Ride

Product Information

Trout joined John Mayall’s Bluesbreakers line-up in ’85, before embarking on an acclaimed solo career from ’89 onwards. By 1981, Trout had switched to West Coast boogie-blues titans Canned Heat for a period he diplomatically recalls as “turbulent”, but even this gig was topped three years later by a fantastical phone call from John Mayall, dangling the revered guitar slot in his iconic Bluesbreakers outfit. “As far as being a blues-guitar sideman, that gig is the pinnacle,” states Trout. “That’s Mount Everest. You could play with B.B. King or Buddy Guy, but you’re just gonna play chords all night. This guy features you. You get to play solos. He yells your name after every song, brings you to the front of the stage, and lets you sing. He creates a place for you in the world. Where do you go from there…?” This one-two punch of explosive guitar playing and relentless oomph is classic Trout and a reminder (if one were needed) of the brilliance when he steps his foot on the gas. However it’s not quite full steam ahead from this point as Trout (as he always does) pulls over for the occasional, soul-searching ballad.

The last time we saw Trout stepping out, he was on the road in support of 2020’s Ordinary Madness. The campaign ended in frustration, when Covid rendered live work too dangerous, both for this liver-transplant survivor and his fans, condemning Trout to an enforced downtime in Denmark that he hadn’t known in a half-century. Trout's career began on the Jersey coast scene of the late 1960s and early 1970s. He then decided to relocate to Los Angeles where he became a sideman for John Lee Hooker, Percy Mayfield, Big Mama Thornton, Joe Tex, and many others. While his modern edge and sparkling energy are sure to electrify contemporary fans of the genre, the memories Trout bravely digs up about his dysfunctional childhood and unstable stepfather heavily shape this LP. Even Trout admits there were “times in this pandemic where I sunk into some pretty deep depressions”.

Notes

It begins with the crunching riff and harmonica of “Ghosts”. There’s a bit of a ZZ Top feel to it, “Ghosts appear to me” sings Trout in his inimitable, weather-worn style. He can’t get any rest, can’t get away from them, and the urgency in the music reflects it perfectly. From the grinding riff and freight-train harp that light the fuse of opener Ghosts, it’s clear Ride is like nothing else in Trout’s catalogue.

Ironically, the harmonica-laden and chunky riffathon of “High is Low” might just be the highest of the many highs here. Rich organ textures, crushing percussion, and a guitar solo with a tone to die for add another memorable stop-off along this exciting and varied musical ride. And that’s not even a digression in this case, because if “Ride” is anything, it’s the product of worry, of anxiety and self-doubt. Walter Trout We're All In This Together Chart History". Billboard.com . Retrieved January 23, 2020. This year he releases his 30th solo effort album ‘Ride’ on Provogue /Mascot Label Group. Not only is it yet another double digit milepost, it also marks nine years since Trout was left brain damaged after cirrhosis of the liver required him to have a liver transplant. Left not being able to walk, talk or remember how to play even a simple open chord on the guitar it was unsure what would be left of Trouts career or even his sense of self.The heavy blues of lead single “Ghosts” is a spirited opener as Trout lays bare his struggles of escaping the past and being constantly reminded of his mistakes. As always the guitar work is hypnotic and at times haunting – listen to how he holds the eerie, fading note at the end.