Saving himself in the blues
Joe Bonamassa – Redemption
Joe Bonamassa – Redemption
It has, I readily admit, got to the stage where many a questioning naysayer, ambivalent blues fan or even the staunchest Joe Bonamassa supporter will believe FabricationsHQ (and many other like-minded reviewers or music sites) to be on the Bonamassa promotional payroll, given the number of highly positive reviews published and proffered in reaction to yet another release from the acclaimed blues and blues rock musician.
The truth of the matter is, simply, that since hitting his stride with sixth solo album Sloe Gin in 2007 (and partnering up with producer Kevin Shirley on previous album You & Me), Joe Bonamassa has continually delivered on what has been a conveyor belt of studio and live releases these last dozen years or so.
And just when you thought he may have peaked with all-new material brace Different Shades of Blue (2014) and Blues of Desperation (2016), Joe Bonamassa has taken another step up with Redemption, an album that doesn’t so much test the boundaries of his blues as create brand new, ever-stretching ones.
With Redemption (the title is a reflection of the "rebirth" Joe Bonamassa has been going through, connected to personal life, loss and pain) the noted guitarist, singer and songwriter has tested and pushed himself to deliver a deeper album lyrically, and a broader one, musically.
The result is Joe Bonamassa’s best album to date, some thirteen studio albums in to what is an impressive back catalogue.
A Led weighted, introductory 'Rock and Roll' drum nod from Anton Fig quickly gives way to the equally weighty, funky soul-blues and horns of 'Evil Mama.'
The song doesn’t just open Redemption in the finest of fashions, it loudly and clearly declares, through judicious use of female backing vocals, a driving groove from Fig and bassist Michael Rhodes and a psychedelically tinged guitar solo, that this is Joe Bonamassa and band in full blues swing.
That swing becomes full blown boogie blues on following number 'King Bee Shakedown,' a homage to the swingin’ horns and dance blues rhythms heard in the blues jump joints of yesteryear.
From his earliest musical forays Joe Bonamassa has been part blues, part (predominately British) classic/ 70s rock – 'Molly O' carries hints of those rhythmically heavy Zeppelin days but with a big, bold melodically voiced chorus that makes the song as contemporary as it is classic in sound.
The radio friendly/ highway driving 'Deep in the Blues Again' is well titled, but flowing through its blues heart is a Nashville country bloodstream (Joe Bonamassa has once again written with some of the finest Nashville songwriters including Tom Hambridge, James House and Gary Nicholson).
The blues truly come calling on one of Joe Bonamassa’s best songs to date, 'Self-Inflicted Wounds.'
An atmospheric, wind blowing through, fully contemporary take on the more traditional cryin' the blues tunes, understated but essential Hammond lines from Reese Wynans sit behind Joe Bonamassa’s impassioned but well measured vocal and, latterly, mid-song and closing guitar solos that are more wounded outpouring than healing process.
'Pick Up the Pieces' is a mid-album interlude of saloon piano blues before the pacier 'The Ghost of Macon Jones' tells the country-rockin' tale of a deceased renegade through the duetting vocals of Joe Bonamassa and Nashville country singer Jamey Johnson.
'Just ‘Cos You Can Don’t Mean You Should' is band and horns pumpin' the Born Under a Bad Sign blues (Reese Wynans and Joe Bonamassa giving it the full Hammond and Albert King toward songs end) while 'I’ve Got Some Mind Over What Matters' is a lighter, fun blues with piano and organ supporting Bonamassa’s slide work.
It’s hard not to think of any Joe Bonamassa album since the aforementioned Sloe Gin that hasn’t delivered an out and out, bona(massa) fide classic; Redemption has a fair few contenders but the title track is a monster Bonamassa tune.
Part Gospel, part musical cleansing and wholly anointed in the blues, the slightly southern affected number is the title track of the album for a powerfully personal and musical reason.
Penultimate song 'Stronger Now in Broken Places' is a delicate and reflective vocal and acoustic guitar piece with the subtlest of textures (soundscapes from Jim Moginie; Kate Stone on handpan).
Lyrically, the track brings Joe Bonamassa out the other side and closer to his redemption.
Closing number 'Love is a Gamble' is quintessential piano, horns and cryin’ guitar blues; having bared his blues soul through most of what has come before, it also acts the song that sees Joe Bonamassa signing off in fully redeemed fashion.
And having been redeemed from whatever ailed him, you have to wonder where Joe Bonamassa can possibly go next – but that’s the next chapter in Joe Bonamassa’s continuing travels on the blues and rock road.
Right now just be thankful he’s been saved to deliver some of the best written, well-performed (in the company of truly world class musicians) and best sounding blues rock (courtesy of another full bodied and vibrant production from Kevin Shirley) of the modern era.
Ross Muir
FabricationsHQ
The truth of the matter is, simply, that since hitting his stride with sixth solo album Sloe Gin in 2007 (and partnering up with producer Kevin Shirley on previous album You & Me), Joe Bonamassa has continually delivered on what has been a conveyor belt of studio and live releases these last dozen years or so.
And just when you thought he may have peaked with all-new material brace Different Shades of Blue (2014) and Blues of Desperation (2016), Joe Bonamassa has taken another step up with Redemption, an album that doesn’t so much test the boundaries of his blues as create brand new, ever-stretching ones.
With Redemption (the title is a reflection of the "rebirth" Joe Bonamassa has been going through, connected to personal life, loss and pain) the noted guitarist, singer and songwriter has tested and pushed himself to deliver a deeper album lyrically, and a broader one, musically.
The result is Joe Bonamassa’s best album to date, some thirteen studio albums in to what is an impressive back catalogue.
A Led weighted, introductory 'Rock and Roll' drum nod from Anton Fig quickly gives way to the equally weighty, funky soul-blues and horns of 'Evil Mama.'
The song doesn’t just open Redemption in the finest of fashions, it loudly and clearly declares, through judicious use of female backing vocals, a driving groove from Fig and bassist Michael Rhodes and a psychedelically tinged guitar solo, that this is Joe Bonamassa and band in full blues swing.
That swing becomes full blown boogie blues on following number 'King Bee Shakedown,' a homage to the swingin’ horns and dance blues rhythms heard in the blues jump joints of yesteryear.
From his earliest musical forays Joe Bonamassa has been part blues, part (predominately British) classic/ 70s rock – 'Molly O' carries hints of those rhythmically heavy Zeppelin days but with a big, bold melodically voiced chorus that makes the song as contemporary as it is classic in sound.
The radio friendly/ highway driving 'Deep in the Blues Again' is well titled, but flowing through its blues heart is a Nashville country bloodstream (Joe Bonamassa has once again written with some of the finest Nashville songwriters including Tom Hambridge, James House and Gary Nicholson).
The blues truly come calling on one of Joe Bonamassa’s best songs to date, 'Self-Inflicted Wounds.'
An atmospheric, wind blowing through, fully contemporary take on the more traditional cryin' the blues tunes, understated but essential Hammond lines from Reese Wynans sit behind Joe Bonamassa’s impassioned but well measured vocal and, latterly, mid-song and closing guitar solos that are more wounded outpouring than healing process.
'Pick Up the Pieces' is a mid-album interlude of saloon piano blues before the pacier 'The Ghost of Macon Jones' tells the country-rockin' tale of a deceased renegade through the duetting vocals of Joe Bonamassa and Nashville country singer Jamey Johnson.
'Just ‘Cos You Can Don’t Mean You Should' is band and horns pumpin' the Born Under a Bad Sign blues (Reese Wynans and Joe Bonamassa giving it the full Hammond and Albert King toward songs end) while 'I’ve Got Some Mind Over What Matters' is a lighter, fun blues with piano and organ supporting Bonamassa’s slide work.
It’s hard not to think of any Joe Bonamassa album since the aforementioned Sloe Gin that hasn’t delivered an out and out, bona(massa) fide classic; Redemption has a fair few contenders but the title track is a monster Bonamassa tune.
Part Gospel, part musical cleansing and wholly anointed in the blues, the slightly southern affected number is the title track of the album for a powerfully personal and musical reason.
Penultimate song 'Stronger Now in Broken Places' is a delicate and reflective vocal and acoustic guitar piece with the subtlest of textures (soundscapes from Jim Moginie; Kate Stone on handpan).
Lyrically, the track brings Joe Bonamassa out the other side and closer to his redemption.
Closing number 'Love is a Gamble' is quintessential piano, horns and cryin’ guitar blues; having bared his blues soul through most of what has come before, it also acts the song that sees Joe Bonamassa signing off in fully redeemed fashion.
And having been redeemed from whatever ailed him, you have to wonder where Joe Bonamassa can possibly go next – but that’s the next chapter in Joe Bonamassa’s continuing travels on the blues and rock road.
Right now just be thankful he’s been saved to deliver some of the best written, well-performed (in the company of truly world class musicians) and best sounding blues rock (courtesy of another full bodied and vibrant production from Kevin Shirley) of the modern era.
Ross Muir
FabricationsHQ