by Brian D. Holland.

Truth, the new release from guitar virtuoso Robben Ford, was released in Europe in June and in the US in August. The CD contains eleven tasteful, bluesy, and contemporary songs, each with a style and sound of its own. A blues musician by category, no actual limitations exist in the playing of the Ukaih, California, born and bred guitarist/vocalist. His uncanny ability to appear saturated in basic American roots tradition, yet fashionably contemporary, is something only he can pull off. Known for his tasteful bluesy style and incredible guitar tone, his technique and phrasing are like no other. The 1998 release, Talk to Your Daughter, rendered him a name to reckon with in the music world. The album’s stylistic cleverness, kind of on a ‘Steely Dan plays the blues’ level in perfection and musicianship, opened up doors to an awareness of contemporary blues that was both innovative and exciting.

Though Robben has proven time and again throughout his career that he’s just as comfortable playing contemporary jazz and other styles, the blues is the harbor he always returns to. The music his band, Robben Ford and the Blue Line, made was very much a return to those roots. It was a vehicle that highlighted his songwriting ability as well, a talent that’s still prevalent today.

Though Truth can be descriptive of Ford’s style and realistic approach to music, the title of the album actually refers to a theme. Robben makes it quite clear that he had set out to make a blues record, but lyrically and thematically, he wanted it to speak to today. Blues lyrics have a tendency to refer to the past and to another place in time. Though they’ve long been associated with socio-political subject matter like racism and poverty, the stories usually speak of common scenarios like hard times, good times, and love and devotion. However, a few of the songs on Truth speak of war, socioeconomics, and today’s political state of affairs.

Listen to "Too Much" from Truth

In the opening number, "Lateral Climb", he sings of life’s rat race and how it can be a lateral climb to artificial accomplishment, a general fixation to keep us busy while inept leaders feed their addictions to war and greed. The song begins with sounds of a hectic life: the screeching of automobile tires, conversation, the jingling of car keys, and a running motor. A piano intro takes it into a gritty roadhouse atmosphere. Robben gets into some scorching soloing throughout.

In "How Deep In The Blues (Do You Want To Go?)", Charlie Drayton’s heavy off-beat percussion sustains a funky groove. Bernie Worrell’s Wurlitzer piano and Will Lee’s thumping bass adds to it superbly. A staying power to the whole arrangement, Robben’s subtle rhythm chops convey an interesting element of steadiness to the arrangement. His fat guitar tone and soaring lead stimulates from start until finish.

Otis Redding’s "Nobody’s Fault But Mine", complete with horn section, Hammond organ, and R&B atmosphere, is different than the original of course. Though it’s done with more of a straightforward rhythmic flow, lacking Redding’s raw funk and grit, it’s performed only as Robben Ford would do it. The cover’s contemporary approach takes lyrics of confession and guilt and twists them into an outlook of inspiration and encouragement without changing a word. It’s all in the music.

"Riley B. King", Ford’s tribute to B. B. King, compliments the great bluesman in a suitable and pleasantly sentimental manner. Though not a blues song relatively speaking, as it even seems to evoke a James Taylor melodic style in places, Ford’s last solo in the piece is an astounding blend of subtle licks and diverse phrasing. He’s able to keep the solo original by only touching the edges of an actual B. B. King sound and style without literally copping it. By doing this he stays true to himself and to B.B., and keeps the song what it is: a unique tribute without imitation.

"You’re Gonna Need A Friend" is a collaboration of husband and wife. Written by Robben and actress Anne Kerry Ford, it’s a smooth flowing and confident composition. The tonal textures are pleasingly listenable, and both the lead and background vocals make for a robust and forthright R&B melody.

Though "One Man’s Ceiling Is Another Man’s Floor" starts with nearly the same descending arpeggio arrangement as the Paul Simon original, but with guitar in front of the piano, Robben makes it his own just as soon as the verse begins. Guest Susan Tedeschi adds a poignant vocal. Her voice drops a thick layer of blues into the recipe, adding stimulation and luster to an otherwise standard treat. A good song, but it needed something. Tedeschi was it.

"Too Much" is Robben and the band playing some gritty roadhouse blues. He shines on this one with amazing riffs and rhythmic chops. However, the band is just as noteworthy. The explosive rhythm section, made up of drummer Toss Panos and bassist Jimmy Earl, is effectively potent. Larry Golding fills in all the spaces perfectly, adding a vibrant B-3 ambiance to the arrangement.

Though much of the lyrical content on the CD adheres to the aforementioned theme in a distant manner, "Peace On My Mind" is another one that speaks blatantly about today, both socially and politically. The subject matter is powerful and solemn, yet the melody is soft and passionate. The guitar soloing throughout is so expressive and melodic that it could have been inserted into an instrumental piece, but it fits nicely in a song that really means something vocally as well as instrumentally anyway. This is a pleasantly listenable song, and very tasteful.

Much of "Truth" is extremely rhythmic, leaning heavily on smooth flowing, legato-like, funky, and offbeat tempos. "There’ll Never Be Another You" is exemplary of that description. There’s a little of all of that in it. Once again, Will Lee’s bottom thump and Charley Drayton’s percussive prowess are very much a part of it. Robben gets into some interesting dual lead guitar tonal differentiation at the intro. The song chugs along in a funky lethargic mode until two-thirds of the way through, where it picks up and intensifies nicely. It sounds like they really enjoyed performing this one.

"River Of Soul" features Yellowjackets member Russell Ferrante on acoustic piano, giving the song its smooth and melodic jazzy feel. Robben’s vocal possess a Christopher Cross/James Taylor-like muse.

"Moonchild Blues" finishes the CD on a charming note, in an area of tasteful contemporary blues. Though the song’s completeness is augmented with a horn section, Robben shines at album’s end with amazing tone and wonderful phrasing.

Though a theme exists in the title of the album and the lyrics within, one can’t help finding Truth relative to the music as well. The songs are genuine, heartfelt, soulful, and extremely tasteful. Robben’s playing is quality, as usual, and his tone and phrasing are like no other. He seems to display an unusual sense of enthusiasm and consistency in everything he does as a guitarist and as a performer. Blends of blues, jazz, R&B, and more come perfectly together in Robben Ford’s Truth to form a contemporary, yet very original and special group of songs. Besides the ones already mentioned, a gang of wonderful musicians were involved in the making of this record.

Truth Track Listing
1. Lateral Climb
2. How Deep In The Blues (Do You Want To Go)
3. Nobody’s Fault But Mine
4. Riley B. King
5. You're Gonna Need A Friend
6. One Man’s Ceiling Is Another Man’s Floor
7. Too Much
8. Peace On My Mind
9. There’ll Never Be Another You
10. River Of Soul
11. Moonchild Blues

2007 Concord Music Group

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