We've been keenly anticipating this album for some time: watching some of the songs mature and develop on the road, and like a fine wine or single malt. Aynsley has refused to be rushed, crafting and polishing new songs on the road with his band. The end result; probably the finest 55 minutes of rockin blues Aynsley has yet produced and most likely the best for 2013 - certainly set my benchmark for the year.
You've got 12 tracks comming at yer, kicking off with the monster HOME, which will probably have David Coverdale on the phone wanting to borrow: one of those rumbling slow blues shuffles beloved of vintage Whitesnake. Watchout for INSIDE OUT - it's insidiously infectious, one that stays in my head after each listen as does INSATIABLE. I'd put money on FREE being highly rated in the future, this is new to the live set list, but one that's sure to be an Aynsley staple; great tribute to someone who must have been an amazing guy. FEELING GOOD, one of 2 covers, doesn't have the OTT bombast of the Muse take, and is the better for it: the other cover being a contrasting, stripped-back, delicate James Morrison number. IMPOSSIBLE, well, that's what you get for letting Andre tune the jazz stations while on the road; it's another song that will work its way under you skin; definite New Orleans vibe before shooting up the Mississippi for STRAIGHT TALKIN WOMAN, and a stomping, sing-along finale. SUGAR is another track that takes Aynsley back to his early roots; it started life as an improvised jam but has grown into another set-staple, tongue-in-cheek fun piece for the band to show their stuff. HYDE 2612, Aynsley's tribute to a certain TV detective show, really hits that 70s vibe while BROKE, an observation on current times is 21st century blues. POSSESSION is a song that grew from an incident at one of Aynsley's gigs and shows his keen eye for observing life, as well as his keen ear for a dynamite shuffle.
Without doubt, the most overtly Blues album Aynsley's done in the last 10 years, but without losing sight of the rockier side of more recent releases. Its as if he's taken the first 2 albums and the last 2 albums and distilled the very best from them. Having the road band in the studio has given everything a great crisp feel; you've not only got 4 great musicians in the studio, but 4 mates who bring the best out of each other. Andre's Hammond dueling with Aynsleys guitar is like listening to a lovesick tomcat duetting with a horny angel with Steves bass adding counterpoint. Wayne Proctor demonstrating why he's the British go-to guy on drumstool as well as the producer's chair, only because Boneto hadn'd settled with the band at time of recording, but on the road, he's now the Beats Master.
So many connotations you can make of the title: this being Aynsleys first self-labelled release, he's feeling pretty comfortable, life's good - but don't think he's just going to sit back and put his feet up, not with the 2013 tour schedule posted - but for now, just be glad - Daddys Home!