Robben Ford 'Two Shades of Blue' album review: From tribute to transformation - Robben Ford’s 'Two Shades of Blue' is a testament to musical evolution

Ever-evolving and shapeshifting, with no two albums sounding the same, the latest release from Robben Ford is a slick, sophisticated slide into the blues.

His first solo album in five years, it was originally planned as a tribute to Jeff Beck. But things took an interesting turn. Time spent developing his own Guitar Dojo gave Ford the space to dig deeper into his instrument, reinvigorating both his playing and musicianship. Armed with a Stratocaster and a custom pedalboard from Daniel Steinhardt, inspired by Beck’s own setup, Ford set out to challenge himself and do something different.

That breath of life is writ large across the album. Every track beams with tone and feel, while the horn section kicks the record into another gear entirely. And then there’s the roll call of top-tier talent. Recording at Eastcote Studios with engineer George Murphy, the chemistry is palpable. Ford’s guitar and vocals lead a first-call band featuring drummer Ianto Thomas, keyboardist Jonny Henderson, and bassist Robin Mullarkey, alongside a brass section of Paul Booth, Ryan Quigley, and Trevor Mires. Since relocating to London, Ford has found a community of like-minded blues musicians: “Great cats,” Ford says. “London has been incredible for finding musicians. This place is loaded, even better for me than Nashville or LA.”

It opens exquisitely with the groove of 'Make My Own Weather', a straight-up blues statement about loving the open road and refusing to be tied down. And tied down is one thing Ford has never been. Across a half-century, five-time Grammy-nominated career, his catalogue darts between jazz, funk, fusion, rock, and blues. He’s a musician in constant motion.

The Beck-inspired grooves and precision-clean playing are all here, alongside a deeper sense of exploration in the way Ford attacks and caresses the fretboard. The title track, 'Two Shades of Blue,' feels like a direct nod to Beck, with intricate phrasing and that unmistakable Strat ring it could easily slot into Beck's 'Blow by Blow'.

A cover of Charles Brown’s 1951 track 'Black Night' drifts in as a lazy, late-night shuffle. While Ford is best known as a guitarist, his vocals, always part of his self-expression, shine too, particularly on a heartfelt take on John Lennon’s 'Jealous Guy'.

'The Fire Flute' leans into Ford’s jazzier instincts, channelling the spirit of Beck’s 'Wired'. His playing throughout is masterful: adroit, fluid, and uncluttered. It’s easy to hear why he’s so widely respected for his clean, spacious style. These instrumental moments highlight his flexible, sometimes staccato, always flowing six-string voice, he could have built the entire record in this vein.

The album closes with another funky little jam, 'Feeling’s Mutual'. an exploratory, fusion-tinged send-off that once again tips the hat to Beck’s enduring influence.

In the end, Two Shades of Blue isn’t just a tribute, it’s Robben Ford reminding us that evolution, not imitation, is the true mark of a master.