John Mooney has officially ventured beyond the blues. It’s a good thing since what he has arrived at is something much more mature and developed. Yet whatever departures this record may take, it is still tethered securely to the delta sound. With every track, the listener is mindful that the Moon Man is a blues man. Four of the thirteen tracks are aptly named as blues tunes (“Dry Spell Blues,” “How Long Blues,” etc.), but there are other things happening on this record as well.

Mooney’s affinity for R&B, for example, is well represented. With the help of none other than Dr. John, who adds his classic New Orleans ivory tickling to four different tracks, Mooney twangs around with typical R&B riffs and adds the passionate vocals to go along with it. Considering a track like “That’s What Lovers Do” which has lyrics reminiscent of an old ’50s love song, it is hard to keep in mind that the record is called Gone to Hell.

Then there is “Funky Arkansas,” an original song that sounds exactly the way its title indicates. Mooney delivers quick shot guitar runs fading just after they begin in a Hendrix-like fashion throughout, while Alfred “Uganda” Roberts does the complementary percussion accompaniment. It paints the picture of a heartbreaking woman and her burning victim with a recurring hook that tears you apart. “Indian Lea,” too, is as funky as it is bluesy with a slightly syncopated, highly prevalent bass line and Mooney’s lusty vocals.

You can rest assured that Mooney has not forgotten the blues. It is still what he does best. The gems of this record are not the stylistically innovative ones. The best moments are the ones where Mooney is true to his art, and to his teacher. Two of the tracks are Son House originals. Mooney plays these solo, bares their old fashioned raw simplicity, and confirms the backwoods Delta origin of the style, while dancing all around the basic chord progressions. The lyrics exhibit classic blues themes, even on originals like “I Wonder Blues,” when the character vows, “I gotta keep my eye on that woman after the sun goes down.”

The whole of the record has a jaded tone to it, not surprising for a man who has been around the block a few times. This music is infused with the sound of hard times and pain. John Mooney has dealt with the devil, gone to hell and returned with a hotness that waxes and wanes with every beat.