Record Reviews
📝 2096 reviews| Artist | Title | Review |
|---|---|---|
| Eric Bogle | When The Wind Blows | |
| Eric Bogle | Singing The Spirit Home | |
| Marie Boine | Leahkastin (Unfolding) | |
| Marc Bolin | You Scare Me To Death | |
| Tommy Bolin | Teaser | |
| Joe Bonamassa | Ballad Of John Henry | <p>In 2007, Joe Bonamassa titled his album after a Bob Ezrin. In 2009, he named his seventh studio album The Ballad of John Henry after one of the most enduring tales in American folk music. The difference between these two songs should signal a great difference between the two albums and that's true, to a certain extent. The Ballad of John Henry is heavy on myth-making that translates to heavy guitars on several occasions, particularly on the epic six-minute title track, whose roiling minor-key riffs, orchestrations, and excursions into acoustic instruments are closer to prog than blues. While the rest of the record never gets as overblown as this, it shares similar thick sonics and a sober sensibility, an approach that treats Ike & Tina Turner's "Funkier Than a Mosquito's Tweeter" as sacred text and straightens out Tom Waits' "Jockey Full of Bourbon." This sobriety means that The Ballad isn't a whole lot of fun -- when Bonamassa sings that he's "Feelin' Good," it feels a bit like drudgery -- but this dogged approach does give the album some self-serious heft, adding the impression of weight that fits a record that feels like a summation of his strengths. His guitar and voice carry equal weight as he runs through SRV-styled slow blues, a shuffle or two, acoustic numbers, covers, and originals -- everything that he's dabbled with on previous albums is pulled together here, making for his most varied album and possibly his best, even if that heaviness means that it's not necessarily the easiest to enjoy.</p><p>— <strong>Stephen Thomas Erlewine</strong></p> |
| Joe Bonamassa | Black Rock | <p>It's a sign of Joe Bonamassa's increasing profile that he got blues legend B.B. King to guest on his eighth album Black Rock -- and if what you're doing is good enough to rope B.B. in, there's not much reason to change, so Bonamassa doesn't tinker with his formula here, retaining a little of the folky undertow of The Ballad of John Henry, but with its remaining roots in a thick, heavy blues-rock more redolent of '60s London than the '50s Delta. Of course, Bonamassa has never shied away from his love of Brit-blues, even underscoring it with a good streamlined cover of Jeff Beck's “Spanish Boots,” but he retains a healthy respect for all manners of classic blues, kicking out a Chicago groove on a cover of Otis Rush's “Three Times a Fool,” reaching back to Blind Boy Fuller for “Baby You Gotta Change Your Mind” and ably replicating B.B.'s latter-day soul groove on a horn-smacked cover of Willie Nelson's “Night Life.” Bonamassa has an ear for non-blues writers too, cherrypicking Leonard Cohen's “Bird on a Wire” and John Hiatt's “I Know a Place,” tying it all together with beefy lead lines, but the provocative moments on Black Rock are all self-penned, whether it's the clattering stomp “When the Fire Hits the Sea,” the British folk lilt of “Quarryman's Lament” and “Athens to Athens,” or the droning dramatic epic “Blue and Evil.” These are easily the most intriguing songs here, suggesting Bonamassa realizes that the familiar covers allow him to stretch out elsewhere, and while it might be interesting hearing him follow this path for a full album, what's here on Black Rock is both satisfying and admirably, if reservedly, ambitious.</p><p>— <strong>Stephen Thomas Erlewine</strong></p> |
| Joe Bonamassa | Dust Bowl | <p>2011 release from the American Blues guitarist and singer/songwriter, winner of Billboard Magazine's #1 Blues Artist Of 2010 award. Dust Bowl combines the gritty, blues-based tones of Bonamassa's first albums with the fluid, genre-defying sounds he's mastered in the years since, plus a dose of Nashville in duets with legends John Hiatt and Vince Gill. Dust Bowl, producer Kevin Shirley explains, is very firmly rooted in the Blues, but definitely explores the outer reaches of the genre and showcases Joe's amazing virtuosity as he digs deep into his psyche in some lengthy and blistering guitar solos.</p> |
| Joe Bonamassa | Live From Beacon Theatre | <p>Joe Bonamassa is a guitar hero and a road dog -- the blues-rock crusher plays up to 200 shows a year, and it's significant that of the 15 albums he released between 2000 and 2012, four of them were live sets. When Bonamassa played the Beacon Theatre in New York City in November 2011, the marquee declared it "the guitar event of the year," and something that important would certainly merit another live album, wouldn't it? Beacon Theatre: Live from New York is a hefty two-disc set that features plenty of Bonamassa's trademark guitar work, at once precise and bombastic and firmly rooted in the traditions of British blues, and for this show he had Paul Rodgers on hand to lend appropriately swaggering lead vocals to a pair of Free covers, "Fire and Water" and "Walk in My Shadows." Two other guest singers pop up on this set: John Hiatt, whose craggy tone lends a welcome bit of texture to versions of two of his tunes, "Down Around My Place" and "I Know a Place," and Beth Hart, who has collaborated with Bonamassa in the past and lends her voice to spirited versions of "Sinner's Prayer" and "I'll Take Care of You." There's no arguing the technical skill of Bonamassa and his band (Carmine Rojas on bass, Rick Melick on keys, and Tal Bergman on drums), who perform with the accuracy of a Swiss watch, but some might question his taste -- there's nothing the least bit subtle about Bonamassa's big, burly sound, and the emotional shadings of these songs are pretty much trampled into the dirt by the end of disc one, while the presence of the guest stars unfortunately reminds listeners that Bonamassa's vocals are not on a par with his skills on the fretboard. But if you're already a convert, Beacon Theatre: Live from New York finds Bonamassa playing with all his might for a crowd who are clearly digging what he has to offer, and if, like many of his fans, you're convinced he sounds stronger and more powerful on-stage, this album will tide you over nicely until he next rolls into your area.</p><p>— <strong>Mark Deming</strong></p> |
| Joe Bonamassa | An Acoustic Evening At The Vienna Opera House | <p>He has a following in the United States, but over in Europe Joe Bonamassa's star shines so bright he can headline Vienna Music Hall, a gorgeous opera house traditionally housing the Vienna Philharmonic. It's a large venue and one that conveys class, so Bonamassa has indeed gone the classy route here, choosing to dedicate his concert to "An Acoustic Evening," an event then documented on the 2013 live DVD/CD set An Acoustic Evening at the Vienna Opera House (the set is available in various permutations of DVD, BluRay, CD). Bonamassa didn't take this task lightly. He's supported by four musicians, all playing a variety of old-timey acoustic instruments (banjo, fiddle, harmonium, mandola, and, naturally, nyckelharpa), surrounded himself with ten acoustic guitars and dobro, and plays a marathon set list of 20 songs. All this space does indeed give Bonamassa ample space to demonstrate he's skilled at being more than just a jacked-up electric blues guitarist splicing together strands of SRV and Clapton. He sounds comfortable in this setting, perhaps even a little liberated, turning his songs into country-blues and backporch stomps. There are enough new colors and textures to turn the ear of skeptics who may get a little weary of Bonamassa's never-ending string of releases (at least two a year every year of the 2010s, so far), but the concert itself is also in danger of being too much of a good thing, lasting almost two hours in its DVD/BluRay incarnation (and both have additional hour-long making-of documentaries). The CD is shorter and contains judiciously selected highlights so the casual fans can turn there, but really, anybody who is a serious Bonamassa head will not be disappointed with this acoustic concert, which offers more different and interesting sounds than any other previous Bonamassa album.</p><p>— <strong>Stephen Thomas Erlewine</strong><p> |
| Joe Bonamassa | An Acoustic Evening At The Vienna Opera House | <p>He has a following in the United States, but over in Europe Joe Bonamassa's star shines so bright he can headline Vienna Music Hall, a gorgeous opera house traditionally housing the Vienna Philharmonic. It's a large venue and one that conveys class, so Bonamassa has indeed gone the classy route here, choosing to dedicate his concert to "An Acoustic Evening," an event then documented on the 2013 live DVD/CD set An Acoustic Evening at the Vienna Opera House (the set is available in various permutations of DVD, BluRay, CD). Bonamassa didn't take this task lightly. He's supported by four musicians, all playing a variety of old-timey acoustic instruments (banjo, fiddle, harmonium, mandola, and, naturally, nyckelharpa), surrounded himself with ten acoustic guitars and dobro, and plays a marathon set list of 20 songs. All this space does indeed give Bonamassa ample space to demonstrate he's skilled at being more than just a jacked-up electric blues guitarist splicing together strands of SRV and Clapton. He sounds comfortable in this setting, perhaps even a little liberated, turning his songs into country-blues and backporch stomps. There are enough new colors and textures to turn the ear of skeptics who may get a little weary of Bonamassa's never-ending string of releases (at least two a year every year of the 2010s, so far), but the concert itself is also in danger of being too much of a good thing, lasting almost two hours in its DVD/BluRay incarnation (and both have additional hour-long making-of documentaries). The CD is shorter and contains judiciously selected highlights so the casual fans can turn there, but really, anybody who is a serious Bonamassa head will not be disappointed with this acoustic concert, which offers more different and interesting sounds than any other previous Bonamassa album.</p><p><strong>—Stephen Thomas Erlewine</strong><p> |
| Joe Bonamassa | Tour de Force: Live in London - The Borderline | <p>Joe Bonamassa's Tour de Force: Live in London video series presents four concerts recorded in the U.K. that feature the famed New York guitarist and his band in various settings that document his career. Each of the four DVDs is loosely themed and includes music that Bonamassa had recorded but seldom if ever played live. Though the track lists may be similar, various themes change up the arrangements night to night. This volume marks the tour's first evening. As such, it features a brief acoustic set, followed by the guitarist and a rhythm section at their loosest and most improvisatory, in full jam mode. Highlights include "Your Funeral My Trial," "Story of a Quarryman," "The River," and a sprawling reading of Jimi Hendrix's "Are You Experienced." Also included on the disc is behind-the-scenes and interview footage.</p><p>—<strong>Thom Jurek</strong></p> |
| Joe Bonamassa | Tour de Force: Live in London - Hammersmith Apollo | <p>Joe Bonamassa's Tour de Force: Live in London video series presents four concerts recorded in the U.K. that feature the famed New York guitarist and his band in various settings that document his career. Each of the four DVDs is loosely themed and includes music that Bonamassa had recorded but seldom if ever played live. Though the track lists may be similar, various themes change up the arrangements night to night. This date, the third in the series, is subtitled on his website as Rock 'n' Roll Night. That said, it contains a brief solo acoustic set followed by the blazing rock & roll show. Highlights of the evening include his cover of Tom Waits' "Jockey Full of Bourbon," "When the Fire Hits the Sea," and a scorching "John Henry." Also included here is behind-the-scenes and interview footage.</p><p>— <strong>Thom Jurek</strong></p> |
| Joe Bonamassa | Tour de Force: Live in London - Shepherds Bush | <p>Joe Bonamassa's Tour de Force: Live in London video series presents four concerts recorded in the U.K. that feature the famed New York guitarist and his band in various settings that document his career. Each of the four DVDs is loosely themed and includes music that Bonamassa had recorded but seldom if ever played live -- though the track lists may be similar, various themes change up the arrangements night to night. Shepherd's Bush Empire is the second volume in the series. The band here is the largest of any evening as it is augmented by a horn section, creating more of a jump blues feel to the proceedings. Highlights include "Chains & Things," "Midnight Blues," and "Asking Around for You." Also included on the disc is behind-the-scenes and interview footage.</p><p>— <strong>Thom Jurek</strong></p> |
| Joe Bonamassa | Tour de Force: Live in London - Royal Albert Hall | <p>Joe Bonamassa's Tour de Force: Live in London video series presents four concerts recorded in the U.K. that feature the famed New York guitarist and his band in various settings that document his career. Each of the four DVDs is loosely themed and includes music that Bonamassa had recorded but seldom if ever played live. Though the track lists may be similar, various themes change up the arrangements night to night. This date is the culmination of the London tour. It's considered the greatest-hits night and is divergent from the other evenings in that the gig is half acoustic/half electric. Standouts on the first part of the evening include "Palm Trees, Helicopters and Gasoline," an unplugged reading of Tom Waits' "Jockey Full of Bourbon," and "From the Valley." The electric highlights are "Mountain Time," "Dust Bowl," and "Sloe Gin." Also included on the disc is behind-the-scenes and interview footage.</p><p>—<strong>Thom Jurek</strong></p> |
| Joe Bonamassa | Live At Radio City Music Hall | <p>You just cant keep a great man down, and Joe Bonamassa is one such guy as he is back with another live album. In January 2015, Joe Bonamassa took the iconic Great Stage at Radio City Music Hall for the first time for a sold-out, two-night run that allowed him to fulfil his lifelong dream of performing in one of the world's most legendary venues. These concerts were recorded, and will be released as 'Live At Radio City Music Hall' on the 2nd of October.</p><p>The thirteen track CD kicks off with 'I can't be satisfied' with a full backing band, consisting of bass player Carmine Rojas, keyboard player Reese Wyans, drummer Tai Bergman, a horn section with Lee Thormburg on trumpets, Nick Lane on trombone and saxophonist Paulie Cerra. Impressive to say the least.</p><p>'One Less Cross To Bear' (which you can download for free at the end of this review) is a new song, more of a break down played live as the rhythm section keep it nice and tight, allowing Joe's guitar to sing until Reese Wyans lets loose with a glorious keyboard solo. Not to be outdone, Tai Bergman and Lenny Castro join in with a percussion run. Glorious.<p>We then get all acoustic for Dustbowl, which is my current (out of many) favourite JB song and is played stripped down here. It certainly shows another side to Joe's playing, that he is in fact more than just “a blues player” he is in fact a great guitar player.</p><p>The great thing about Joe is that he is not afraid to experiment, to work with different people and styles, as witnessed on Joe's half acoustic/half electric tour (of which these two shows were a part), in particular when he welcomed Irish fiddler Gerry O'Connor onto the stage for 'Still Water'.</p><p>The title track from his last studio album 'Different Shades Of Blue' is equally as impressive and features a wonderful Nyckelharpa solo from Mats Wester.</p><p>The electric band is back for 'Never Give All Your Heart', out of an eerie opening section Joe's guitar sound comes flying, soaring with melody and tone, truly an uplifting song if ever there was one.</p><p>A wonderful Reese Wyans intro for another new song, 'So, What Would I Do' brings the show to a close, featuring a great Paulie Cerra saxophone solo, Joe really does allow his fellow musicians a chance to shine.</p><p>With enough old material to keep the die-hards happy and enough new material to keep everybody else happy, this is much more than a live album, this is a life event.</p><p>The DVD contains all the songs as featured on the CD, plus a lot more besides, including over 2.5 hours of live footage, and a special 45-minute behind-the-scenes featurette.</p><p><strong>—David Farrell</strong></p> |
| Joe Bonamassa | Live At The Greek Theatre | <p>'Live at the Greek Theatre' is Joe Bonamassa's fourteenth live album and his tenth live album since 2012, the year in which Joe's career (burnished by 2011's remarkable 'Dust bowl') went into overdrive. Whereas such a quotient of live albums could seem an extravagance, with Joe, the live shows form an essential part of his catalogue. Each show is a chance to reinvent, and it is simply not in Joe's nature to take the easy route and simply play the hits. Instead, Joe's shows are an exploration in which he challenges himself and the audience, offering up radical reinterpretations ('An acoustic evening at the Vienna opera house'), blistering hard-rock blues ('Beacon Theatre – live from New York) and stunning tributes to great musicians ('Muddy Wolf – Live at Red Rocks'). Of these, it is the latter – 'Muddy Wolf' – which proved unequivocally that a live album can be every bit as crucial as a studio record and, for SonicAbuse, the album was listed as one of the best records of 2015.</p><p>2016 has been no less a great year for Joe. March saw the release of the wonderful 'Blues of Desperation' yet, rather than simply tour the album, Joe went out on the road to celebrate a succession of inspirational blues artists. In the UK Joe paid tribute to three legends of British Blues: Jeff Beck, Eric Clapton and Jimmy Page, in an event that we described as 'once in a lifetime'. Those concerts were filmed for posterity, but before that films sees the light of day, we are blessed with a recording of Joe's special US tour in which the Three Kings – Freddie, B.B. and Albert – were celebrated. Joe handpicked each set and treats the music with respect whilst simultaneously making it over in his own unique style. Joe's passion and enthusiasm for the blues drives the project, his remarkable talent on the guitar gilds it and his stunning band (“the greatest band in the world” Joe reminds us) polish it to a mirror shine. This is what all live recordings should be and it looks likely that Joe Bonamassa will have two albums in our end of year list this time around!</p><p>As with most Bonamassa releases, this is a multi-format release and fans can choose from double CD, double DVD, Blu ray and 3 LP editions. Our review copy is the double DVD, which features not only the performance itself (sensibly placed solely on disc one to minimize compression), but also a fistful of extras including Behind the scenes clips, an illuminating interview with Joe's parents and a music video for 'Riding with the kings'. Those who have purchased Bonamassa releases before will know that there's a firm emphasis on quality and this release is no exception. Beautifully filmed in HD, the DVD looks as crisp and clear as it is possible for the format to look (and one can imagine that the Blu Ray looks yet better) and everything from the deep red of Bonamassa's beautiful Gibson ES330 to the inky blacks of the backstage area are captured in impressive detail. Of course, whilst the image in important, it is the audio that is of paramount important and the disc does not disappoint. Mixed, as always, by Kevin Shirley there's a choice of stunning DTS 5.1 mix and PCM 2.0. and, whichever mix you go for, it's virtually impossible to fault. For the most part the music floods from the front speakers whilst the rears are used for subtle ambience which gives the music depth without appearing gimmicky. In other words, it's yet another reference presentation from Joe and this is one disc you'll want to break out a lot.</p><p>The film starts with a short introduction which captures a TV clip showing the thirteen-year-old Joe already making a name for himself as a guitarist. It's an illuminating piece that considers that elusive question of authority within the blues, questioning the extent to which a young man with few troubles in life can relate to the blues. The clip leaves this down to the incisive B.B. King who simply says “You don't know where the children get this from… but all I know is he got it!” One does not argue with the master and, by the end of this epic concert, it's irrefutable that Joe not only has the blues, but that he has them bad. On stage it's all too easy to see that thirteen-year-old boy, still dreaming of the stars and paying tribute to those that went before him in the only way he knows how, and it is proof that sometimes, in this dark world, dreams do come true.</p><p>In truth I sat down to review this DVD a few days ago, only to leave my laptop to one side whilst I simply sat and became absorbed. Some DVDs can leave you feeling cold, like you're sat outside the window, looking in at a great party, but this does a fantastic job of placing you right at the heart of the action. From Kevin's immersive mix to the well-edited shots that impeccably capture each musician on the somewhat crowded stage, Phillipe Klose has done a fabulous job of bringing it all together and deserves great credit for balancing the energy of the performance with a restraint that allows the camera to linger rather than jump cut in what has become an increasingly irritating style in live music video. From the moment that the smooth blues of 'See see baby' comes rolling in, augmented by the glorious brass arrangements of Lee Thornburg, it's impossible to stem a rising feeling of joy driven by the music. That sense of euphoria only grows as Anton Fig's rolling percussion announces the arrival of 'some other day, some other time' which is a perfect ensemble piece, capturing each musician in their element. What makes it so perfect is not the musicianship itself (impressive as it is), it's the fact that these veterans are so obviously having the time of their lives playing this wonderful music and even though this is a recording, the emotion is so strong that you can't help but be swayed by it. This is music of the heart and soul, and both Bonamassa and his band understand that all too well, delivering a performance that captures that very human essence of the blues. Things really start to cook with 'sittin' on the boat dock' and 'going down', both of which crackle with enough energy to power the national grid. It's a reminder that this is no ordinary concert, but a celebration of all that is wonderful in blues music, and if 'Going down' doesn't make you want to leap from your seat and dance, then it is entirely possible that you need to seek medical advice regarding the operational capability of your adrenal glands.</p><p>With the crowd's ecstatic applause ringing in the speakers throughout the introduction of the song, 'I'll play the blues for you' takes things down a notch, as if any further displays like 'going down' would result in spontaneous combustion. Joe appears with Lucy, Albert King's beautiful, vintage Gibson flying V, although it is second guitarist Kirk Fletcher to whom Joe graciously cedes the spotlight for some truly heroic soloing. Similarly, Reece Wynans (Keyboards) and the brass section get plenty of time to shine on 'I get Evil', although it is the sweet groove of 'Breaking up somebody's home' (powered by Michael Rhodes) that serves as a stunning mid-set highlight with some of the feature's most astounding soloing yet seen. Equally powerful is 'Angel of mercy', a hulking blues monster neatly paired with the sweet groove of 'Cadillac Assembly line' and so the set progresses, Joe once again showing that his gift of sequencing the sets for maximum impact has not deserted him. Very much an integral part of the show are singers Mahalia Barnes, Jade Macrae and Juanita Tippins, who add so much to the night and get a moment to shine with the glorious gospel harmonies of 'Ole time religion'. Their presence sweetens even the darkest blues and they remain absolutely graceful even as Joe blazes away on his guitar on tracks such as 'nobody loves me but my mother'. The set concludes with the classics 'born under a bad sign' and the evergreen 'the thrill is gone'. It's a poignant and beautiful tribute to Joe's friend and mentor, B.B. King whose loss is still keenly felt by the entire blues community. It is also the perfect conclusion to a concert that does not put a single foot wrong over the course of twenty-two well-chosen tracks.</p><p>'Live at the Greek theatre' is a reference quality DVD/Blu Ray that allows viewers to watch one of the world's greatest guitarists paying tribute to three of the Blues' greatest artists alongside a band that is absolutely without equal. Joe Bonamassa does not have to do these tours. A respected and talented song writer, he could simply tour his hits and have done. These shows are special because they are a project born purely out of a love for the music and a gratitude for the inspiration that is quite impossible to counterfeit. From the start Joe's heart and soul is on display and the connection he makes with the audience is glorious to behold. Not many artists can make a live recording so remarkable, but Joe's performance here is so bold, impassioned and beautiful that this record (and its parent tour) will still be talked about in decades to come.</p> |
| Joe Bonamassa | Live At Carnegie Hall - An Acoustic Evening | <p>Live at Carnegie Hall: An Acoustic Evening is the 15th live album Joe Bonamassa has released since 2002 but only the second acoustic live set. This means Live at Carnegie Hall, like 2013's An Acoustic Evening at the Vienna Opera House before it, stands out from his annual electric extravaganzas, sounding a little more subdued and relaxed than its companions. Bonamassa still spits out a flurry of notes -- that's his signature -- but the acoustic setting softens his aggression, and his band follows suit. The songs aren't so much reinterpreted as given a gentler touch, and in a catalog filled with similar feeling records, that distinction is welcome.</p><p>—<strong>Stephen Thomas Erlewine</strong></p> |
| Joe Bonamassa | British Blues Explosion Live | <p>'British Blues Explosion Live' is the latest conceptual vehicle for the prodigiously talented Joe Bonamassa and his constant search for a meaningful context with which to keep the blues alive.</p><p>Playing to a seated outdoor crowd at The Old Royal Naval College in Greenwich, he's probably playing to the very people who bought the original material and helped cross over blues into hard rock in the late 60's.</p><p>Where The Yardbirds exported the British Blues Invasion in the mid-sixties, little over 50 years later, Bonamassa is reversing the trend by recycling past glories, while adding his own colours in a reminder of how we came to this point musically.</p><p>Bonamassa's high standing in the rock/blues community is a result of the cleverly interweaving of his self penned material with that of salient British blues rockers.</p><p>His first half a dozen studio albums significantly drew on material by Rory Gallagher, Free, Ian Anderson, Beck and Stewart, Steve Winwood, Plant and Page, Alvin Lee and even John Martyn, so while his own song writing has grown significantly he's imperceptibly dragged the old Blues Invasion crowd with him.</p><p>This brings us to the 'British Blues Explosion Live', a double CD/DVD pack which finds Bonamassa indulging himself in personal favourites from as far back as 1966 with John Mayall's Blues Breakers' 'Little Girl', and as recently as Eric Clapton's 1989 'Pretending', on which he adds an eloquently layered solo.</p><p>Clapton would seem to be closest to his heart, but he sets out his stall with the fiery Jimmy Page penned 'Beck's Bolero', as he successfully emulates the latter's fiery intensity.</p><p>'Mainline Florida', mirrors Clapton's gradual conversion to the mainstream and the undoubted southern flavour is aided by the significant bv's of Russ Irwin.</p><p>Beck's 'Let Me Love You Baby' pushes Joe's vocal to the limit. He's smart enough not to attempt to emulate Rod Stewart's vocal grit on 'Plynth (Water Down the Drain)', but settles for exploring one of rock's greatest riffs which is well suited to his ability.</p><p>He's a precise player who is happiest when exploring concise notes and different tonal colours, rather than the strutting figure who tries manfully to reign in Zeppelin on 'How Many More Times.'</p><p>He immerses himself in Beck's 'Spanish Boots', and though the vocal is a bit thin he's got the safety net of Anton Fig's blustery support. He then reaches back to 1966 for Bluesbreaker Clapton's 'Double Crossing Time' which provides the most intense performance of the first set and reminds us that this really is the stuff that ignited a generation.</p><p>He eschews slide on Clapton's 'Motherless Children' and settles for a cleaner tone as he builds up a head of steam alongside Reese Wynans' organ. Then there's a humorous contextual intro to Cream's 'SWLABR', as the camera cleverly shifts from a wide shot to a close up of Bonamassa building up the intensity of the younger Clapton's licks.</p><p>The crowd is too far away to make a meaningful connection with the performer, but he cleverly draws them in with the subtle dynamics on Zeppelin's 'Tea For One.'</p><p>Not too many folks could have anticipated the clever segueing of his own 'Black Winter' (a rehash of The Yardbirds 'White Summer'), and 'Django'. The latter instrumental personifies his intricate instrumental work and it provides the quiet before the storm.</p><p>Zeppelin's 'How Many More Times' is almost a step too far, as Joe is caught between his love of bone crunching riffs and the vocal gravitas needed to deliver both the original song and a few lines from 'The Hunter'.</p><p>Happily his ballistic finish does enough to spark the communal flashback that his audience subconsciously came here for. 'British Blues Explosion Live' offers few surprises, but Bonamassa's focussed intensity and peerless technique gives him the right to update the genre.</p><p>The bonus material includes some footage of a tired looking JB in a Cavern T-shirt playing a bluesy version of George Harrison's 'Taxman', which is ironically filmed in black and white.</p><p>There's also an ad-hoc 'Brick in the wall' ceremony outside The Cavern in Liverpool, which offers us a snapshot of the capped Bonamassa far removed from his usual working clothes of suit and shades.</p><p>—<strong>Pete Feenstra</strong></p> |
| Joe Bonamassa | Royal Tea | <p>One of Joe Bonamassa's primary influences was Eric Clapton, so the idea behind Royal Tea makes some sense: he spends the 2020 album saluting British blues. This may seem like a distinction without a difference, since Bonamassa has never shied away from Zeppelin nods on his albums, but Royal Tea does indeed sound different than his other studio albums. Working with his longtime producer Kevin Shirley, the guitarist conjures the spirit of the Jeff Beck Group and Free, relying on heavy, churning riffs but also opening up the jams so there are elastic, soulful accents that help give the record a bit of period authenticity. Flourishes like swaths of wah-wahs on "I Didn't Think She Would Do It" and the crawling Fleetwood Mac atmosphere of "Beyond the Silence" evoke the album-rock era as much as the fuzz-chord stomp of the title track and the ominous bass-driven riff-rocker "Lookout Man." Bonamassa has plenty of opportunity to show his facility with synthesizing different classic guitarists -- there's a bit of Rory Gallagher and Peter Green to offset his Claptonisms -- but the best moment on Royal Tea is "A Conversation with Alice," a chiming bit of soul-pop where he channels the best moments of Steve Marriott.</p><p>— <strong>Stephen Thomas Erlewine </strong></p> |
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