If there's any justice in the world this fantastic album from British blues-rocker Aynsley Lister will be rewarded with the kind of mainstream recognition usually reserved for artists with considerably less talent. 'Home' is a laid-back, maturely-delivered treasure trove of blues, rock, Americana, pop and jazz, bound together by gorgeous melodies, sophisticated compositions and exquisite soloing.
Since his arrival in the late 1990s, Lister has always stood out from the crowd. Using blues as a foundation, he developed his own sound by weaving numerous styles into his music with a masterful fluency.
'Home' once again demonstrates that, as a musician, Lister is the complete package. His soulful, velvety vocals boast a commercial tone that allows him to deliver radio-friendly hooks rarely found in the blues.
Whether it's the breezy harmonies of Broke, the territorial battle cry Possession or the smoky jazz club noir of Insatiable, 'Home' is awash with a melodic sparkle more reminiscent of Fleetwoood Mac than Robert Johnson.
The diversity and strength of his songwriting is equally impressive. While many guitarists are too obsessed with their playing, Lister spends as much time perfecting his lyrics, refrains and arrangements as he does his fretwork.
The title track is a case in point. Slow-burning bass grooves pulse with a late night ambience, before a confessional chorus and delicate piano erupt into a scorching solo full of emotive phrasing.
Inside Out is another highlight. Shimmering with a classy pop dynamic, its funky bass, choppy rhythms and catchy chorus are capped off by a blissful guitar solo. Likewise the loose-limbed ditty Hyde 2612. Over the best 1980s groove Michael Jackson never recorded, he spins a cheeky lyric about Gene Hunt and Sam Tyler from the TV show Life On Mars.
In contrast, Free is a tale about a loved one passing away. In Lister's hands the painful subject becomes a soaring Americana anthem, transcending trauma with an uplifting energy and the kind of deceptively simple chorus Tom Petty excels at.
There are some nice blues workouts too, bubbling with an effervescence that belies their generic conventions. The stomping Sugar begins with slinky guitar and piano before pounding into a hard hitting 12-bar romp, while Straight Talking Woman is a bouncy old school shuffle with frisky piano runs, cool-cat backing vocals and a saucy solo featuring some truly lascivious string bends.
Lister's records always contain innovative cover songs and 'Home' is no exception. His take on James Morrison's You Make It Real broods with a bruised romanticism, while any doubts about another version of Feeling Good are cast aside by a cracking rendition that's less melodramatic than Muse's and less swampy than Joe Bonamassa's. The main riff's staccato crunch is Led Zeppelin-fierce and a jazzy piano passage from Andre Bassing - whose inventive flourishes enhance the whole record - provides a delightful interlude.
The material is so strong it's easy to overlook Lister's wonderful guitar work, which embodies the phrase 'less is more'. With perfectly-judged solos that always serve the songs, his approach is reminiscent of a time when Eric Clapton and Peter Green knocked out graceful, lyrical leads, instead of machine-gunning listeners with a million notes per second.
'Home' is undoubtedly the best album of Lister's career, polishing classic blues sensibilities to a vibrant contemporary sheen. On 2009's eclectic 'Equilibrium' there was a feeling that major label backing had forced him away from his roots. That's why 'Home' is aptly named. Being on his own label has allowed Lister the time to refine each track and make the music he loves, unencumbered by outside pressures. As such, a confident and relaxed vibe flows throughout this near flawless record.
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