The countdown to the end of 2023 is officially in full swing, with barely more than a month and a half left until the clock strikes midnight for the final time this year. Even as time slips away ever so slowly with each day’s passing, the flow of interesting new records being released from across the musical universe has not slipped away as much. Case in point is veteran rock band Foghat’s latest album, Sonic Mojo. Released Friday through its own label, Foghat Records, the 12-song record is the band’s 17th studio album. It came more than six years after the release of the band’s then latest album, Under The Influence and is a fully enjoyable presentation in part through its featured songs, which will be discussed shortly. The sequencing of those songs adds to the appeal in its own way because of how it keeps the record moving fluidly from beginning to end of its nearly 45-minute run time. This will be examined a little later. The production of the record rounds out its most important elements and will also be examined later. Each item noted here is important in its own way to the whole of the album. All things considered they make Sonic Mojo a work that will appeal to a wide range of audiences.
Sonic Mojo, the latest studio offering from Foghat is a fun, engaging, and entertaining new offering from the veteran rock band that is sure to engage and entertain audiences across the musical universe. The record’s appeal comes in part through the songs that make up its body. Half of the record is composed of originals while the other six songs are covers, one of the most notable of those being he closer, which is a cover of Chuck Berry’s ‘Promised Land.’ Originally composed by Berry in 1964 to the tune of ‘Wabash Cannonball,’ it would go on to even greater fame in 1973 when Elvis Presley took on the song. Foghat’s take on the song stays true to its source material in terms of the general sound but replaces the rockabilly approach that Berry gave the song with more of a country western vibe a la Elvis’ rendition. The thing is that Foghat still made the song its own while still paying respect to the source material, making it a great addition to the record.
On a completely different note, the band’s original composition, ‘I Don’t Appreciate You’ takes audiences in a completely different direction with its straight-forward rock arrangement. It hints at leanings toward the likes of Rick Springfield while also giving audiences a nice modern guitar rock touch that makes it connect just as easily with so many listener bases. What’s more, the song’s lyrical theme, which takes on people who live to act like they are so much better than everyone and to make others miserable will resonate with its own share of audiences. What is so interesting here is the frustration in the lyrics do not match the upbeat vibe of the music at all yet somehow it all works.
In yet another intriguing addition to the record, the band takes on Rodney J. Crowell’s single, ‘Song For The Life.’ Originally recorded by Crowell for his debut 1978 album, Ain’t Living Long Like This, it has been covered by other equally famed acts, such as Alan Jackson, Johnny Cash, and John Denver, as well as Kathy Mattea and Allison Krauss. While the original composition is a very light, simple composition that is so mournful and melancholy, Foghat has changed things up with its rendition of the song. Foghat’s take on the song is a more upbeat composition that is more comparable to works from the likes of Bruce Springsteen, what with its folk rock approach. It is a stark change of style and sound but still engaging and entertaining in its own right. It is sure to get listeners talking considering how different it is from its source material. When it is considered with the other songs noted here and alongside the rest of the album’s entries, the overall body of work gives audiences reason enough to hear the album.
The songs that make up Sonic Mojo’s body are just part of what makes the album worth hearing. Their sequencing adds to the album’s interest. A close examination of the record reveals that the band (and others involved in the record’s creation) clearly put some time and thought into the sequencing. That is evident as the blend of originals and covers is changed up just enough from one song to the next from beginning to end. The record opens with a pair of originals from the band in ‘She’s ‘s a Little Bit Of Everything’ and ‘I Don’t Appreciate You’ before taking on yet another cover, this time that of Claude DeMetrius’ ‘Mean Woman Blues.’ From there the band switches things up again, going back to its own work before turning the attention back to the influences of its members again for the next three songs. Another trio of originals follow those three covers before the album closes out with two more covers, this time from B.B. King and Chuck Berry. Simply put, the sequencing of the songs themselves ensures that the band spreads the love around so to speak.
The songs themselves are not the only thing that was taken into account in regard to the record’s sequencing. The sound and style of each work was also clearly considered. Take for example the first two songs. While they are originals, their arrangements are great, upbeat compositions that easily lend themselves to comparison to works from its own catalog and the aforementioned Springfield. Interestingly enough, while the record’s third track is a take of Claude DeMetrius’ (whose original song is more of a country blues style work), Foghat’s take on the song leans more in the direction of Carlos Santana and his merry band of musicians. It is an interesting, updated take on the song and would certainly make for its own share of discussion, too. ‘Drivin’ On,’ meanwhile, takes listeners in more of a ZZ Top direction, keeping things just as interesting as ever. The band’s bluesy take of Willie Dixon’s ‘Let Me Love You Baby’ stays pretty true to its source material and keeps the album’s energy flowing just as well, too.
Even as the band subtly pulls the record’s energy back over the course of the next four song, things don’t get too melancholy or reserved. This even as the songs’ styles change from one to the next, keeping things interesting in their own right. It is further proof of the time and thought that went into the album’s sequencing. It is clear all involved wanted to give the record its most powerful impact possible even through this aspect of the record, and that time and thought paid off, too.
The production that went into Sonic Mojo works with the sequencing of its songs and the songs themselves to put the finishing touch to the record’s production. From one song to the next, the sound of each song is so rich. The instrumentation is expertly balanced with the vocals in each song just as well as the instrumentation is balanced within itself. No one musician overpowers the other at any point. The result is a record whose sound is just as appealing as the song featured in this record and their performance. When all things are considered here, the whole makes Sonic Mojo a work that will appeal to so many audiences and a work that is just as successful as any of the band’s other works.
Sonic Mojo, the latest studio offering from Foghat, is an enjoyable new offering from the band that is certain to appeal to a wide range of audiences. This is proven in part through its featured songs. The songs are a blend of original and covers and the renditions of the covers that the band presents are unique, giving the songs some new identities. The originals are fun in their own right. The sequencing of the songs adds to the record’s appeal because of the obvious thought that went into this aspect. The sequencing mixes up the originals and covers just enough to keep things interesting. The sequencing in regard to the songs’ energies also plays into the mix, making for even more appeal. The record’s production puts the finishing touch to the whole because of the aesthetic appeal that it ensures. Each item examined is important in its own way to the whole record’s presentation. All things considered they make the album in whole an overwhelming success.
Sonic Mojo is available now through Foghat’s own label, Foghat Records. More information on the album is available along with all of Foghat’s latest news at:
Website: http://www.foghat.net
Facebook: http://www.facebook.com/foghat
Twitter: http://twitter.com/foghat
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