Robben Ford
Photo by Rob Blackham
Few names carry as much weight in the modern guitar world as Jeff Beck and Howard Alexander Dumble. On Two Shades Of Blue, Robben Ford pays tribute to both—but this is far more than a dedication album. It is a deeply personal statement from a guitarist whose lifelong pursuit of tone, touch, and musical truth continues to evolve. Throughout the record, Ford revisits his own artistic voice through the expressive freedom inspired by Jeff Beck and the harmonic richness and dynamic response of Dumble amplifiers.
When he says, “Alexander gave me 50% of what I consider my voice,” it becomes clear that this album is not simply about honoring influences—it is about recognizing the people and tools that helped shape his identity as a player. Musically, Two Shades Of Blue moves effortlessly between vocal songs and instrumentals, weaving together blues, funk, and rock with the kind of natural authority that only comes from decades of mastery. There is no unnecessary flash here—only the unmistakable sound of a player devoted to nuance, feel, and the emotional power of every note.
In this interview, Ford reflects on the inspirations behind Two Shades Of Blue, his tribute to Beck and Dumble, the gear that defined the sessions, and the tonal philosophy that remains at the heart of his music.
Interview / Text Mamoru Moriyama
Muse On Muse : When you started working on Two Shades Of Blue, what kind of sounds or ideas were you hoping to explore? And what does the title Two Shades Of Blue mean to you?
Robben Ford : The record began as a tribute to Jeff Beck and Alexander Dumble. I hadn’t really been influenced by Jeff growing up and I was looking for some inspiration. I had become a big fan of his much later, hearing him live around 2008 for the first time. I felt it appropriate to tribute him since his passing and finding a way to do it that wasn’t just playing his songs in his way, which I couldn’t do anyway! The record is also dedicated to Alexander Dumble who built my amplifiers and was a genius engineer with a very musical ear and sensibility.
MM : This album features four vocal songs and four instrumentals. Was that balance intentional? Did you have a particular flow or listening experience in mind when putting the track order together?
RF : The initial tribute recordings done in the US yielded only three performances that I thought worthy of the record. So, I went back to London and into the studio with my UK band and recorded the vocal tracks and the instrumental “Two Shades of Blue”. It was out of necessity, but I think it’s a much more compelling record for it.
MM : “Perfect Illusion” has such a beautiful melody and a really uplifting message. Can you talk about how that song came together and what you wanted to express with it?
RF : It began with just the title – my having confused light colours reflecting in a drop of water on the driveway, for what I thought was a jewel – hence, a Perfect Illusion.
It just rolled out from there. I had the opening chord sequence but didn’t have a song. The two ideas seem to feel good together, so, I put my head down and did the work.
MM : You chose to cover Jealous Guy (John Lennon) and Black Night (Jessie Mae Robinson) on this album. What made you want to record those songs, and how did you approach bringing your own voice to them while respecting the originals?
RF : I woke up one morning with the song in my head. And rather than just forgetting it I thought I would see what I might be able to do with it. I just challenged myself and feel that it worked. It took some courage to actually perform and then record it, but glad I did. I really love to play and sing minor blues and Black Night has always been a favorite.
Photo by Rob Blackham
MM : “The Fire Flute” creates a really atmospheric mood with some wonderful guitar textures, while “Feeling’s Mutual” has a great groove between the brass and guitar parts.
RF : Fire Flute began as an exercise in writing and playing something in the Phrygian mode…once again, a challenge. Feeling’s Mutual was inspired by Maceo Parker’s “Shake Everything You Got” which is one the funkiest, most joyful things I’ve ever heard. I like music that makes you move.
MM : Can you tell us about the guitars, amps, and effects you used on this record? And what made those particular pieces of gear right for this album?
RF : I used the Dumble Overdrive Special and a ’52 Les Paul for the solos on Make My Own Weather and Black Night. Also the melody of Two Shades of Blue. My 60 Telecaster for Jealous Guy – rhythm guitar on “Weather” – solos on Illusion and “Two Shades”.
I used a 66 R series Stratocaster for the Beck inspired songs – Fire Flute, Fandango and FM. The amp was the Little Walter 59 which is a great amp.
The effects are largely from the studio. I do use the Strymon Timeline delay, probably the one indispensable thing on my pedalboard, but not too much in the studio.
MM : When you try out a new guitar, amp, or pedal, what are the main things you listen and feel for? What tells you that a piece of gear is right for you?
RF : Transparency, body, punch, clarity, evenness and headroom.
MM : The album is dedicated to Jeff Beck and Howard Alexander Dumble. Could you talk a little about the impact they had on your music and sound, and perhaps share any memories of them that stand out to you?
RF : As mentioned, Jeff really didn’t come into focus for me until much later. And it was exciting to have him as such a new and profound source of inspiration. The guy really holds the crown where electric, rock and blues influenced guitar is concerned. Alexander was a close friend, a beautiful guy, and the man who gave me about 50% of what I consider my voice! That’s a big gift and hard to repay. He was a recluse due to health issues, weight issues and probably some paranoia. But, as I say, a beautiful cat and I loved him. Wish I could see him again.
Robben Ford / Two Shades Of Blue
1. Make My Own Weather
2. Jealous Guy
3. Perfect Illusion
4. Black Night
5. Two Shades Of Blue
6. The Fire Flute
7. The Light Fandango
8. Feeling’s Mutual
