Seeing the bigger blues coloured picture
Aynsley Lister – Eyes Wide Open
Aynsley Lister – Eyes Wide Open
In pre-release press and on the sleeve notes for his eighth studio album Eyes Wide Open noted British blues rock guitarist Aynsley Lister made it clear he was going back to his roots to record something intentionally "raw and energetic, with some good variation and different moods" and a clear mission statement of spirit and passion over technical perfection.
While the album isn’t exactly lacking in technical ability (nor could it be, given the individual and collective talent on display), Aynsley Lister has delivered on each and every one
of his goals – "raw and energetic" translates to numbers that crackle with passion and energy or burst from the speakers with soulful purpose; each track also carries its own vibe or mood.
However with the statement "good variation" Aynsley Lister has done himself a multi-styled songwriting disservice – the album carries extraordinarily good (and incredibly strong) variation across its thirteen tracks. In short, Eyes Wide Open offers more shades of blue than a Dulux colour chart.
More importantly, with a theme of observations on the world and/ or real life issues as seen through the eyes (hence the title), guitar (at its most unfettered) and voice (full of bluesy sincerity) of Aynsley Lister, he’s delivered the strongest songwriting of his career.
Right from pumping bass line and rhythmic groove delivered by Steve Amadeo and Boneto Dryden that drive riffy opener 'All Of Your Love' (Aynsley Lister’s gutsy six-string remarks and equally gutsy tone sparking over the song and Bennett Holland’s organ fills), Eyes Wide Open is off to a flyer and on to a winner.
The following slow blues with horns number 'Everything I Have to Give' positively pulsates and is of a songwriting and performance quality that Joe Bonamassa would be happy to call his own; similarly the slow build, melodic power blues 'Won’t Be Taken Down' (a song about being bigger than the jealousy that’s trying to drag you under) is a track that would have sat comfortably on any rock-blues crossover album by the late great Gary Moore.
For a change of blues textured scenery the film noir musical imagery of 'Il Grande Mafioso' takes centre stage, Aynsley Lister’s Italian styled guitar sound enhanced by plugging in to his old Fender amp with reverb and vibrato to the fore. Ispirato, Signor Lister; ispirato.
Setting a similar scene but with a completely different story is 'Dishevelled;' it's a secret rendezvous in a back street music bar where Aynsley Lister and his band are in smooth blues mode with a hint of jazz from Bennett Holland’s piano sprinkles.
Quality melodic blues rock geared for radio comes courtesy of 'Time' (an infectious life is for living now and without regret number) while the touching and truly poignant is delivered by way of 'Kalina.'
Preceded by the mood setting guitar piece 'Troubled Soul,' 'Kalina' pays melodic and musical tribute to a young woman who took her own life in 2015, lost to the mental health illness and evil that is depression.
The British Blues Awards include nods for Songwriter of the Year and Song of the Year (a double Aynsley Lister deservedly picked up in 2014 for 'Home,' from the album of the same name) but an industry recognised Solo of the Year award needs to be created for Lister's emotive lead break on 'Kalina' (the perfect tribute to the memory of Kalina Makarewicz).
'Handful of Doubt' gets its mid-tempo, funky blues rock on before giving way to the one cover on the album, an equally funky and faithful to the original take of American singer guitarist Tommy Castro’s 'Right as Rain' (here given an exclamation point through Aynsley Lister’s tasty song-closing solo).
The feel-good factor is accentuated on the soft-smile blues of 'Other Part of Me' (featuring yet another free-flowing, expressive solo from Aynsley Lister) while the opposite of that song’s "you know how to pick me up" lyric follows on 'Stay' (both tracks also feature guest keys from Andrew Price).
A cool and airy AOR soul-pop number musically, 'Stay' has a sadder side via its tale of a self-destructive relationship and accompanying insecurities.
What would have been an outstanding twelve track album becomes an exceptional thirteen track presentation with the added bonus of a lucky thirteenth in the shape of 'Hold You To It.'
A funky, bass-line driven song with horns (and distant soul-cousin to the likes of 'Signed, Sealed, Delivered I'm Yours'), 'Hold You To It' is a song Aynsley Lister felt didn’t fit the profile of the album (hence the bonus accreditation).
But, equally, it would have been a funkin’ crime not to include it on what is, without doubt, Aynsley Lister’s finest studio outing to date.
Ross Muir
FabricationsHQ
While the album isn’t exactly lacking in technical ability (nor could it be, given the individual and collective talent on display), Aynsley Lister has delivered on each and every one
of his goals – "raw and energetic" translates to numbers that crackle with passion and energy or burst from the speakers with soulful purpose; each track also carries its own vibe or mood.
However with the statement "good variation" Aynsley Lister has done himself a multi-styled songwriting disservice – the album carries extraordinarily good (and incredibly strong) variation across its thirteen tracks. In short, Eyes Wide Open offers more shades of blue than a Dulux colour chart.
More importantly, with a theme of observations on the world and/ or real life issues as seen through the eyes (hence the title), guitar (at its most unfettered) and voice (full of bluesy sincerity) of Aynsley Lister, he’s delivered the strongest songwriting of his career.
Right from pumping bass line and rhythmic groove delivered by Steve Amadeo and Boneto Dryden that drive riffy opener 'All Of Your Love' (Aynsley Lister’s gutsy six-string remarks and equally gutsy tone sparking over the song and Bennett Holland’s organ fills), Eyes Wide Open is off to a flyer and on to a winner.
The following slow blues with horns number 'Everything I Have to Give' positively pulsates and is of a songwriting and performance quality that Joe Bonamassa would be happy to call his own; similarly the slow build, melodic power blues 'Won’t Be Taken Down' (a song about being bigger than the jealousy that’s trying to drag you under) is a track that would have sat comfortably on any rock-blues crossover album by the late great Gary Moore.
For a change of blues textured scenery the film noir musical imagery of 'Il Grande Mafioso' takes centre stage, Aynsley Lister’s Italian styled guitar sound enhanced by plugging in to his old Fender amp with reverb and vibrato to the fore. Ispirato, Signor Lister; ispirato.
Setting a similar scene but with a completely different story is 'Dishevelled;' it's a secret rendezvous in a back street music bar where Aynsley Lister and his band are in smooth blues mode with a hint of jazz from Bennett Holland’s piano sprinkles.
Quality melodic blues rock geared for radio comes courtesy of 'Time' (an infectious life is for living now and without regret number) while the touching and truly poignant is delivered by way of 'Kalina.'
Preceded by the mood setting guitar piece 'Troubled Soul,' 'Kalina' pays melodic and musical tribute to a young woman who took her own life in 2015, lost to the mental health illness and evil that is depression.
The British Blues Awards include nods for Songwriter of the Year and Song of the Year (a double Aynsley Lister deservedly picked up in 2014 for 'Home,' from the album of the same name) but an industry recognised Solo of the Year award needs to be created for Lister's emotive lead break on 'Kalina' (the perfect tribute to the memory of Kalina Makarewicz).
'Handful of Doubt' gets its mid-tempo, funky blues rock on before giving way to the one cover on the album, an equally funky and faithful to the original take of American singer guitarist Tommy Castro’s 'Right as Rain' (here given an exclamation point through Aynsley Lister’s tasty song-closing solo).
The feel-good factor is accentuated on the soft-smile blues of 'Other Part of Me' (featuring yet another free-flowing, expressive solo from Aynsley Lister) while the opposite of that song’s "you know how to pick me up" lyric follows on 'Stay' (both tracks also feature guest keys from Andrew Price).
A cool and airy AOR soul-pop number musically, 'Stay' has a sadder side via its tale of a self-destructive relationship and accompanying insecurities.
What would have been an outstanding twelve track album becomes an exceptional thirteen track presentation with the added bonus of a lucky thirteenth in the shape of 'Hold You To It.'
A funky, bass-line driven song with horns (and distant soul-cousin to the likes of 'Signed, Sealed, Delivered I'm Yours'), 'Hold You To It' is a song Aynsley Lister felt didn’t fit the profile of the album (hence the bonus accreditation).
But, equally, it would have been a funkin’ crime not to include it on what is, without doubt, Aynsley Lister’s finest studio outing to date.
Ross Muir
FabricationsHQ