single from the new album, is built around the deathless John Lee Hooker shuffle and features some incisive bottleneck work from Bassett. It’s classic Foghat— party all night, boogie-till-you-disintegrate, blues rock straight from the masters. This is the first of Kim Simmonds’ co-authored songs, and it’s an anthem for blues-rockers everywhere. One can imagine that Mr. Earl, in particular, would have identified strongly with the sentiment this number expresses—rock on, forever and ever; the road never ends. “Black Days Blue Nights” is another slice of maximum Foghat, with Scott Holt delivering a gritty vocal over a grinding, implacable beat.

“Driving On”

 
“I Don’t Appreciate You” is exactly what the title implies, though we’re left in the dark as to what the object of the song did to piss these guys off. Then again, when you’ve been on the front lines of the rock and roll wars for as long as the Foghats, you’re going to run into plenty of suitable targets. Holt and Bassett trade fills and brief solos on this one—Bassett putting his glass finger aside for the occasion—and Earl punctuates the choruses with energetic drum rolls. “She’s A Little Bit Of Everything”—another Kim Simmonds co-write—takes a similar approach, with the same two-guitar attack and one of Scott Holt’s strongest vocals. If this song had been released in the ‘seventies, Foghat would have had another chart-topper on their hands.

Foghat has always been noted for their distinctive covers of blues standards, and they’ve staked that rep on new versions of five such classics in this latest release. Willie Dixon’s much-covered “Let Me Love You Baby” gets a jump-blues treatment while Foghat gets back to its roots with a straight-up, no-chaser take on Howlin’ Wolf’s “How Many More Years” that features another fine performance from Holt. B.B. King’s lively “She’s Dynamite” is reborn as a straight-ahead blues band number, minus the barrelhouse piano and honking tenor sax of the 1951 original. Covering a song that’s been recorded by Elvis, the Big O, Vince Taylor, and Jerry Lee Lewis is a daunting task, but the Foggies find a way to breathe new life into that old warhorse “Mean Woman Blues”. Holt delivers his best vocal, exploring his strong upper register, while Bassett weaves lyrical licks, reminiscent of Peter Green and Mick Taylor, around the verses. The album ends with a reverential take on Chuck Berry’s “Promised Land” that benefits from some tasty slide work from Bassett.

Kim Simmonds provided the lyrics for “Time Sleeps Away”, and in many ways it’s the album’s centerpiece. The verses offer a philosophical reflection on the transitory nature of our lives, but it’s the hypnotic, chant-like repetition of the title phrase that will stick in your mind long after you’ve played through Sonic Mojo.

With this latest album, Roger Earl and his gang of rock and roll outlaws have brought Foghat’s trajectory full circle. After an incredible fifty-three years of rawkin’ and rollin’ and more personnel changes than a UK cabinet shuffle, these road warriors—old and new—can still sound fresh and exciting. Time may slip away, but blues music is always relevant and always will be. Fans of British blues-rock will find Sonic Mojo a satisfying addition to their collections.

Pre-order Sonic Mojo HERE