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JOE BONAMASSAAs <strong>Joe</strong> <strong>Bonamassa</strong> grows his reputation as one of the world’s greatest guitar players, he is also evolving in<strong>to</strong> acharismatic blues-rock star and singer-songwriter of stylistic depth and emotional resonance. His ability <strong>to</strong>connect with live concert audiences is transformational, and his new album, Black Rock, brings that energy <strong>to</strong>his recorded music more powerfully than ever before. The tenth solo album and eighth studio release of hiscareer – as well as his fifth consecutive with producer Kevin Shirley (Led Zeppelin, Black Crowes, etc.) – thedisc adds an enlivening dose of ‘world’ vibes <strong>to</strong> <strong>Bonamassa</strong>’s virtuoso mix of ‘60s-era British blues-rock (à laBeck and Clap<strong>to</strong>n) and roots-influenced Delta sounds.The album was recorded at Black Rock Studios in San<strong>to</strong>rini, Greece. “With this album, we wanted <strong>to</strong> explore a‘world’ feeling, and this was the inspiration behind going <strong>to</strong> record in Greece and using some of the best Greekmusicians <strong>to</strong> add a little flavor <strong>to</strong> a couple of the tracks. But it’s by no means a ‘world’ album. We wanted <strong>Joe</strong>’susual youthful and energetic <strong>to</strong>nes <strong>to</strong> play alongside the worldly vibes of the Greek bouzouki and clarino,” saidShirley. <strong>Bonamassa</strong> adds, “It was the kind of record Kevin and I wanted <strong>to</strong> make. We needed <strong>to</strong> rock again a bitlike on my first album. It’s youthful, like going back <strong>to</strong> your childhood.” Throughout, <strong>Bonamassa</strong> is again backedby the stellar players Carmine Rojas (bass), An<strong>to</strong>n Fig, Bogie Bowles (both on drums) and Rick Melick(keyboards).2009 was a big year for <strong>Bonamassa</strong>. He was awarded the Breakthrough Artist of the Year Award at the U.K.’sprestigious Classic Rock Roll of Honour Awards and Classic Rock magazine has said, “They’re calling him thefuture of blues, but they’re wrong – <strong>Joe</strong> <strong>Bonamassa</strong> is the present; so fresh and of his time that he almostdefines it.” He was also named Best Blues Guitarist in Guitar Player Magazine’s 2009 Readers’ Choice Awardsfor the third consecutive year. Guitar Player writer Matt Blackett has said, “He’s an old soul, and that comesthrough in his bends, vibra<strong>to</strong>, singing voice, and note choices, which – which each passing year – get morerestrained and refined.”In May ’09, he played <strong>to</strong> a sold out crowd at London’s Royal Albert Hall, arguably the most prestigious concertvenue in the world. During the show, <strong>Bonamassa</strong>’s hero, Eric Clap<strong>to</strong>n, joined him on stage for a jointperformanceof Clap<strong>to</strong>n’s hit “Further On Up The Road.” London’s The Independent said about the show, “Theman has arrived, and t<strong>here</strong>’s no turning back.” Shortly after, <strong>Bonamassa</strong> released a 2-DVD live set – <strong>Joe</strong><strong>Bonamassa</strong> – Live From The Royal Albert Hall – which captures the night in full. Guitar Edge gave it five starsand also said, “It is the wallop of his emotional expression, fueled by the rocking energy he derives from thattrans-Atlantic connection and driven by his devastating technical ability, that elevates him about his peers andmakes him a certifiable blues guitar hero and the face of his blues generation.”Last year also coincided with <strong>Bonamassa</strong>’s twentieth year as a professional musician, an extraordinary timelinefor a young artist just in<strong>to</strong> his ’30s. A child prodigy, <strong>Bonamassa</strong> was finessing Stevie Ray Vaughan licks whenhe was seven and by the time he was ten, had caught B.B. King’s ear. After first hearing him play, King said,“This kid's potential is unbelievable. He hasn't even begun <strong>to</strong> scratch the surface. He's one of a kind.” By age12, <strong>Bonamassa</strong> was opening shows for the blues icon and went on <strong>to</strong> <strong>to</strong>ur with venerable acts including BuddyGuy, Foreigner, Robert Cray, Stephen Stills, <strong>Joe</strong> Cocker and Gregg Allman.<strong>Bonamassa</strong> reunites with King for a duet on Black Rock. The song they perform <strong>to</strong>gether is a rendition of theWillie Nelson-penned song, “Night Life,” which appeared on King’s 1967 album Blues Is King. Shirley saysabout the experience, “This is a rollicking S<strong>to</strong>nesy-vibe version of the Willie Nelson song on which B.B. duetswith <strong>Joe</strong>, both vocally and on his famous Lucille guitar. What a joy and an honor <strong>to</strong> work with the legend who ispossibly the pivot point and unifying musician between blues and rock.”Other tracks appearing on Black Rock include Jeff Beck’s “Spanish Boots,” a lively version of Leonard Cohen’spoetic “Bird On A Wire,” Otis Rush’s “Three Times A Fool,” as well as Bobby Parker’s “Steal Your Heart Away,”a song recommended by Robert Plant, who said Led Zeppelin rehearsed it in their earliest days. Also, Blind BoyFuller’s “Baby, You Gotta Change Your Mind,” John Hiatt’s “I Know A Place,” and James Clark’s “Look OverYonder’s Wall,” as well as the <strong>Bonamassa</strong>-penned originals “When The Fire Hits The Sea,” “Wandering Earth,”
“Athens To Athens,” and “Blue and Evil.”<strong>Bonamassa</strong>’s recording career began in the early ’90s with Bloodline, a hard-charging rock-blues group alsofeaturing Robby Krieger’s son Waylon and Miles Davis’ son Erin. His 2000 solo debut, A New Day Yesterday,was produced by the legendary Tom Dowd; <strong>Bonamassa</strong>’s rendering of the title track, originally a Jethro Tull hit,was called, “a jaw-dropping performance” by allmusic.com.His last studio album, The Ballad Of John Henry – with no shortage of its own jaw-dropping moments – debutedat #1 on the Billboard blues chart and stayed t<strong>here</strong> for six months. The album marks a more confessionalapproach <strong>to</strong> songcraft than he’s previously employed. “Making the first half of the album,” <strong>Bonamassa</strong> says, “Iwas in the happiest place I’d ever been in my life. The second half found me in completely the opposite state.I’ve come <strong>to</strong> the conclusion that experience makes for better art. I had more <strong>to</strong> say, and it’s the first time I’vepersonally opened up the book on my life.”Previous studio sets include 2007’s Sloe Gin, which debuted at #1 on Billboard’s blues chart and received a2008 nod for Album Of The Year from the Classic Rock Roll Of Honour Awards. Sloe Gin careens betweenheavy electric blues-rockers and acoustic, folk-etched cuts in a flow that <strong>Bonamassa</strong> says was partly inspired byRod Stewart’s classic 1969 solo debut LP. Modern Guitars Magazine wrote, “If calling Sloe Gin a <strong>Bonamassa</strong>sampler isn’t graphic enough, think of the album as a musical buffet in which unrelated entrees share a singletrait: they taste good.” The Bos<strong>to</strong>n Phoenix called it, “an elegant and brawny guitar-hero album.”In 2008, he released the 2-CD set Live From Now<strong>here</strong> In Particular, which Guitar Player said, “finds <strong>Joe</strong> playingwith soul, intensity and savage <strong>to</strong>nes.” It features 13 songs recorded live in concert on the artist’s 2007 NorthAmerican <strong>to</strong>ur – at shows like the one at New York’s Westhamp<strong>to</strong>n Beach Performing Arts Center reviewed forwww.hamp<strong>to</strong>ns.com by Lon S. Cohen: “In a thousand years, when archeologists dig out <strong>Joe</strong> <strong>Bonamassa</strong>'sguitar from the strata of the earth, it will still be smoking…He holds the guitar like a shotgun but what comes ou<strong>to</strong>f it is poetry, color, and a s<strong>to</strong>ry is <strong>to</strong>ld in notes.” A review of a show at Alexandria, VA’s Birchmere drew similarsentiments from writer Paul Roy on blogcritics.org: “I have flirted with the opinion that <strong>Bonamassa</strong> may be theoverall best guitarist on the planet these days, and after seeing him perform live again…I am now <strong>to</strong>tallycomfortable with that opinion. He is simply mesmerizing <strong>to</strong> watch.”<strong>Bonamassa</strong> circles the globe playing an average of 200 shows a year, and his mind-blowing guitar wizardry andelectrifying stage presence are selling out progressively larger venues all the time. The OC Register’s RobertKinsler has written, “Whether in a club or outdoors at a festival, something magnetic happens when <strong>Bonamassa</strong>steps <strong>to</strong> the front of the stage, leans his head back and simply lets loose.”Ongoing journeyman <strong>to</strong>uring is a given, and looking beyond Black Rock, <strong>Bonamassa</strong> will continue his recordingcollaboration with producer Kevin Shirley, who says, “It’s great working with <strong>Joe</strong> and seeing him enjoy thediscovery of all these places he can go. He’s an artist who can play anything, t<strong>here</strong> are so many facets <strong>to</strong> him.”<strong>Bonamassa</strong> adds, “Kevin comes up with fantastic ideas outside the box. He appreciates the blues, but pushesme, the only person besides Tom Dowd who’s done that.”On <strong>to</strong>p of <strong>to</strong>uring, recording and overseeing the independent label J&R Adventures with his entrepreneurialpartner and manager Roy Weisman, <strong>Bonamassa</strong> is a spokesperson for the Blues Foundation’s respected BluesIn The Schools program, volunteering his time during <strong>to</strong>urs <strong>to</strong> speak with groups of high school students aboutthe heritage of blues music – the first pure American music form. Recently, he was chosen by Channel One, thelargest in-school news network, <strong>to</strong> host an ongoing segment called “Know Your Roots with <strong>Joe</strong> <strong>Bonamassa</strong>” inwhich he traces the musical roots of Channel One’s weekly “Hear It Now” featured artist.And, 2010 has already started with a bang – Guitar World dubbed <strong>Bonamassa</strong> “The Blues Rock Titan” and hissong, “Lonesome Road Blues,” is a part of Guitar Hero V’s New Blues Masters Track Pack. Keeping with hisblues roots but fluently moving between rock n’ roll and international sounds, 2010 is not only a new decade buta new era for <strong>Bonamassa</strong>.For more information, log on <strong>to</strong>: www.jbonamassa.com
For Immediate Release:Contact: Erin Podbereski, Jensen Communications, 626-585-9575 or erin@jensencom.comBlues-Rock Star <strong>Joe</strong> <strong>Bonamassa</strong>’s New Album Black Rock Debuts At #1 On Billboard’sBlues Chart And #38 On Billboard’s Top 200 ChartLos Angeles, CA, March 31, 2010: Released March 23, Black Rock, the new album from blues-rock guitar hero<strong>Joe</strong> <strong>Bonamassa</strong>, debuted at #1 on Billboard’s Blues Albums Chart and #38 on Billboard’s Top 200 Chart, a hugeleap from 2009’s The Ballad of John Henry which debuted at #136 on the Top 200. Other Black Rock chartsuccess includes the #3 spot on the Independent Chart, #4 on the Internet Chart and #7 on the Rock Chart. Alsobouncing back in<strong>to</strong> the Blues Chart is Ballad at #2 and 2009’s <strong>Joe</strong> <strong>Bonamassa</strong>: Live From Royal Albert Hall at#10.Black Rock is <strong>Bonamassa</strong>’s tenth full-length solo studio album. Recorded at Black Rock Studios in San<strong>to</strong>rini,Greece and released on his own independent label, J&R Adventures, the album features thirteen tracks splitbetween <strong>Bonamassa</strong> originals and selections by songwriters including Bobby Parker, John Hiatt, Leonard Cohen,Jeff Beck, Otis Rush, Willie Nelson, James Clark and Blind Boy Fuller. It also includes a duet with B.B. King. Thisdisc continues <strong>Bonamassa</strong>’s collaboration with producer Kevin Shirley (Led Zeppelin, Aerosmith, Black Crowes).Already getting rave reviews, USA Today gave Black Rock 3.5 stars (out of 4) and called it “rock-solid blues,” TheVirginia-Pilot called it “amazing,” and Tower Records’ PULSE Magazine has named <strong>Bonamassa</strong> the “Next BigThing.”2009 and 2010 highlights include: The Breakthrough Artist of the Year Award at the U.K.’s prestigious ClassicRock Roll of Honour Awards; a duet with Eric Clap<strong>to</strong>n at <strong>Bonamassa</strong>’s sold-out Royal Albert Hall show; the title of“The Blues Rock Titan from Guitar World,” and a song on Guitar Hero V’s New Blues Masters Track Pack. Laterthis year, <strong>Bonamassa</strong> will play Clap<strong>to</strong>n’s Crossroads Festival.<strong>Bonamassa</strong> has also formed a new all-star band with Jason Bonham (Led Zeppelin, Foreigner) on drums, DerekSherinian (Dream Theater, Billy Idol, Alice Cooper) on keyboards, Glenn Hughes (Deep Purple, Trapeze) on bassand vocals. <strong>Bonamassa</strong> will be on guitar and vocals. The band is currently in the studio cutting tracks for anupcoming album <strong>to</strong> be released in late 2010 or early 2011.<strong>Bonamassa</strong> recently embarked on the first leg of his 2010 Tour which takes him <strong>to</strong> the U.S., U.K., Europe,Australia, Japan and Russia.For more information and <strong>latest</strong> <strong>to</strong>ur itinerary, visit www.jbonamassa.com###
For Immediate Release:Contact: Erin Podbereski, Jensen Communications, 626-585-9575 or erin@jensencom.comBlues-Rock Star <strong>Joe</strong> <strong>Bonamassa</strong>’s New Solo Album Black Rock Is Set For Release On March 23,2010 On The Artist’s Own J&R Adventures Label<strong>Bonamassa</strong> Will Be On The Road In The U.S., U.K., Europe, Russia, Japan and Australia Throughout 2010Los Angeles, CA, January XX, 2010: Just awarded the Breakthrough Artist of the Year Award at the U.K.’sprestigious Classic Rock Roll of Honour Awards, blues-rock guitar hero and singer-songwriter <strong>Joe</strong> <strong>Bonamassa</strong> isset <strong>to</strong> release his tenth full-length solo album, Black Rock, on March 23, 2010. <strong>Bonamassa</strong>’s sixth release on hisown J&R Adventures imprint, the disc re-teams him with producer Kevin Shirley (Black Crowes, Aerosmith, LedZeppelin), who most recently produced 2009’s The Ballad of John Henry, which debuted at #1 on Billboard’sBlues Chart in February of last year. The album release will be followed by a multi-country <strong>to</strong>ur taking <strong>Bonamassa</strong><strong>to</strong> the U.S., U.K., Europe, Russia, Japan and Australia.The album was recorded at, and named for, Black Rock Studios in San<strong>to</strong>rini, Greece. “With this album, wewanted <strong>to</strong> explore a ‘world’ feeling, and this was the inspiration behind going <strong>to</strong> record in Greece and using someof the best Greek musicians <strong>to</strong> add a little flavor <strong>to</strong> a couple of the tracks. But it’s by no means a ‘world’ album.We wanted <strong>Joe</strong>’s usual youthful and energetic <strong>to</strong>nes <strong>to</strong> play alongside the worldly vibes of the Greek bouzoukiand clarino,” said Shirley. <strong>Bonamassa</strong> adds, “It was the kind of record Kevin and I wanted <strong>to</strong> make. We needed <strong>to</strong>rock again a bit like on my first album. It’s youthful, like going back <strong>to</strong> your childhood.”<strong>Joe</strong> <strong>Bonamassa</strong> has signed up blues legend B.B. King for a duet on his new album. The song they will perform<strong>to</strong>gether is a rendition of the Willie Nelson-penned song, “Night Life,” which appeared on King’s 1967 album BluesIs King. Shirley says about the experience, “This is a rollicking S<strong>to</strong>nesy-vibe version of the Willie Nelson song onwhich B.B. King duets with <strong>Joe</strong>, both vocally and on his famous Lucille guitar. What a joy and an honor <strong>to</strong> workwith the legend who is possibly the pivot point and unifying musician between blues and rock.”Other tracks appearing on Black Rock include Jeff Beck’s “Spanish Boots,” Leonard Cohen’s poetic “Bird On AWire,” Otis Rush’s “Three Times A Fool,” Bobby Parker’s “Steal Your Heart Away,” Blind Boy Fuller’s “Baby, YouGotta Change Your Mind,” John Hiatt’s “I Know A Place,” and James Clark’s “Look Over Yonder’s Wall,” as wellas the originals “When The Fire Hits The Sea,” “Wandering Earth,” “Athens To Athens,” and “Blue and Evil.”2009 was a big year for <strong>Bonamassa</strong> which saw him play <strong>to</strong> a sold out crowd at London’s Royal Albert Hall,arguably the most prestigious concert venue in the world. Adding <strong>to</strong> the excitement, Eric Clap<strong>to</strong>n joined him onstage for a joint-performance of Clap<strong>to</strong>n’s hit “Further On Up The Road.” Shortly after, <strong>Bonamassa</strong> released a 2-DVD live set – <strong>Joe</strong> <strong>Bonamassa</strong> – Live From The Royal Albert Hall – which captures the night in full for posterity,and for all the fans that couldn’t be among the roughly 5,000 concertgoers filling the seats.Last year also marked <strong>Bonamassa</strong>’s twentieth year as a professional musician, a huge achievement for aperformer just in<strong>to</strong> his 30s. Recently, he was named Best Blues Guitarist in Guitar Player Magazine’s 2009Readers’ Choice Awards for the third consecutive year. He is a spokesperson for the Blues Foundation’srespected Blues In The Schools program, volunteering his time during <strong>to</strong>urs <strong>to</strong> speak with groups of high schoolstudents about the first pure American music form. Recently, he was chosen by Channel One, the largest inschoolnews network, <strong>to</strong> host an ongoing segment called “Know Your Roots with <strong>Joe</strong> <strong>Bonamassa</strong>” in which hetraces the musical roots of Channel One’s weekly “Hear It Now” featured artist.And, 2010 has already started with a bang – Guitar World dubbed <strong>Bonamassa</strong> “The Blues Rock Titan” and hissong, “Lonesome Road Blues,” is a part of Guitar Hero V’s New Blues Masters Track Pack. Keeping with hisblues roots but fluently moving between rock n’ roll and international sounds, 2010 is not only a new decade but anew era for <strong>Bonamassa</strong>.For more information and updated <strong>to</strong>ur schedule, visit www.jbonamassa.com###
In S<strong>to</strong>res 3/23/10Orders due by 2/26/10jbonamassa.comJust awarded the Breakthrough Artist of the Year Award at the U.K.’s prestigious Classic Rock Roll of Honour Awards, blues-rock guitar hero and singer-songwriter<strong>Joe</strong> <strong>Bonamassa</strong> is set <strong>to</strong> release his tenth full-length solo album, BLACK ROCK, on March 23, 2010.This album was recorded at, and named for, Black Rock Studios in San<strong>to</strong>rini, Greece. “With this album, we wanted <strong>to</strong> explore a ‘world’ feeling, and this was the inspirationbehind going <strong>to</strong> record in Greece and using some of the best Greek musicians <strong>to</strong> add a little flavor <strong>to</strong> a couple of the tracks. But it’s by no means a ‘world’ album.We wanted <strong>Joe</strong>’s usual youthful and energetic <strong>to</strong>nes <strong>to</strong> play alongside the worldly vibes of the Greek bouzouki and clarino,” said producer Kevin Shirley. <strong>Bonamassa</strong> says,“It was the kind of record Kevin and I wanted <strong>to</strong> make. We needed <strong>to</strong> rock again a bit like on my first album. I wrote the whole thing t<strong>here</strong>.”Also <strong>Joe</strong> signed up Blues legend B.B. King for a duet on his new album. The song they perform <strong>to</strong>gether is a rendition of the Willie Nelson-penned song, “Night Life,”which appeared on King’s 1967 album BLUES IS KING. Shirley says about the experience, “This is a rollicking S<strong>to</strong>nesy-vibe version of the Willie Nelson song on whichB.B. King duets with <strong>Joe</strong>, both vocally and on his famous Lucille guitar. What a joy and an honor <strong>to</strong> work with the legend who is possibly the pivot point and unifyingmusician between Blues and Rock.”Other tracks appearing on BLACK ROCK include Jeff Beck’s “Spanish Boots,” Leonard Cohen’s poetic “Bird On A Wire,” Otis Rush’s “Three Times A Fool,” Bobby Parker’s“Steal Your Heart Away,” Blind Boy Fuller’s “Baby, You Gotta Change Your Mind,” John Hiatt’s “I Know A Place,” and James Clark’s “Look Over Yonders Wall,”as well as the originals “When The Fire Hits The Sea,” “Quarryman's Lament,” “Wandering Earth,” “Athens To Athens,” and “Blue and Evil.”TRACKLISTING:01. Steal Your Heart Away (Bobby Parker)02. I Know A Place (John Hiatt)03. When The Fire Hits The Sea (<strong>Joe</strong> <strong>Bonamassa</strong>)04. Quarryman's Lament (<strong>Joe</strong> <strong>Bonamassa</strong>)05. Spanish Boots (Jeff Beck, Rod Stewart, Ron Wood)06. Bird On A Wire (Leonard Cohen)07. Three Times A Fool (Otis Rush)08. Night Life (Willie Nelson, Walter Breeland, and Paul Buskirk)***WITH SPECIAL GUEST BB KING***09. Wandering Earth (<strong>Joe</strong> <strong>Bonamassa</strong>)10. Look Over Yonders Wall (James Clark)11. Athens To Athens (<strong>Joe</strong> <strong>Bonamassa</strong>)12. Blue And Evil (<strong>Joe</strong> <strong>Bonamassa</strong>)13. Baby You Gotta Change Your Mind (Blind Boy Fuller)MARKETING HIGHLIGHTS:• A <strong>Joe</strong> <strong>Bonamassa</strong> special feature is in the 2010 February issue of Guitar World as well as beingfeatured in every National Guitar Magazine including Guitar Player, Guitar Edge, Premier Guitar,Classic Rock Magazine, Guitarist, Vintage Guitar, Blues Matter, and Blues Revue.• National Radio Station "Planet Rock" broadcast in the UK has given <strong>Joe</strong> his own weekly Radio Show- An hour w<strong>here</strong> <strong>Joe</strong> plays his favorite Rock and Blues Records.• Represented by the William Morris Agency, performing over 150 shows a year,world wide including Japan, Australia, Russia, etc.• Channel One, The largest in-school TV News Network, has chosen <strong>Joe</strong> <strong>to</strong> be their Music NewsCorrespondent, informing over 6 million U.S. High School students about the roots and his<strong>to</strong>ry ofpopular music <strong>to</strong>day.• <strong>Bonamassa</strong> donates his time regularly as the foremost Spokesperson of the "Blues in the Schools" program<strong>to</strong> educate the next generation of music lovers on the heritage of blues music and roots of popular music <strong>to</strong>day.• Official Board Member of the Guitar Center Music Foundation, a non-profit organization that is committed <strong>to</strong>putting instruments back in<strong>to</strong> schools.• Airplay on AAA radio stations and Specialty Blues Radio shows.• Funds available for Co-op advertising at retail.ARTIST: <strong>Joe</strong> <strong>Bonamassa</strong> • TITLE: Black Rock • SELECTION #: PRAR92023UPC: 804879202325 • PRICE CODE: C17 • BOX LOT: 30 • FORMAT: Compact DiscPACKAGE: CD Jewel Box • FILE UNDER: JOE BONAMASSA • GENRE: Rock
Printhttp://www.gibson.com/en%2Dus/Print/?PrintAliasPath=/en-us/Lifestyle/...1 of 3 4/14/2010 3:40 PMAidin Vaziri | 03.22.2010<strong>Joe</strong> <strong>Bonamassa</strong> has already established himself as a national treasure on the American blues-rock scene. Withhis <strong>latest</strong> album, Black Rock, the one-time prodigy is going global. Recorded in Greece, <strong>Bonamassa</strong>’s tenthstudio release brings a Mediterranean flavor <strong>to</strong> his intricate compositions as well as distinctive covers of JeffBeck’s “Spanish Boots,” Leonard Cohen’s “Bird On A Wire” and Bobby Parker’s “Steal Your Heart Away.”Even though he’s only 32, this year <strong>Bonamassa</strong> is celebrating two decades as a working musician (one of hisvery first gigs as a young guitar prodigy was opening for BB King). Last year the readers of Guitar Playermagazine named him Best Blues Guitarist for the third time running. He played <strong>to</strong> a capacity crowd atLondon’s Royal Albert Hall, w<strong>here</strong> Eric Clap<strong>to</strong>n joined him onstage for a performance of “Further On UpThe Road.” His last album, The Ballad of <strong>Joe</strong> Henry, debuted in the No. 1 position on Billboard’s BluesChart.Meanwhile, retailers around the country quickly sold out of all copies of the Gibson Cus<strong>to</strong>m Shop Inspired By<strong>Joe</strong> <strong>Bonamassa</strong> Les Paul Gold Tops.<strong>Bonamassa</strong> is looking at another eventful year with the arrival of Black Rock. He’s already in the middle of aworld <strong>to</strong>ur and anticipating the first album by his yet-<strong>to</strong>-be-named supergroup with bassist Glenn Hughes(Deep Purple, Black Sabbath), drummer Jason Bonham (Led Zeppelin, Foreigner) and keyboardist Derek
Printhttp://www.gibson.com/en%2Dus/Print/?PrintAliasPath=/en-us/Lifestyle/...2 of 3 4/14/2010 3:40 PMSherinian (Dream Theater, Billy Idol).We somehow managed <strong>to</strong> steal away a few minutes with the fast-talking guitarist <strong>to</strong> get up <strong>to</strong> speed on hishectic schedule, cover choices and his multitasking abilities.I’m glad you said your name when we were introduced because sometimes I have real trouble with it.So do I.I’m sure you’ve confused a couple of the guys responsible for putting the letters up outside rock clubmarquees.You’re assuming we play rock clubs. We play theaters and performing arts centers so the spelling is usuallypretty good.You’re pretty much <strong>to</strong>uring for the rest of the year. Don’t you get exhausted just looking at youritinerary?I <strong>to</strong>ur constantly. We never really s<strong>to</strong>p. If I didn't enjoy this I wouldn't do it. For me, we don't need a record <strong>to</strong>go <strong>to</strong>ur. We just <strong>to</strong>ur. I'm excited. We've had a good run of shows. We're playing sold out shows. Theaudiences are great. What’s t<strong>here</strong> <strong>to</strong> complain about?It’s pretty impressive that you’ve built this up over 20 years without having <strong>to</strong> sell out.It's a means <strong>to</strong> an end. The fact that you don't compromise what you do actually brings you fans. We have areputation of making albums that mean something <strong>to</strong> people. That really helps us. We don't care about singles.We don't care about the traditional ways of doing things. My manager and I have figured out a way <strong>to</strong> surviveand now we've come out the other side.Having done this for so long, do you ever feel jaded?I learn something new every day. If I can do that then I'm happy. I try <strong>to</strong> stay humble. Every day is a learningexperience out <strong>here</strong>. T<strong>here</strong>'s no absolutions. One day is one set of parameters, the next day is different. If youthink short term then you're never going <strong>to</strong> survive.So how did you pick the cover songs for Black Rock?Robert Plant suggested ‘Steal Your Heart Away.’ ‘Bird On A Wire’ was my producer Kevin Shirley's idea. Iwanted <strong>to</strong> have my Freddie King moment. So the covers ideas came from all kinds of different places.I’m curious how Robert Plant sold you on that song.He didn't have <strong>to</strong> sell me on anything. It was just a great idea.Did you feel like you were taking a risk by giving ‘Bird On A Wire’ a Mediterranean arrangement?I can't sound like Leonard Cohen. I can't play that version. I'm not any of those guys. I'm not out t<strong>here</strong> trying<strong>to</strong> slug it out with them. I just do the version I like. I play the music I like and I do it for the right reason.What about the Jeff Beck track – was it intimidating taking on ‘Spanish Boots’?No, because it's a different version. I look at it as interpreting. It's a different version. We extended the jam atthe end. To me, it's entirely different.
Printhttp://www.gibson.com/en%2Dus/Print/?PrintAliasPath=/en-us/Lifestyle/...3 of 3 4/14/2010 3:40 PMWhat’s going on with your supergroup with Glenn Hughes, Jason Bonham and Derek Sherinian? Doyou have a name yet?Can't talk about the name because it just gets you in<strong>to</strong> trouble, as we found out. We finished the album. It justneeds <strong>to</strong> be mixed and put <strong>to</strong>gether. It's a massive rock record. We all get <strong>to</strong> play our rock bits. It’s good fun.And it's a good gang of characters.Do you always have so many things going on? I mean, you have this solo record <strong>to</strong> promote. Why takeon another project?I haven't been in a band in almost 20 years. I just did that because it would be fun <strong>to</strong> do and the opportunity<strong>to</strong> do that doesn't come up every day. I have a pretty good day job so this is just like playing with your friendsfor fun.What guitars are you on the road with right now?I'm basically using my Les Paul, a 1973 Gibson 355, Firebird, Flying V and old Les Paul Cus<strong>to</strong>m I found inmy s<strong>to</strong>rage.That’s quite a haul.It's part of the spectacle <strong>to</strong> go through eight or nine guitars. People like <strong>to</strong> see that and I like <strong>to</strong> give the peoplewhat they want.
JOE BONAMASSABlack RockProvogue PRD7300 2Ten albums in<strong>to</strong> his career, <strong>Joe</strong> <strong>Bonamassa</strong>was recently given the Breakthrough ArtistOf The Year Award at Classic Rock mag'sannual awards bash so, clearly, pluggingaway for years can sometimes payoff.<strong>Joe</strong> can now fill the Royal Albert Hall, sohe's doing OK in a market which is, let'sface it, an increasingly minority taste. BlackRock expands his horizons by delving in<strong>to</strong>world music. with his middle-eastern takeon Lenny Cohen's 'Bird On A Wire' workingparticularly well, and the choice of BB Kingas a duet partner on Willie Nelson's 'NightLife' is inspired. Hell, just ten albums moreand this chappie could be almost half asfamous as The Rolling S<strong>to</strong>nes. 1BkSound Quality: 89%Hi Fi MewS78 I www.hifinews.co.uk I MAY 2010- 100
::music<strong>Bonamassa</strong>’s ‘Black Rock’By Barbara Schultz<strong>Joe</strong> <strong>Bonamassa</strong> has built his career on the foundationlaid by white blues/rock guitar legendslike Stevie Ray Vaughan and Eric Clap<strong>to</strong>n. He fellin love with this music very early in life—grabbedhis first guitar at age 4, and was landing gigs nearhis home in upstate New York by age 12. Oftenassociated with other guitar prodigies such asJohnny Lang and Eric Johnson, <strong>Bonamassa</strong> hasdeveloped a style that incorporates numerousblues idioms—a bit of Elmore James, a <strong>to</strong>uch ofB.B. King, etc.—but owes more <strong>to</strong> rock interpreterslike Jimmy Page and Jimi Hendrix.So <strong>Bonamassa</strong> is very well matched withhis longtime engineer/producer Kevin Shirley,who has wrangled seminal performancesfrom guitar bands like Aerosmith, BlackCrowes, Silverchair, Iron Maiden and Journey.Shirley, who says his clients have affectionatelydescribed him as “a nice guy, bu<strong>to</strong>ne of the most bull-headed producers youcould hope <strong>to</strong> meet,” knows how <strong>to</strong> capturewild guitars; he also knows he’ll get morecompelling performances from artists if hekeeps stirring things up.“This is our sixth project <strong>to</strong>gether,” Shirleysays. “When we started recording <strong>to</strong>gether wayback when, one of the tenets of our working relationshipwas that we were going <strong>to</strong> push theboundaries. I recognize w<strong>here</strong> <strong>Joe</strong>’s roots are,but we were going <strong>to</strong> take the blues <strong>to</strong> differentplaces. So over the years, we’ve gone swampy,we’ve gone eclectic; in our conversations, we’verecognized that t<strong>here</strong> are different blues genres:Memphis versus Chicago, Delta blues, Appalachianmusic, New Orleans, and it’s all related—even back <strong>to</strong> Celtic music. We’ve always wanted<strong>to</strong> explore blues around the world and see howall that fitted in.”So Shirley saw a great opportunity when afriend, studio owner/engineer Kostas Kalimer-is, mentioned that he was building Black Rock,a brand-new studio/villa in spectacular San<strong>to</strong>rini,Greece. Crystal-blue sea, his<strong>to</strong>ric architecture,a wealth of cultural/musical possibilitiesand a brand-new SSL 9080 J–based studio designedby Roger D’Arcy of Recording Architecture.It probably wasn’t <strong>to</strong>o <strong>to</strong>ugh for Shirley<strong>to</strong> convince <strong>Bonamassa</strong> <strong>to</strong> bring his band <strong>to</strong>Greece <strong>to</strong> record a new album.One of Shirley’s trademarks is that he insistson a lot of pre-production so that in-studioperformances can happen quickly and be capturedin the moment. Shirley helped preparefor <strong>Bonamassa</strong>’s sessions at Black Rock by auditioningYouTube videos that Kalimeris sent;he was able <strong>to</strong> choose a handful of Greek musiciansand line them up before bringing <strong>Bonamassa</strong>and his bandmembers <strong>to</strong> San<strong>to</strong>rini.Arriving while Kalimeris and his staff werestill putting the finishing <strong>to</strong>uches on the studio,Shirley and the bandmembers enjoyed t<strong>here</strong>sidential facility’s hospitality and daily dips inthe Aegean Sea, while <strong>Bonamassa</strong> sequesteredhimself <strong>to</strong> write new material. Then Shirley ar-ranged some front-porch-style sessions withjust <strong>Bonamassa</strong> and the Greek musicians he’dselected.“The first thing we did was have a sessionwith these two Greek guys, Thanasis Vasilopouloson clarino and Manolis Karadinis on bouzouki,”Shirley says. “Neither of them spokeEnglish, and it was an interesting way of gettingthe music going. We actually recorded one tracksitting outside on the patio outside the studio.At night it’s so quiet t<strong>here</strong>, the recording wasbeautiful. These were different elements thatwe introduced in<strong>to</strong> <strong>Joe</strong>’s sound.”Kalimeris, the studio owner, also foundthose sessions particularly memorable: “Thatnight was so peaceful, it made the recording reallyunique,” he recalls. “The vibe from everybodywas fun and experimental.”The introduction of folk instruments is especiallyeffective in <strong>Bonamassa</strong>’s cover of LeonardCohen’s inspiring “Bird on a Wire”—a songthat’s been recorded by singular artists such asJohnny Cash and <strong>Joe</strong> Cocker, but <strong>Bonamassa</strong>makes it his own.Shirley, who records all of his projects live,also <strong>to</strong>ok <strong>Bonamassa</strong> out of his guitar comfort42 MIX JANUARY 2010 I WWW.MIXONLINE.COM
::musicjoe bonamassazone on this album: “Normally, <strong>Joe</strong> plays a LesPaul guitar, but on this album I wanted <strong>to</strong> try <strong>to</strong>challenge him, so I asked him <strong>to</strong> put away hisbeloved Les Paul and we recorded with him playinga Telecaster and an amplifier and nothingbetween them. Then I just I dangled a [ShureSM] 57 over the speaker, just trying <strong>to</strong> get an edgierlive feeling. After five or six days of that, wewent back <strong>to</strong> <strong>Joe</strong>’s comfort zone; we put up thehuge stacks and miked them up properly withRehearsing outside at Black Rock, L-R: <strong>Joe</strong> <strong>Bonamassa</strong> (guitar),Manolis Karadinis (bouzouki), Rick Melick (keyboards),Thanasis Vasilopoulos (clarino)a 57 and the Beyer 201 and a Royer R121 and aNeumann 67 back in<strong>to</strong> the room <strong>to</strong> give it a littlebit of ambience.”Shirley’s mixing process, done this timeon the SSL console and listening through KRKVXT6s, also seems <strong>to</strong> be part and parcel of recordinglive: “We don’t mix separately,” he says. “I alwaysmix as I go, and my rough mixes are whatmake the album. I feel that when it’s coming offthe console, you’re right t<strong>here</strong>, in<strong>to</strong> the music,and you’re aware of the minutiaewhen you’re that close <strong>to</strong> it. Whenyou wait until four weeks later, it’s,‘Why did we put that guitar part inagain? I know I had a good ideaat the time.’ The rough mixes reallycapture the way we heard thesong.”<strong>Bonamassa</strong> and friends wereso happy with what they heard atBlack Rock that they named theiralbum after the studio. Black Rock,the album, comes out March 9,2010, on <strong>Bonamassa</strong>’s own J&RAdventures label, and he andShirley plan <strong>to</strong> return <strong>to</strong> Greece <strong>to</strong>record a follow-up next year.<strong>Bonamassa</strong> playing a Resona<strong>to</strong>r Dulcimer“I love the studio; it’s absolutely the mostcreative studio I’ve ever been in,” Shirley says.“T<strong>here</strong>’s all this traditional Greek architecturewith concrete, concave ceilings. Once you’re insidethese things, you get this amazing resonanceand explosion of sound, which is a little uncontrollable,but it’s fantastic. And staying in theplace and being able <strong>to</strong> go in at 7 a.m. or comingback after dinner and cutting a track at 11 or 12 atnight—it’s a wonderful environment <strong>to</strong> be able<strong>to</strong> do that.” 44 MIX JANUARY 2010 I WWW.MIXONLINE.COM
JOE BONAMASSALIVE FROM THEROYAL ALBERT HALLWhen <strong>Joe</strong> <strong>Bonamassa</strong> <strong>to</strong>ok the stage at Royal Albert Hall in May 2009, he fulfilled a dreamhe’d held since first picking up a guitar as a kid in upstate New York. The sold-out concert —fresh off the release of his #1 album THE BALLAD OF JOHN HENRY — marked <strong>Bonamassa</strong>’sheadlining debut at arguably the most prestigious concert venue in the world. “May 4, 2009was a day 20 years in the making,” says <strong>Bonamassa</strong>. “I have never been so honored in mylife. It was truly larger than the sum of its parts.”The two decades he’s referring <strong>to</strong> began when — at age 12 — he first opened for blues iconB.B. King, who said, “this kid’s potential is unbelievable.” King’s words are as fitting <strong>to</strong>dayas they were then. <strong>Bonamassa</strong> averages 200 shows every year, and with each gig, he comesmore in<strong>to</strong> his own as a virtuoso and a vocalist. At the Hall, <strong>Bonamassa</strong> had the added honorof being joined onstage by the legendary Eric Clap<strong>to</strong>n. The Times of London cited <strong>Joe</strong>’s “searingexcellence and showmanship,” and Planet Rock said, “The sight of two of the world’s bestguitarists trading solos was more than a little thrilling.”DVD 11. Django2. The Ballad Of John Henry3. So It's Like That4. Last Kiss5. So Many Roads6. S<strong>to</strong>p!7. Further On Up The Road8. High Water Everyw<strong>here</strong>9. Sloe GinDVD 21. Lonesome Road Blues2. Happier Times3. Your Funeral My Trial4. Blues Deluxe5. S<strong>to</strong>ry Of A Quarryman6. The Great Flood7. Just Got Paid8. Mountain Time9. Asking Around For YouDVD Extras1. Woke Up Dreaming 2. <strong>Joe</strong> <strong>Bonamassa</strong> InterviewArtist: <strong>Joe</strong> <strong>Bonamassa</strong>Title: Live From The Royal Albert HallSelection #: PRAR91440UPC: 804879144090Price Code: D24Box Lot: 30Format: DVD + Bonus DVDPackage: DVD DigipakFile Under: JOE BONAMASSAGenre: Rock2 DISCDVD DIGIPAKFEATURING A SPECIALGUEST APPEARANCE BYERIC CLAPTON!In S<strong>to</strong>res 9/29/09Orders due by 9/4/09jbonamassa.comThis Double DVD set, which also features an exclusive interview and behind-the-scenesfootage with <strong>Bonamassa</strong>, presents that magical night in full — for posterity, and for all thefans that couldn’t be among the roughly 5,000 concertgoers filling the seats. The twelvecamerahigh definition, surround sound shoot was produced by <strong>Bonamassa</strong>’s longtimecollabora<strong>to</strong>r Kevin Shirley.“<strong>Joe</strong> <strong>Bonamassa</strong> is a big star amongst his peers,” says Shirley, “garnering awards andmagazine covers all around the globe. While he has a devoted audience that’s growingworldwide, his rejection of major label deals in favor of paving his own musical path has leftthe mainstream somewhat unfamiliar with his extensive reper<strong>to</strong>ire and skill. However, thisincredible performance — featuring <strong>Joe</strong> accompanied by an incredible band in addition <strong>to</strong>guest appearances by Eric Clap<strong>to</strong>n and Paul Jones — will put an end <strong>to</strong> that. Directed bygroundbreaking filmmakers Sam Dunn and Scot McFadyen, this concert experience willbecome the benchmark for the genre. But pigeonhole <strong>Bonamassa</strong> at your peril—sure, theblues is the anchor, but this virtuoso refuses <strong>to</strong> play inside the box. Any box. Enjoy!"MARKETING HIGHLIGHTS Numerous recent Guitar Magazine Cover s<strong>to</strong>ries including Guitar Player MagazineApril 2009, Guitarist February 2009 and upcoming Cover feature in Guitar EdgeMagazine confirmed for November 2009. <strong>Joe</strong> has also been featured in Guitar World,Vintage Guitar, Blues Matters, Blues Revue and Elmore Magazine. National Promotional Relationship with Guitar Center in their Nationwide guitarcontest "KING OF THE BLUES". <strong>Joe</strong> will conclude the grand finale with a full show inLos Angeles for Guitar Center in November. More information at:www.guitarcenter.com/kingoftheblues In Support for the DVD Release, <strong>Joe</strong>'s US Tour runs Oc<strong>to</strong>ber 15th - November 12thacross the country. Represented by William Morris Endeavor Entertainment, <strong>Joe</strong>performs over 150 shows a year, worldwide. Foremost Spokesperson of the "Blues in the Schools" program educating andentertaining the next generation of Music lovers across the country. Current Radio Promotion on AAA, ROCK, and Specialty Blues Formats Funds available for Co-op Advertising at retail.
For Immediate Release:Contact: Erin Podbereski, Jensen Communications, 626-585-9575 or erin@jensencom.comBlues Rock Star <strong>Joe</strong> <strong>Bonamassa</strong>’s Live Concert DVD, <strong>Joe</strong> <strong>Bonamassa</strong> – Live From The RoyalAlbert Hall, Debuts at #6 on Billboard’s Top Music DVD Chart and #10 on Billboard’s BluesAlbum ChartThe Ballad of John Henry, released in February 2009, jumps back in<strong>to</strong> the Billboard Blues Album Chart at #12Los Angeles, CA, Oc<strong>to</strong>ber 14, 2009: Award-winning blues rock star, guitar hero and singer-songwriter <strong>Joe</strong> <strong>Bonamassa</strong>’snew release, <strong>Joe</strong> <strong>Bonamassa</strong> – Live From The Royal Albert Hall, a 2-DVD live set, just made a #6 debut on BillboardMagazine’s Top Music DVD Chart. The film, released on Oc<strong>to</strong>ber 6 by <strong>Bonamassa</strong>’s record company J&R Adventures,captures the intensity and excitement of the May 2009 show that marked <strong>Bonamassa</strong>’s headlining debut at arguably themost prestigious concert venue in the world. “May 4, 2009 was a day 20 years in the making,” says <strong>Bonamassa</strong>. “I havenever been so honored in my life. It was truly larger than the sum of its parts.”<strong>Bonamassa</strong> averages 200 shows every year, and with each gig, he comes more in<strong>to</strong> his own as a virtuoso and a vocalist.At the Hall, <strong>Bonamassa</strong> had the added honor of being joined onstage by the legendary Eric Clap<strong>to</strong>n. The Guitar Buzzcalls it, “A must-have DVD for any <strong>Joe</strong> <strong>Bonamassa</strong> fan and frankly, any person who plays the guitar and appreciatesinstrumental mastery at work. <strong>Joe</strong> <strong>Bonamassa</strong> is <strong>to</strong> the guitar what Liberace was <strong>to</strong> the piano. He’s a 6-string maestro.”And Brian D. Holland writes in Guitar International, “It’s not only a momen<strong>to</strong>us occasion for <strong>Joe</strong> <strong>Bonamassa</strong>, it’s one forbluesrock in general.”This double DVD set, which also features an exclusive interview and behind-the-scenes footage with <strong>Bonamassa</strong>,presents that magical night in full—for posterity, and for all the fans that couldn’t be among the roughly 5,000concertgoers filling the seats. The twelve-camera high definition, surround sound shoot was produced by Kevin Shirley(Led Zeppelin, Black Crowes, Aerosmith).The one-night-only show was in support of his #1 Billboard album, The Ballad Of John Henry, released on <strong>Bonamassa</strong>’sJ&R Adventures label earlier this year. On the tails of the DVD release, the album jumped back in<strong>to</strong> the Billboard BluesAlbum Chart at #12. The ninth full-length solo release and seventh studio album of his career marked <strong>Bonamassa</strong>’s thirdcollaboration with Shirley as producer.Almost always playing <strong>to</strong> sold-out and ever-larger houses, <strong>Bonamassa</strong> regularly draws accolades for his livemusicianship. The Washing<strong>to</strong>n Post’s Mike Joyce cites his, “Wicked guitar thrills” and British journalist Pete Feenstrawrote of a BBC Live performance, that, “he is both as eloquent and learned about the music he plays as he is technicallybrilliant.” Guitar icon Ted Nugent has said, “This kid deserves <strong>to</strong> be in the same class with Stevie Ray F*&cking Vaughanand Jimi Hendrix and Jeff Beck.” British Beatles promoter Sam Leach compared the first time he saw him <strong>to</strong> his initialglimpse of the Fab Four– “I got that same feeling of excitement…<strong>Joe</strong> is the premiere Blues/Rock artist on the planet.”As he heads back <strong>to</strong> the road, <strong>Bonamassa</strong> remains infinitely passionate about playing live and connecting with hisaudiences, something evident in comments like Paul Roy’s for the recurring Blues Bash feature on Blogcritics.org: “<strong>Joe</strong> isnot only one of the world's best guitar players, but he is also one of the most charismatic and down <strong>to</strong> earth performers inthe business…I would get out and see this guy the first chance you get.”For more information and updated <strong>to</strong>ur schedule, visit www.jbonamassa.com###
BLOG CRITICS - Paul Roy - Oct 25, 2009<strong>Joe</strong> <strong>Bonamassa</strong> began his professional career twenty years ago, on November 11th, 1989, whenhe played his first gig at The Metro club, in Utica, New York. He humorously describes thatnight in the liner notes of the DVD booklet: "After the show I was not able <strong>to</strong> bask in the glory ofa job well done, nor was I able <strong>to</strong> chat it up with the ladies that night. I was rushed out of thebuilding Elvis-style in<strong>to</strong> a running powder-blue metallic 1988 Pontiac Bonneville by my motherbecause bed time was 9:30 PM on a school night."Did I mention he was twelve years old at the time?Playing the Royal Albert Hall fulfilled a lifelong dream for <strong>Joe</strong> <strong>Bonamassa</strong>. His career path wassettled the day his dad played him Cream's Farewell Concert video (also recorded at the AlbertHall), and the young five-year-old was mesmerized by what Eric Clap<strong>to</strong>n was doing on theguitar. On May 4th, 2009 at this same s<strong>to</strong>ried music hall, the circle would be completed whenClap<strong>to</strong>n passed the <strong>to</strong>rch <strong>to</strong> the new blues-rock guitar "god" of the world - one Mr. <strong>Joe</strong><strong>Bonamassa</strong>.<strong>Bonamassa</strong> is one of those musicians that I will go <strong>to</strong> see play every time he comes <strong>to</strong> my area.Two or three times in the same year? No problem. I'll work the overtime. At the ripe old age of32, <strong>Joe</strong> has already produced a wealth of great albums <strong>to</strong> rock out <strong>to</strong> in the comfort of your ownLazy Boy recliner, but seeing him play live can be simply transcending. <strong>Bonamassa</strong> is muchmore than just a phenomenal guitarist <strong>to</strong>o, he is also a great singer, songwriter, and showman, asyou can lay witness <strong>to</strong> on the best concert DVD of the year, <strong>Joe</strong> <strong>Bonamassa</strong> - Live From TheRoyal Albert Hall.The DVD begins with some behind-the-scenes footage and <strong>Joe</strong> giving a brief overview of hiscareer. You then get <strong>to</strong> follow him as he walks from his dressing room <strong>to</strong> the stage, about <strong>to</strong> playthe most important show of his life. He is dressed in a crisp white shirt and cool black suite thatdrapes his recently slimmed down body. His hair is now shorter and neatly slicked back, and hisdark sunglasses can barely hide his nervousness this night.He takes the stage already playing the majestic string bends of "Django," as the keyboardistaccompanies him with a haunting melody in the background. The Royal Albert crowd greets himwith a standing ovation.The title track <strong>to</strong> <strong>Bonamassa</strong>'s <strong>latest</strong> #1 blues album, The Ballad Of John Henry, is offered upnext, and this monstrously drop-tuned guitar anthem changes the mood dramatically. The song isone of his heaviest, and he hammers it home playing his new <strong>Joe</strong> <strong>Bonamassa</strong> signature modelLes Paul. He even breaks out a T<strong>here</strong>min unit on this one, which had me harking back <strong>to</strong> JimmyPage's past glory days at the Hall.The 19-song setlist focuses on The Ballad Of John Henry, arguably his best album <strong>to</strong> date, andseven of its twelve songs performed. For this special occasion, <strong>Bonamassa</strong>'s normal <strong>to</strong>uring band
is augmented by a second drummer and a three member horn section, and the results areamazing."So It's Like That," from the 2002 album of the same name, has a more swinging, bluesy feel <strong>to</strong>it with horns and Hammond organ prominently added <strong>to</strong> the live mix. 2003's excellent You & Mealbum is also featured prominently <strong>here</strong> with five songs, and the first one up, "So Many Roads,"is a real shows<strong>to</strong>pper. <strong>Joe</strong>'s solo on this one is just Sick, with a capital S.The highlight of the show, of course, was when Eric Clap<strong>to</strong>n joined <strong>Joe</strong> onstage for a rousingperformance of "Further On Up The Road." <strong>Joe</strong> and Eric trade off on lead vocals and guitarsolos, making this one of the best performances of this old classic that I have ever seen. I havenever seen a bigger grin on old Slowhand's face than when he was trading licks back and forthwith <strong>Joe</strong> during a spontaneous call-and-response section near the end of the song. He must havebeen thinking, "who is this fucking guy?!"It's pointless <strong>to</strong> go in<strong>to</strong> more individual highlights because the entire show is one long highlightreel, but if you only have time for two more numbers before your football games begins, thenfast forward <strong>to</strong> "Blues Deluxe" and "Mountain Time" - two more of my favorites. Just don't besurprised when you miss the first half of your game, when you find yourself transfixed watchingthe rest this DVD.It's been a while since I've felt justified in giving a concert DVD a perfect rating in bothperformance and production, but <strong>Joe</strong> <strong>Bonamassa</strong> - Live From The Royal Albert Hall made thisone pretty easy for me. You could not have asked for a better production than what you get <strong>here</strong>The high-definition, widescreen picture looks stunning, and the camera work ranks up t<strong>here</strong> withthe best I have ever seen. The direc<strong>to</strong>r really knows the music, as each key guitar riff, drum fill,and horn blast is capture with a timely close-up, and is all mixed perfectly with sweeping shotsof stage and hall <strong>to</strong> give you a real sense of being t<strong>here</strong>.Some of the most amazing camera shots were from the side of the drum kits as Bogie and An<strong>to</strong>nplay the same incredible drum fills in perfect unison, or the wide-angle shot from behind thedrum kits, with the entire hall in view, as <strong>Joe</strong> leans way back <strong>to</strong>wards his guitar amp trying <strong>to</strong>elicit a little bit of feedback for the epic note he has been holding.DTS, Dolby Digital 5.1 surround, and Dolby Stereo tracks are all expertly mixed by KevinShirley, the same guy who produced The Ballad Of John Henry, and the results are amazing.This does not sound like some sterile mix that is taken directly from the soundboard, but you getthe full ambience of the large hall as well. Every instrument is crystal clear and perfectlybalanced.Bonus features include a 23-minute interview with <strong>Joe</strong> shot from the back of his <strong>to</strong>ur bus, as hewarms up on his signature guitar through a Marshall Class 5 combo amp. <strong>Joe</strong> talks about each ofthe songs performed on the DVD and even plays bits and pieces from many of them. Very cool.
<strong>Joe</strong>'s <strong>to</strong>ur-de-force acoustic number, "Woke Up Dreaming," is included as a bonus featureinstead of in the main feature, for whatever reason, but I am just grateful <strong>to</strong> have it. <strong>Joe</strong> refers <strong>to</strong>this glorious ten-minute version as the "psycho, ADD, on Red Bull edition", and it is a real mindbender.Most guitarists would have <strong>to</strong> sit down and concentrate, Al Di Meola-style, <strong>to</strong> play thisbaby, but <strong>Joe</strong> casually strolls around the stage having fun with it, as if he could do it in his sleep.Looks like I probably won't be seeing <strong>Joe</strong> play those intimate Washing<strong>to</strong>n-area clubs like BluesAlley and The Birchmere any more, but if anyone deserves <strong>to</strong> play bigger venues like the RoyalAlbert Hall, it is certainly <strong>Joe</strong> <strong>Bonamassa</strong>.Track ListDisc One:01. The Road To The Royal Albert Hall *02. Django03. The Ballad Of John Henry04. So, It’s Like That05. Last Kiss06. So Many Roads07. S<strong>to</strong>p!08. Further On Up The Road (with Eric Clap<strong>to</strong>n)09. High Water Everyw<strong>here</strong>10. Sloe GinDisc Two:01. I First Met B.B. King... *02. Lonesome Road Blues03. Happier Times04. Your Funeral My Trial (with Paul Jones)05. Blues Deluxe06. S<strong>to</strong>ry Of A Quarryman07. The Great Flood08. Just Got Paid09. Mountain Time10. Asking Around For YouBonus Track:01. Woke Up Dreaming* short documentaryRatings:Performance - 10/10Production - 10/10
Monday, November 30, 2009Guitarist <strong>Joe</strong> <strong>Bonamassa</strong> Delivers A Performance Fit For A Blues King On 'LiveFrom The Royal Albert Hall'<strong>Joe</strong> <strong>Bonamassa</strong>Live From The Royal Albert Hall (DVD)J&R AdventuresReview by NightwatcherOnce upon a time t<strong>here</strong> was a four year old boy. And that boy had a dream. It was a dream unlikemost boys have at that age, for this was not a dream of growing up <strong>to</strong> be a fireman, policeofficer, or any other dream typical of such a young child. This child's unique dream, inspired byseeing video of the farewell concert of Cream, was <strong>to</strong> be a guitarist - and <strong>to</strong> play London'sprestigious Royal Albert Hall.On May 4th of this year, that dream was finally realized as blues rock guitarist <strong>Joe</strong> <strong>Bonamassa</strong> -after 20 years of playing professionally since the age of 12, working his way up from playingsleazy dives and tiny blues clubs in the middle of now<strong>here</strong> in particular, relentlessly <strong>to</strong>uringthroughout the United States, Canada and Europe - stepped on the stage triumphantly in front ofa sold out crowd at the his<strong>to</strong>ric venue,It's this triumphant concert which is chronicled on the DVD 'Live From The Royal Albert Hall'.Commencing with shots of a slightly nervous <strong>Bonamassa</strong> warming up before hitting the stage,interspersed with interviews with family members who had naturally crossed over the big pond<strong>to</strong> witness a day self described as being "truly larger than the sum of its parts" and "the best dayof his life" by the Utica, New York born musician, the set begins with a stirring version of theinstrumental "Django" and never looks back.Featuring a set list understandably heavy with material from his newest studio album 'The BalladOf John Henry, t<strong>here</strong>'s still quite enough from his back catalog <strong>to</strong> serve as a great introduction <strong>to</strong>past work. Along the way we have the "Kashmir" meets the delta blues of "The Ballad Of JohnHenry", the blues shuffle "So, It's Like That" (replete with a horn section for the first time in alive situation), a minor blues via a stunning version of Otis Rush's classic "So Many Roads", the
swampy "High Water Everyw<strong>here</strong>"(Quite effective with its utilization of two drummers for theoccasion, the second being An<strong>to</strong>n Fig of "David Letterman" fame), and rounding out the firstdisc is a smoldering rendition of "Sloe Gin", the title track from <strong>Bonamassa</strong>'s 2007 studio releasewhich brings the proceedings <strong>to</strong> the intermission on yet another high note. If this were only asingle disc, already it would be a success. But wait! T<strong>here</strong>'s more!After beginning the second disc with a reminiscence of how he met King Of The Blues B.B.King at the age of 12, <strong>Bonamassa</strong> launches in<strong>to</strong> a song that he wrote when he was 18,"Lonesome Road Blues". Although he only recently rediscovered the track via an old DAT, thesong works in its modern incarnation perfectly alongside compositions of more recent vintage."Happier Times" a song born from one of the worst periods in his life following a breakup, stunswith its honesty. Laying his soul out in the open in the lyrics, this is the most personal of perhapsall the songs he has written, and ranks certainly among his very best.After another guest spot by former Manfred Mann vocalist Paul Jones, one of the guitarist's mostardent U. K. supporters, lending blues harp <strong>to</strong> Sonny Boy Williamson's "Your Funeral, My Trial"and a grinding take on the Jeff Beck Group classic "Blues Deluxe", the assembled multitude aretreated <strong>to</strong> yet another pair of original offerings "S<strong>to</strong>ry Of A Quarryman" and the "The GreatFlood", all leading up <strong>to</strong> the trifecta knock down punch of ZZ Top's "Just Got Paid"(featuring theexcerpt from Led Zeppelin's "Dazed and Confused, complete with Theramin), the epic"Mountain Time" and ensuring a splendid time is guaranteed for all, the soulful, Ray Charlesinfluenced "Asking Around For You".Such are the strength of the original compositions that even without a special guest appearanceby Eric Clap<strong>to</strong>n, who trades licks with <strong>Bonamassa</strong> on the Bobby "Blue" Bland classic "FurtherOn Up The Road" this would be a fantastic performance. However with Eric coming onboard, itdoes signify a passing of the blues rock <strong>to</strong>rch symbolically. For just as the pioneering Britishguitar legend <strong>to</strong>ok the blues in uncharted directions in the 60's, <strong>Joe</strong> has the talent <strong>to</strong> do so in thenext decade.Only 32, with a willingness <strong>to</strong> experiment and deviate from what's considered sacred in the bluescanon, and a desire not <strong>to</strong> repeat himself, it would seem that artistically it's still an open book forhim, and it will be intriguing <strong>to</strong> see w<strong>here</strong> he goes in the next decade. In an interesting side note,the next time the song was played by <strong>Bonamassa</strong> and band with a guest performer it was at theMile High Blues Festival in Denver, with young up and coming guitarist Ryan McGarvey. Oneof the leading proponents of young players who are now being influenced by the musician, hisendorsement and patronage of fledgling guitar stars is continuing the blues lineage even furtheron up the road, if you will.As fantastic as <strong>Bonamassa</strong>'s guitar work and vocals are, it would be extremely remiss <strong>to</strong> not givenotice <strong>to</strong> the other members of the band. For without bassist Carmine Rojas and drummer BogieBowles this would be a one man band first of all. Secondly, over the past several years of almostnon s<strong>to</strong>p <strong>to</strong>uring, these two have meshed in<strong>to</strong> one of the finest rhythm sections in all of rock orblues, interlocking and forming a rock solid foundation over which the guitarist can shine. Addin keyboardist Rick Melick and you have an extremely potent combo indeed. The addition ofMelick it has allowed him <strong>to</strong> breathe a bit, musically speaking. No longer does he have <strong>to</strong> fill all
the space with his playing, resulting in when he does launch in<strong>to</strong> a solo it's more focused andt<strong>here</strong>fore even more effective.Beautifully filmed by Scott McFadyen and Sam Dunn, who are also responsible for the recentlyreleased critically acclaimed 'Iron Maiden: Flight 666' documentary and 2005's 'Metal: AHeadbanger's Journey'. this isn't your usual blues presentation, and is all the better for it. Used <strong>to</strong>the high energy world of metal, the pair have succeeded in capturing <strong>Bonamassa</strong>'s incendiaryperformance perfectly, infusing it with vitality on par with the execution of musicianship. Assuch blues purists will probably hate this, but it's a situation he's had <strong>to</strong> deal with from the verystart, and won't come as a surprise this time around as well.Audio -wise, this absolutely shines. Recorded and mixed by über producer Kevin Shirley, whoseguiding hand has been an integral part of getting <strong>Bonamassa</strong> <strong>to</strong> the level he is at <strong>to</strong>day during thepast half decade, he has accurately captured the true essence of this live performance. Drawingon his expertise throughout the years working with Led Zeppelin, Aerosmith, Iron Maiden andcountless others, the mix conveys the excitement of what it's like <strong>to</strong> see the guitarist live.In terms of of bonus features, what you get <strong>here</strong> is an extended interview with <strong>Bonamassa</strong>, w<strong>here</strong>he goes in<strong>to</strong> details regarding why and how the songs were chosen, and also what they mean <strong>to</strong>him. In lieu of a full commentary track, this works quite well. In all actuality, not many wouldlisten <strong>to</strong> a commentary more than once anyway (if that in many cases), so <strong>to</strong> have something ofthis nature in interview form outside of the main program is a wise choice.Also included is a bonus performance of the acoustic guitar extravaganza "Woke Up Dreaming",during which the guitarist demonstrates once again his prodigious talents aren't only contained inthe blues rock genre, but extend <strong>to</strong> any genre. Having seen him play anything from heavy rock,jazz <strong>to</strong> fleet fingered workouts such as this on many occasions, it's quite clear that not only is heone of the <strong>to</strong>p blues guitarists ever, but one must rank him amongst the finest ever <strong>to</strong> pick up theinstrument. The fact that he brings such technique <strong>to</strong> the blues, in lesser hands, could be adisaster. But <strong>Bonamassa</strong> has tempered his fretwork <strong>to</strong> a degree w<strong>here</strong> he never overplays. Whilenot as wild as his earlier live offerings in terms of notes played, t<strong>here</strong>'s still more than enoughblues guitar pyrotechnics lighting up the stage, soaring as high as fireworks on the 4th of July(Or Guy Fawkes Day, if you reside in the U.K.).The two discs of this DVD are a stunning encapsulation of all of the elements which havecombined musically <strong>to</strong> bring <strong>Bonamassa</strong> <strong>to</strong> this point in his career. Hands down the mostexciting performer <strong>to</strong> come along in the blues field in decades, the guitarist stands head andshoulders above his contemporaries. First rate all the way - unquestionably the guitar DVD of theyear, once again he's raising the bar for how the blues can be presented.With the holidays upon us, if you're looking for an excellent gift for that someone who lovesblues, rock or exceptional guitar playing, if you haven't already, grab this one as you can't gowrong. To purchase go <strong>to</strong> this location.
The blues' newest star on 'B'B 'King, getting covers ideasfrom Plant, and a new project with Glenn '1fughes.Words: Malcolm DomePortrait: Jesse Wildor someone still in his early 30s, <strong>Joe</strong> <strong>Bonamassa</strong> hasachieved a remarkable amount. At the age of 12 the guitarvirtuoso opened a show for legendary blues star BB King.He released his first album when barely 17, a self-titledrecord with the short-lived Bloodline, a band that alsoincluded the sons ofjazz great Miles Davis and Doorsguitarist Robby Krieger.Since then <strong>Bonamassa</strong> has carved out his own niche as a soloperformer, putting out a string ofsolo albums which have earnedhim the acclaim of an expanding army offans and also the respec<strong>to</strong>f his peers men<strong>to</strong>rs. Now he's preparing for what is likely <strong>to</strong> be thebiggest year ofhis career. Not only is Black Rock the ninth studioalbum in little over a decade, but he's also involved with newsupergroup Black Country, alongSide bassist/vocalist Glenn Hughes,keyboard player Derek Sherinian and drummer Jason Bonham. Youhave <strong>to</strong> wonder w<strong>here</strong> he finds the time <strong>to</strong> do any of those necessarydaily f'unctions like sleep or eat. But, as he explains, for him t<strong>here</strong>'sjust no substitute <strong>to</strong> playing music.You have a new album, Black Rock, coming out <strong>to</strong>wards theend ofMarch. How do you keep the edge when youseem <strong>to</strong>be constantly on the album-<strong>to</strong>ur-album treadmill?Well, Jhad <strong>to</strong> get in<strong>to</strong> the mind-set of being 18 years old again.After everything we did with the last album [2009's The Ballad OfJohn Henry], culminating in getting the chance <strong>to</strong> headline the RoyalAlbert Hall in London last year, I<strong>to</strong>ok a step back. And Isaid <strong>to</strong>myself: 'Okay, suppose I'd never made a record. How would Iapproach this?' I wanted <strong>to</strong> prove Istill had the hunger and desire.How do you know when you've actually done a good record?Is the reaction from fans a good indica<strong>to</strong>r?Partly, ofcourse. Then t<strong>here</strong>'s also the fact that [producer] KevinShirley and Ican look each other in the eye and say, with <strong>to</strong>talhonestly: "We've nailed this one l " But the most important person ismy dad. He's my biggest fan and also harshest critic. If he can listen<strong>to</strong> it and likes what he hears... man, Iknow I'm on the right road.You've got the legendary BB King guesting on the new album.How did that come about?I've been fortunate enough <strong>to</strong> know Mr King for so long, but wouldnever dare ask him <strong>to</strong> appear on one of my albums - this is a an alltime great! But then Igot <strong>to</strong> play on stage with Steve Winwood at afestival. We did [Traffic's] The Low Spark OfHigh Heeled Boys. That wassuch a thrill. Afterwards Ifelt confident enough <strong>to</strong> get up the courageand phone the man's manager. Iwas so s<strong>to</strong>ked when he agreed.Unfortunately, when Mr King did his bits for the song, Night Life,f was on <strong>to</strong>ur. So he went in<strong>to</strong> a studio in Las Vegas, while Iwas inLuxembourg. But he did sign the lyric sheet and wrote me a letter.I've got them both framed.You've got some interesting covers on the record, includingBobby Parker's Steal Your Heart Away, which Led Zeppelinnearly covered for an album.And it was Robert Plant who suggested it <strong>to</strong> me. ApparentlyZeppelin worked it up for their first album but never actuallyrecorded it. But when someone like Robert makes arecommendation, you listen. So Iwent for the early Jimmy Pagevibe on guitar; Idug out the Telecaster.The Black Country project - how did that happen?Glenn Hughes and I have known each other for about two years.We've always talked about doing something <strong>to</strong>gether. But Ireally feltif it happened then this should be special, not just BonaHughes.What cemented it was when Glenn came on stage with me at theHouse Of Blues in Los Angeles. We did Medusa [by Hughes's oldband Trapeze] and Mistreated [Deep Purple]. That was such a thrill.Kevin Shirley was in the audience and he thought it wasincredible. He suggested Jason and Derek for the band, and beforewe knew it the four of us were in the studio working on five tracks.Jason rather let the cat out ofthe bag bygivingaway all thedetails in an interview. Did that annoy the rest ofthe band?Not at all. We just thought, right, let's get the album done now. Tobe honest, this has been so much fun, No pressure, just four guysenjoying themselves and working offeach other. To me this soundslike a big rock record. It's not just an amalgamation ofwhat we've allbeen know for in the past, but something different.Do you get <strong>to</strong> sing at all?Very little. Why would I, with Glenn t<strong>here</strong>? It's like working withGordon Ramsay and making your own salad. What is the point? l'I\tell you what we have done - a version ofMedusa. And Igot <strong>to</strong> play[late Trapeze member] Mel Galley's guitar. That was incredible. ButIdon't know whether it will make the album. It depends howeverything comes out.Will Black Country <strong>to</strong>ur at all?It's down <strong>to</strong> how our individual schedules work out. But first let's getthe album done and released. We'll take it from t<strong>here</strong>.Do you ever have the fear that you'll wake up one day and itllall have been a dream?Oh, sure. Sometimes I find it hard <strong>to</strong> believe everything that hashappened <strong>to</strong> me, all the great people I have been privileged <strong>to</strong>work with. Ijust feel so lucky. T<strong>here</strong> are so many better guitariststhan me, and that's not false modesty. I've had a lot of help alongthe way, because t<strong>here</strong> are those who, for whatever reason,actually feel I have a talent worth nurturing. J like <strong>to</strong> think Ihaven'tlet them down.lfit all went wrong <strong>to</strong>morrow, then I'd look back and feel grateful<strong>to</strong> have had the opportunity <strong>to</strong> do so much. That's why I'mdetermined <strong>to</strong> enjoy everything Ido. It's not about money or fame, it'sabout haVing the best time you can possibly have, all of the time. 0'Black 1(ock is released on cMarch 22 on 'Provogtte 1(ecords.<strong>Joe</strong> '<strong>Bonamassa</strong> plays the J{igh 7.Joltage festival, July 24/25.34 ClASSICROCKMAGAZINE.COM
"IT'S NOT ABOUT MONEYOR FAME, IT'S ABOUTHAVING THE BEST TIMEYOU CAN POSSmLY HAVE
<strong>Joe</strong> <strong>Bonamassa</strong> ReaderQ&A•You came, you saw, you asked questions... With his new album Black Rockout now, <strong>Joe</strong> Bonan1assa hosts a Q&A session exclusively for GuitaristWords Mick TaylorPortraits Amanda ThomasMeetyourinterviewersoe <strong>Bonamassa</strong> is a modern bluesrockphenomenon. Two decades oftireless hard work have alreadysecured him a place in the sixstringhall offame, while hiscontinuing dedication as a<strong>to</strong>rchbearer for the blues haslit a new-generation fire under theguitar hero mantle.During a recent visit <strong>to</strong> the UK, <strong>Joe</strong>made time for a lucky bunch ofGuitaristreaders who came armed with questionsabout gear, technique, influences andmuch more. Arrivingwith nothing morethan a gigbag and a Les Paul, our heroplugged in<strong>to</strong> a standard Fender Hot RodDeVille and proceeded <strong>to</strong> drop jaws one byone as he illustrated answers with hisinimitable skill, style and <strong>to</strong>ne. So withoutfurther ado...John Wines: What's your view on all thededicated guitar schools - do you thinkit's a good thing that people go <strong>to</strong> school<strong>to</strong> learn guitar, or do students all come outthe same?"I think that any time you call1earn asmuch as you possibly can about your craftand your trade, it's fantastic. It's what youdo with the training- ifyou let thetraining run your playing, orthe trainingrun your life, then yeah, you'll sound likea book guitarist. But ifyou learn from thatand just play what you feel; t<strong>here</strong>'s adifference in playing from your head andplaying from your heart. Ifyou play fromyour heart then that will trump all, and noschool can teach you how <strong>to</strong> play withfeeling. BB [King] didn't need a school <strong>to</strong>teach him that, that comes from his soul."Any time people can learn from schoolsis absolutely great - I encourage it,especially ifyou can read music. I can'tread music - put a score in front ofme andI don't know what the hell that is. It's aquestion ofhow your music connects withpeople. You can connect with a millionnotes, or you can connect with one."Owen Bailey: Which elements of your stylehave you found hardest <strong>to</strong> perfect?"The hardest stuff! do on a daily basis iscontrolling the space between the phrases.Sometimes I feel like I have undiagnosedADD, and sometimes itshows in myplaying. I used <strong>to</strong> literally not take a breath- maybe I could win an underwaterbreath-holding contest! Now I purposelytry <strong>to</strong> put in a breather. I've dissected whatI play and I've really become better atfinishing phrases. So when I listen <strong>to</strong> mymore recent stuff, well, it's thumbshalfway up. Not fully up, but it's that far."John Priest: What advice would you give <strong>to</strong>young guitarists who get criticised forwanting <strong>to</strong> emulate the sound and theplaying of theirguitar heroes - t<strong>here</strong> wasthat stage when everyone was copyingSRV, for example..."It's everybody - it's Clap<strong>to</strong>n, it'severybody. Us guitar players by nature areverycompetitive. We reserve the right...I reserve the right thatifanyone in thisroom plays something cool, chances areI'm going <strong>to</strong> steal it from you! I'mjustgoing <strong>to</strong> put that out t<strong>here</strong> now. We couldsign a waiver or we could have ahandshake or I could just buy you a pint...ifyou're old enough!"The thing that you don't want <strong>to</strong> havehappen is that you're overwhelmed byyour influences. When that day comes andyou're like, Man I can play that Crossroadssolo note-for-note: killer! Alright, nowwhat do I do with it - start a tribute band?"Everybodygets criticised; i{ meall ifyougo on YouTube, people say, He sounds likeEric Johnson. No duh! He sounds likeClap<strong>to</strong>n. No duh! I try <strong>to</strong> listen <strong>to</strong> as manydifferent guitar players as possible. Youcan't help but be influenced by them - BBKing <strong>to</strong> Clap<strong>to</strong>n, Hendrix <strong>to</strong> Paul KossoffCheck out this month's Guitarist CD forexcerpts of this exclusive Q&A session.See <strong>Joe</strong> play. explain his <strong>to</strong>ne and set-up.and talk about his influences - with morevideo <strong>to</strong> follow next issue.>May 2010 Guitarist 53
Reader Q&A <strong>Joe</strong> <strong>Bonamassa</strong><strong>Joe</strong>'sPubUc-------In attendance <strong>to</strong>day...Name: John WinesAge: 46Years playing: 27Current main guitar:PRS Cus<strong>to</strong>m 22 ArtistBest part of the session: Seeing that<strong>Joe</strong>'s rise <strong>to</strong> the <strong>to</strong>p of the guitar scenehadn't changed him. I met him years agowhen he was playing 300-seater venues.What I learned <strong>to</strong>day: You should alwaysplay with your feel head on rather thanyour theory head.Name: Soren SarstrupAge: 37Years playing: 23.\ Current main guitar:Fender Stra<strong>to</strong>casterBest part of the session: <strong>Joe</strong> noodlingaway on the guitar was very inspirational<strong>to</strong> listen <strong>to</strong>. His talent and chops wereclear, even at low volume ona run·of-themillFender amp.What I learned <strong>to</strong>day: Always working onforging your own style is essential. andpersistence paysoff lName: Jack O'DeaAge: 16Years playing: 8Current main guitar:Fender USA Standard Stra<strong>to</strong>casterBest part of the session: Learning abouthis currentgear set·up and preferences,and why he made the switch from Strats <strong>to</strong>LesPauls.What I learned <strong>to</strong>day: That it's possible<strong>to</strong> include multiple ideas, includingclassical and Eastern styles, in<strong>to</strong> a bluesframework. Also how completeindividualism isn't always paramolllltstealingideas and transforming them in<strong>to</strong>your own style is the key.and whoever. And you just try <strong>to</strong> make thisgiant soup, so you're not just playing <strong>to</strong> thisone style. What you do want <strong>to</strong> do is playwith the most conviction you possibly can,and ifyou catch yourselfgetting in thatmode - and I do that all the time, thatmorphing-in<strong>to</strong>-somebody-else modethenyou really have <strong>to</strong> make yourselfbreak out ofit. Try usinga different<strong>to</strong>ne;or use a different guitar."Soren Sarstrup: I've seen you in lots ofclips playinga Stra<strong>to</strong>caster. Isthatwhyyou 'Put that away - <strong>to</strong> avoid the inevitableSRV comparisons?"Itboiled down <strong>to</strong> a gig in Alabama andthis dude. I used <strong>to</strong> do th,is violin thing;this volume control bit. Y'know, I was 25and I'd do anything<strong>to</strong> get noticed, so Iwould do this volume-swell thing, and Iwent back <strong>to</strong> my classical lessons and I go<strong>to</strong>ut this little melody. The piece was acombination ofBach and a little bit ofPaganini [Bachanini? - Tap Ed] that I'dlearned when I was kid."With a little bit ofdelay and a little bit ofroom, a few flashing lights, people wouldgo, Ooohh, ahhhh, [claps] - a cheapapplause moment. Itwas a bit hard <strong>to</strong> dothat on a Les Paul, so I used <strong>to</strong> do it on aStrat. So this dude goes, Hey, I like theshow, <strong>Joe</strong>. He says, Y'know that thing youdo that's like a violin? I say, Yeah, yeah...thinking that he'd figured out w<strong>here</strong> itcame from. He goes, When you broke in<strong>to</strong>that, man, that sounded so much likeStevie Ray Vaughan [adopts look of<strong>to</strong>talbewilderment]' Um, thanks..."I started thinking, I don't care what Ido with this Stra<strong>to</strong>caster. I can dance theTarantella, I can play straight-up classicalmusic - I don't care what I do, it will becompared <strong>to</strong> Stev,ie Ray Vaughan andHendrix. Even if! broke in<strong>to</strong> RoryGallagher they still thought that I soundedlike Stevie Ray Vaughan!"So I said <strong>to</strong> myself, Self, you and the LesPaul been gettin' along real well lately. I'djust saved up all my shekels and ate peanutbutter and jelly for five months and boughtthis wildly tiger striped '59 Reissue - thatnow has a Bigsby on it. I said, Y'knowwhat, I'm gonna playa Les Paul now.These Stratguys can have this - I'm gonnado something different."Jack O'Dea: Do you still go about mixingyour classical influences withyourstraight-up blues playing?"Oh absolutely. People ask me, <strong>Joe</strong>, how doyou become a better blues player? And Isay, Listen <strong>to</strong> music that's not blues!Chances are you'll find so many coolthings in it - in other forms ofmusic, otherscales and stufflike that - that work wellfor the blues."A lot ofthat comes from when I used <strong>to</strong>bash away on an old classical guitar. Andagain it's just little fun stuffyou can put in- I have two hours <strong>to</strong> fill every night andI've got <strong>to</strong> keep people interested in whatwe're doing. Plus, ifyou're playing in ajamand all ofa sudden somebody pullssomething out that's a little out ofthenorm - I call it the I Wish I Thought OfThat riff- then people will respond <strong>to</strong> it.It's certainly usable in the kind of music Iplay, and I would say it's probably the samefor anybody."Mick Taylor. Mos<strong>to</strong>fus in this room will besurprised <strong>to</strong> be hearingthe <strong>to</strong>neyou'vegotcomingou<strong>to</strong>fa Les Paul and a FenderHot Rod DeVille - could you explain howyou set up that sound?"This guitar <strong>here</strong> is a cus<strong>to</strong>m-painted <strong>Joe</strong><strong>Bonamassa</strong> un-aged model. I got it aroundChristmas time and I've been playing it awhile. It's been my main guitar for the lastmonth-and-a-half."This is a standard-issue John Henry'sfromupstairs, thank you, John! - FenderDeVille. I could have turned it around andaimed it so the grille is facing your way,then I would have been responsible forhurting people's ears. I think these comboamps sound better from the back becauseit's a little warmer."So what you do is you set your gain andvolume... [<strong>Joe</strong> has the controls set: volume7, drive 7, trehle 5, bass 6, middle 6.5,master 3.5, reverb 3, presence 5, bright off,more drive off, channel two] and mytheory has always been that t<strong>here</strong>'s a big<strong>to</strong>ne variation you can getjustfrom thesefour knobs [on the guitar]. Generally whatI do, and what I've been doing <strong>to</strong>day, issoloingaround six, and putting the <strong>to</strong>nearound six. Itgives you enough gain,enough articulation and you just use [theguitar's volume control] as your overdrivepedal instead ofs<strong>to</strong>mpingon a box. It's justmanifesting the <strong>to</strong>ne out ofthe guitar, theamp and the cable - and that's it."Soren Sarstrup: And doyou do that withyour live rig as well?"Yeah, most ofthe time. When I show upfor ajam, I use a Tube Screamer and a >54 Guitarist May 2010
Reader Q&A <strong>Joe</strong> <strong>Bonamassa</strong>Marshall Bluesbreaker combo and that'sit. And you usually get guys going [looksconfused], W<strong>here</strong>'s all the...?"Live [wit.h the fu 11 rig], I constantly usedifferent sources ofhow <strong>to</strong> get the sound.Sometimes we use the mics andsometimes we don't use the mics at alI-I use Palmer speaker l11ula<strong>to</strong>rs. I use thatthrough the moni<strong>to</strong>r and sometimes weuse that through the front of house.Sometimes it actually sounds better thanthe microphones and we blend a litt'le bit ofthe two."Ifwe get a <strong>to</strong>ugh room that's reallybright and loud, I'll sit t<strong>here</strong> for maybe 45minutes <strong>to</strong> an hour just tweaking theamps, and the baffle [<strong>Joe</strong> uses perspexscreens in front ofhis amps <strong>to</strong> deflectsound] and the Palmer until it sounds likethe way it's supposed <strong>to</strong> sound in my head.Because when you go for these high notes,you don't want <strong>to</strong> tear people's faces off.It's really critical- ifyou're in the frontrow ofone of my gigs, you'll see this go onall night: volume, <strong>to</strong>ne, volume, <strong>to</strong>ne, sing.Delay on, off."I get criticised for my live rig 'cos theygo, Jeez, well they all sound kinda thesame. Well, you'd be right. The twoMarshalls sound the way they sound[Marshall Silver Jubilee lOO-watt andCategory 5 JB Cus<strong>to</strong>m '68] and the VanWeelden amps sound they way they sound.None ofit is radically different, but what itis, is feel; it's how the guitar reacts.Sometimes you want a softer reaction,w<strong>here</strong> the compression is a little bitsquishy. And sometimes you want it reallyimmediate... and all points in between."The more articulate stuffgets, the morethe mistakes come out and framethemselves in these beautiful moments:<strong>here</strong>'s a mistake, <strong>here</strong>'s another mistake.But if you learn <strong>to</strong> play with thoseparameters, you're better off. And ifyoulearn <strong>to</strong> play cleaner you're better off."John Priest: How did that guitar endup blue, <strong>Joe</strong>?"These [<strong>Joe</strong> <strong>Bonamassa</strong> signature LesPauls] are like my children. [Gibson] call1edme up and said, T<strong>here</strong>'s this dealer inWashing<strong>to</strong>n who wants four in candyapple blue as a cus<strong>to</strong>m run. I'm like, Sure.sell 'em! I didn't think anythingofit. Threemonths went by, four... I see them come out- cool! I gotta get me one ofthese. So I ringthem up, Hey, would you build me one ofthese blue ones? So they did it and this isthe fifth one ofthe run. The others arc inthe line ofserial numbers, but this one'sthe odd man out."John Priest; Do you have <strong>to</strong> do a lot oftweaking when you get them?"I take it out ofthe box, raise the action <strong>to</strong>w<strong>here</strong> I want it, tune up. and that's pretty"My theory has always been that t<strong>here</strong>'s a big <strong>to</strong>nevariation you can get just from these four knobs [onthe guitarr <strong>Joe</strong> <strong>Bonamassa</strong><strong>Joe</strong>'s PublicIn attendance <strong>to</strong>day..----Name: Rus ScagellAge: 16Years playing: 5Current main guitar:PRS SE Cus<strong>to</strong>mBest part of the session: Playing <strong>Joe</strong>'sguitar, and of course meeting him.What I learned <strong>to</strong>day: To never rely oncertain equipment and <strong>to</strong> always keepyourself open <strong>to</strong> new things.Name: Owen Bailey (deputyedi<strong>to</strong>r. Guitarist)Age: 37Years playing: 22Current main guitar: Fender Cus<strong>to</strong>m '62Reissue Telecasterwi BigsbyBest part of the session: To appreciatehis control of the guitar up close. and <strong>to</strong>witness first-hand how he created whatwas an unbelievable sound out of astraightforward set-up, was very inspiring.What Ilearned <strong>to</strong>day: That you alwaysneed <strong>to</strong> work hard <strong>to</strong> keep on refining thesubtledetails of your playing.Name: John Priest (PeachGuitars, Braintree)Age: 27Years playing: 14Current main guitar: Suhr Classic AntiqueBest part of the session: It's good <strong>to</strong> hear<strong>Joe</strong>'s influences present in his playing, butthe coolest thing is that he's starting<strong>to</strong>sound more like himself all the time.What Ilearned <strong>to</strong>day: That the strings onmy Les Paul aren't heavy enough!>
Reader Q&A <strong>Joe</strong> <strong>Bonamassa</strong>much how I want the guitar <strong>to</strong> play. That'snot the definition for most people abouthow they want it <strong>to</strong> play. It plays a bit hard,but I like 'em."Owen Bailey; You mention your controls.but you play with pick and fingers - howmuch does that have a bearing on <strong>to</strong>ne?"Well, a lot ofit does. And how hard youhit it. Itjust depends how you want thenotes <strong>to</strong> stick out and how you want theguitar <strong>to</strong> sound - it's a lot ofselftweakingas you go along. A lot ofguys think it'sgoing<strong>to</strong> come from a pedal, like t<strong>here</strong>'sgoing<strong>to</strong> be asudden magic, but much ofit,the hard work is in the technique."Soren Sarstrup; I've read in Guitarist thatyou take a keen interest in the businessside of things. Do you have a business planand how do you combine the business withthe artist?"Well you have <strong>to</strong> plan things out. Let's sayI owned a pizza parlour or a shawarmastand or a guitar shop - my dad used <strong>to</strong>own a guitar shop. T<strong>here</strong>'s no differencebetween what I do on the business sidethan owningTescos, or Marks &Spencer,or a gas station. At the end ofthe day it'ssimply cash in versus cash out. You wouldlike, in theory, <strong>to</strong> spend less than youmake. Hence 1can afford <strong>to</strong> clothe myselfand feed myselfand put a roofover myhead. That's the bot<strong>to</strong>m line. T<strong>here</strong> area lot ofpitfalls in the music business andt<strong>here</strong> are no guarantees, but the oneguarantee thatwe decided on about 10years ago, Roy [Weisman, <strong>Joe</strong>'s manager]and I, was that nobody's going<strong>to</strong> controlBlackRockRock in... Greece?<strong>Joe</strong> <strong>Bonamassa</strong>'s <strong>latest</strong> release, BlackRock. is a hard rocking blues album onwhich <strong>Joe</strong> was able <strong>to</strong> cut loose... all the way<strong>to</strong> the Greece as it turns out."We went <strong>to</strong> Greece <strong>to</strong> record the newalbum," he explains. "We'd recorded the lastthree albums in California right by myhouse. My s<strong>to</strong>rage locker's right t<strong>here</strong>. Like,let's bring 175 guitars for this session - itwas just stupid! It was getting a bit cosy andKevin [Shirley - producer] said we needed achange: we needed <strong>to</strong> up stakes."We got an e-mail from a guy namedCostas in Greece: San<strong>to</strong>rini <strong>to</strong> be exact. Hesays, I'm building a studio - would you beinterested in recording <strong>here</strong> next year?Sure! So we show up in San<strong>to</strong>rini and westarted recording, and it was just this reallywonderfully inspirational place. It was thisreally intense, heavy rock/blues thing thatwent on t<strong>here</strong>. Plus t<strong>here</strong> were someelements w<strong>here</strong> some Greek musicianswould show up and playa bouzouki. clarinetand flute and stuff like that."A lot of guys think it's going <strong>to</strong> come fron1 a pedaLlike t<strong>here</strong>'s going <strong>to</strong> be a sudden magic, but much ofit, the hard work is in the technique"<strong>Joe</strong> <strong>Bonamassa</strong>our destiny: t<strong>here</strong>'s no one thing that willmake us or break us."It used <strong>to</strong> be that when I was signed <strong>to</strong>major labels, ifthe A&R guy gets fired,well you're in a bad way. Or ifyour agentgets fired - all these X-fac<strong>to</strong>rs comingin<strong>to</strong>play. And slowly but surely with Roy'sexpertise and a little bit ofblind beliefinyourself, we've put <strong>to</strong>gether a sort ofdo-ityourselfmodel.Nobodywants <strong>to</strong> promoteus in Omaha? Well, we'll promote our ownshows. Ifnobody wants <strong>to</strong> get involved inthe publishingside, we'll publish andrelease our own records. And all ofasudden, 10 years down the line... We neversat t<strong>here</strong> drinking over-priced scotch in amembers-only club, smoking Cubancigars, fine 'hats with a monocle, saying,We have this evil plan <strong>to</strong> take over themusic business! We just did it by necessitybecause we wanted <strong>to</strong> keep <strong>to</strong>uring andmakingrecords."Yeah,1 am very involved in the businessside, 1think it's important for artists <strong>to</strong>know their business, because the worstthing you can say is, Oh, I'mjust a guitarplayer - 1dunno, somebody e'lse sorts outthe money. Well the chances are you'regoing <strong>to</strong> end up without a chair when themusic s<strong>to</strong>ps. And the music will s<strong>to</strong>ppretty qu ickly - I'll tell you that. Ifyoudon't know w<strong>here</strong> the money is going; if"We had five weeks t<strong>here</strong>. We weresupposed <strong>to</strong> get six tracks done in fiveweeks, written and recorded, and we endedup getting the whole thing done."After The Ballad Of John Henry and theAlbert Hall (Oc<strong>to</strong>ber 2009), it was gettinga bit stuffed shirt and opera house for mytaste, so Isaid, We're justgonna rock again.Iplayed on that record like Iwas 18 - didn·tcare how many notes Iplayed! Iwas justgonna go blazing and see what happens."you don't know why you made X amoun<strong>to</strong>fmoney per gig, or why you didn't makeX amou nt ofmoney per gig, then that's areal problem,"Jack O'Dea: You occasionally use a JohnPetrucci Music Man - why is that, is he aninfluence for you?"1 do. 1know John, and it's a bari<strong>to</strong>ne thatI use and 1tune it <strong>to</strong> C. 1like the guitarbecause it's got an acoustic pickup on it,and 1like the guitar because it makes thisreal thud. John's a really great player, 1love the Dream Theater stuff. When 1started using the Ernie Ball strings I <strong>to</strong>ldthem 1was in need ofa bari<strong>to</strong>ne and theysent one over. 1love it - it's a cool guitar."Owen Bailey: We rarely see you playaGibson 335 or semi-hollow guitar thesedays, <strong>Joe</strong>, why not?"1 used <strong>to</strong>. One ofthe favourite guitars1own is a '62 ES-33S, block marker, red just like Clap<strong>to</strong>n played. But with the rig,they feed back. 1just got a Freddie King355 which is really cool, a '73 with G,ibsonon the front ofthe humbuckers; just likeFreddie King played, because Freddie ismy hero,"Rus Scagal: Have t<strong>here</strong> been any changes<strong>to</strong> your live set-up, adding or tak,jng away,that make you play differently?"This year we're goingwith the same liveset-up; a few changes, a few tweaks, a fewless pedals - t<strong>here</strong>'s no chorus box anymore, t<strong>here</strong>'s a little less reverb boxes. Theproblem is 1have a lot ofrecords <strong>to</strong> get <strong>to</strong>in a live show, A lot oftimes we.'ll do thesefly-in shows w<strong>here</strong> we'll just fly <strong>to</strong>Moscow or w<strong>here</strong>ver and for that I'll justget two Marshall DSL 2000s, TubeScreamer, one delay and I'll be like, I'mhappier with this than I am with themassive rig... But it's also about reliability.The EV12Ls [speakers that <strong>Joe</strong> uses] - youcan't kill 'em. And those heads that PeterVan Weelden builds are fantastic,"We'll see <strong>to</strong>night rguess. We've beenrehearsing, it's been good. My band guysare rejuvenated. It was a big year foreverybody - I mean we went <strong>to</strong> partsunknown and we came back. Andeverybody was sick and tired ofoneanother, but then six weeks, andeverybody's happy <strong>to</strong> see each other andhavingdinner... So, anybody want <strong>to</strong> playthis guitar?" [IIGuitarist would like <strong>to</strong> thank John Henryand the staff at John Henry's Studios inLondon for their kind help with organisingthis session.58 Guitarist May 2010
RocKQUWITHJOE BONAMASSA<strong>Joe</strong> <strong>Bonamassa</strong>Black Rock ProvogueOn an album heavy with covers, the neweststar on the blues block is in inspired form.F <strong>to</strong> Greece <strong>to</strong> work with localor the recording ofBlack Rock,guitarist <strong>Joe</strong> <strong>Bonamassa</strong> travelledmusicians and make a blues album thatwould, as he himselfsaid, rock like hisfirst solo record, A New Day Yesterday.And on that score it's missionaccomplished right from the album'sopener, a cover of Bobby Pa rker's StealYour Heart Away, with <strong>Bonamassa</strong> layingin<strong>to</strong> the song like a man possessed; ofcourse, it's more than likely that he's justhaving a damn good time. That fevercarries over in<strong>to</strong> other rocking bluestracks like the s<strong>to</strong>rming take on JeffBeck's Spanish Boots and the heavy-duty,self-penned Wandering Earth. Black Rock isloaded with covers (John Hiatt's I KnowA Place is another standout), but it's theoriginal songs that make up many ofthe best moments on the album.The collaboration with local Greekmusicians pays offbeautifully on AthensTo Athens, a Delta-style blues completewith bouzouki (a traditional Greek,mandolin-like instrument) and anexotic sounding wind instrument. Thebouzouki puts in another appearanceon the haunting blues balladQuarryman's Lament, and again the clashof cultures is stunning. The same is trueof<strong>Bonamassa</strong>'s gorgeous version ofLeonard Cohen's Bird On A Wire.86 ClASSICROCKMAGAZINE.COMElsew<strong>here</strong>, blistering covers of OtisRush's Three Times A Fool, Blind BoyFuller's Baby You Gatta Change Your Mindand the James Clark classic Look OverYonder's Wall (also famously covered bythe Paul Butterfield Blues Band)collectively add a thrilling, old-schoolvibe <strong>to</strong> Black Rock. That infectious vibeis no more evident than on the killerNight Life with vocals and guitarcourtesy ofa special guest appearancefrom blues legend BB King. Here bothguitarists are on <strong>to</strong>p form, with Kinggenuinely sounding like he's having thetime of his life on this up<strong>to</strong>wn, horndrivenblues; you even hear himchuckling at the end ofthe track.B/ack Rock is undeniably a greatmodern blues album. That said, it's adynamically rich and diverse recordthat, in the wrong hands, could havecome across as a confused jumble ofstyles and ideas, especially given thoseethnic Greek <strong>to</strong>uches. It's <strong>to</strong> thecombined credit of<strong>Joe</strong> and his producer,Kevin Shirley, that this collection ofsongs hangs <strong>to</strong>gether so well as analbum. It's wonderful stuff. We don'tknow what <strong>Joe</strong> found in Greece thatinspired him, but a return visit in thenear future wouldn't be a bad idea.••••••••Ed MitchellThe obvious question is, apartfrom the great weather and food,what made you decide on Greeceas the location for the recordingof Blaelr Roclt?Kostas Kalimeris emailed my producerKevin Shirley about his new studio,Black Rock, on the small Greek islandof San<strong>to</strong>rini. Kevin and I had talkedabout achange of location forrecording, so this seemed perfect.And it was, honestly. Best recordingexperience of my life.What made the recording processso enjoyable?Its always great recording with Kevin.We have this great rap in the studio.He's my best bud. Plus the band iswicked. Sometimes we have <strong>to</strong>omuch fun. I think you can hear tha<strong>to</strong>n Baby You Gotta Change Your Mindon the album.How long did It take <strong>to</strong> recordthe album?About five weeks from start <strong>to</strong> finish.What was It like working with theGreek musicians In the studio?They were awesome. We <strong>to</strong>ld them <strong>to</strong>play from their hearts and just 'feel'.Working with them was ahumblingexperience.Did you leam anything Inparticular from the localmusicians?I learned that [jazz guitarist] AI DiMeola ripped alot of Friday Night InSan Francisco from the Greek bouzoukiplayers. I was like, hey, I've heard thatbefore! But I'm not about <strong>to</strong> throws<strong>to</strong>nes when Ilive in aglass houseI bought from Eric Clap<strong>to</strong>n.Athens To Athens is abeautifulsong 011 the album. What was theInspiration for It?It's abit of amash-up between RyCooder's Cherry Ball Blues and alyricI had.BB King perfonns wonderfullyon NIgIrt LIfe.I am eternally grateful and humbled hedid it. He honestly works more than Ido, but he had aspare day last year.We recorded our bits separately. I wasin Luxembourg playing ashow whenhe recorded his tracks. Iwas so proudand I cried when Kevin texted me andsaid the track was done. Imean, howcool is it <strong>to</strong> have 'The King' on yourrecord? Its the honour of alifetime.I framed the lyric sheet he signed forme. Awesome, really.Do you have any personalfavourite trades on the record?I like Wandering Earth and ThreeTimes aFool. That's the kinda bluesI like <strong>to</strong> play.
GW47<strong>Joe</strong> <strong>Bonamassa</strong> is fresh off a hitalbum, a live DVD and a badly brokenheart. With his career on the hottrack and a new CD on the way, theblues guitarist reflects on his gainsand losses, and what is yet <strong>to</strong> come.By Alan PaulPho<strong>to</strong>graphs byross halfin
oe <strong>Bonamassa</strong> is sitting in his regularperch in the front of his <strong>to</strong>ur bus as it rollsthrough the Illinois countryside. It’s 2:30 in themorning, and we are driving <strong>to</strong> Chicago fromPeoria, w<strong>here</strong> he just performed before a CivicCenter crowd of 1,000. In 12 hours he will walkin<strong>to</strong> the grand old Vic Theatre <strong>to</strong> soundcheckfor a sold-out show. The rest of his 10-memberband and crew have slipped in<strong>to</strong> their bunksfor some quiet time or sleep, but <strong>Bonamassa</strong> issipping red wine and reflecting on his career.Though he’s just 32, <strong>Bonamassa</strong> hasbeen on the road for almost 20 years.A prodigal talent who could shredthe blues with remarkable fluidityas a kid, he seems <strong>to</strong> be hitting hisstride now with a series of successfulCDs and DVDs that have raised hisprofile, elevating him from clubs <strong>to</strong>theaters and putting him on the cusp ofsomething grander.It’s been a long and difficult journey. Over the years he has gone from overseeingthe entire operation himself (including driving the band around in avan) <strong>to</strong> having a veteran professional <strong>to</strong>ur manager that supervises a smallroad crew. And he has done it all by taking control of his career in partnershipwith Roy Weisman, his manager of 18 years. They now handle everything in<strong>Bonamassa</strong>’s career, from releasing his music <strong>to</strong> booking his shows, and seem<strong>to</strong> have found a stable path through the treacherous, ever-shifting landscape ofthe contemporary music business.<strong>Bonamassa</strong> has a lot <strong>to</strong> be glad for. His last CD, The Ballad of John Henry,s<strong>to</strong>od a<strong>to</strong>p the Billboard Blues Albumschart for six months after its debut. Thispast September, he released the DVDLive at the Royal Albert Hall, whichfeatures his band blazing through aset at the sold-out London landmark,complete with an appearance by hishero Eric Clap<strong>to</strong>n. His next CD, BlackRock, is already in the can.This would seem <strong>to</strong> be the moment atwhich he could pat himself on the backand reflect on how far he’s come. But ashis <strong>to</strong>ur bus rolls through the darkness,<strong>Bonamassa</strong> is considering what he’ssacrificed: a chance <strong>to</strong> build a stablehome life around a lasting relationship.“Living this life, even if you findthe true love of your life, chances areyou’re gonna burn them out beinggone,” he says. “What good is it <strong>to</strong> bein a relationship when you’re gone formonths on end or they come out withyou and sit on the bus with nothing <strong>to</strong>do? I’ve had two long-term relationshipsin 10 years, and it burns them out.“Last year I thought I found the one,so I still think it’s possible. I was oncloud nine. You could not have given methe blues if you tried. Six months later,after this huge movement of houses,people, everything—I moved from L.A.<strong>to</strong> Athens, Georgia—it fell apart, and Iwas at the lowest point of my life.”In the tried-and-true tradition of theblues, <strong>Bonamassa</strong> turned <strong>to</strong> his music forhealing. He poured the emotions of thisspectacular disaster of a relationship—the ups and the downs—in<strong>to</strong> the songsof the album he was in the midst ofrecording. The Ballad of John Henry wasrecorded in two sessions, four monthsapart—a third of a year during which<strong>Bonamassa</strong>’s moods spanned the gamu<strong>to</strong>f human emotions.“I was as happy as I’ve ever been when we didthe first sessions for the album and as down asI’ve ever been when we did the second,” he says.“I could not have been in a worse place.”<strong>Bonamassa</strong>’s struggles and this dark periodproduced some of his deepest, most personalsongwriting, notably “Last Kiss” and “HappierTimes.” “I think these are the most heartfeltsongs, with the best lyrics, that I’ve ever written,”he says.Producer Kevin Shirley helped make sure that<strong>Bonamassa</strong>’s emotions informed the music asmuch as they did the lyrics and vocals. “He wasso obviously distraught when we cut ‘HappierTimes,’ ” Shirley recalls. “We tracked it, and thenI <strong>to</strong>ok him aside and said, ‘Play everything youare feeling on that guitar.’ I left him alone andjust let him play and play with the guys, playingthe changes over and over, and later I edited thatdown in<strong>to</strong> the solo. It was pretty intense. I canstill feel that emotion when I listen <strong>to</strong> the song.And amazingly, he says that he doesn’t have amemory of playing it at all. He just poured everythingin<strong>to</strong> the solo.”<strong>Bonamassa</strong>’s successful integration of his painin<strong>to</strong> the music also represented a maturation ofhis approach <strong>to</strong> music. He has had terrific chopsand an almost freakish ability <strong>to</strong> play hot-roddedblues rock almost since the day he played hisLiving this life, evenif you find the truelove of your life,chances are you’regonna burn them outbeing gone.”first gig, at age 11, after sitting in withguitar greats like Albert Collins andDanny Gat<strong>to</strong>n in his home<strong>to</strong>wn of Utica,New York. A year later, B.B. King <strong>to</strong>okhim under his wing, and he made hismajor-label debut, as a member of theband Bloodline, when he was still a teen.<strong>Bonamassa</strong> has evolved in<strong>to</strong> a deeper,more well-rounded musician. His licksare no less impressive, but now theyare in the service of something greater,working in a context that appeals <strong>to</strong> thoseoutside the guitar community.This transition began in earnest in2006 when he first entered a studio withShirley, who had produced the BlackCrowes and Aerosmith and is probablybest known for having mixed Led Zeppelin’sHow the West Was Won and thegroup’s eponymous DVD, both releasedin 2003. Shirley <strong>to</strong>ok a much more expansiveview of <strong>Bonamassa</strong>’s music andpotential than anyone had previously.“From the first time we spoke, Kevindidn’t care what I could do well,” <strong>Bonamassa</strong>says. “He cared about what Ineeded <strong>to</strong> work on, and he wanted <strong>to</strong>challenge me. He suggested a lot of songsguitar world 49
We havebudgets betterthan a lot of big labels willgive you now.People in this collapsingmusic industry arenow referring <strong>to</strong> this as the‘<strong>Bonamassa</strong>model.’ ”—Kevin Shirleyand situations I never thought wouldwork, and we tried them, and it <strong>to</strong>okus <strong>to</strong> a whole new place and a wholenew level.”Shirley recalls going <strong>to</strong> see <strong>Bonamassa</strong>for the first time, in a smallclub outside Chicago. He was impressed,but not exactly wowed. “Itwas clear <strong>to</strong> me right away that <strong>Joe</strong>was a great guitar player, but I wasn’tsure w<strong>here</strong> he was taking it,” he says.“I went on the bus, and he askedwhat I thought, and I was just <strong>to</strong>tallyhonest. I said, ‘I think that you’revery good, but you’re on a bit of anow<strong>here</strong> journey. If you ever want<strong>to</strong> think outside the box, then let’s dosomething, but it’s going <strong>to</strong> take youplaces you might not be comfortablewith, and you’ll have <strong>to</strong> trust me.’“He was a little taken aback—hehad just played a gig and had 50adoring fans around him—but hecalled me about a week later and said,‘Okay, I’m ready. What do you want<strong>to</strong> do?’ ”Shirley’s first thought was that<strong>Bonamassa</strong> should expand beyond thepower-trio lineup he had been playingwith for years. He wanted <strong>to</strong> bring insome new and different musicians,starting with drummer Jason Bonhamand bassist Carmine Rojas, a veteransession and road musician who hadperformed with David Bowie, RodStewart and countless others. Shirleysays, “These guys are great musicians,but more importantly they had theexperience and musical respect <strong>to</strong> let<strong>Joe</strong> be the star.”<strong>Bonamassa</strong> says, “The thing thatwas so great about working withKevin is he opened things up withouttrying <strong>to</strong> steer me away from bluesand the music I loved and wanted <strong>to</strong>perform. He saw more possibilitiesfor what I was doing, but he wasn’ttrying <strong>to</strong> change me or make me in<strong>to</strong>something I wasn’t, and it was allgood from the start. The first thinghe did was call Jason Bonham, andworking with him was great. I amjust not the kind of guy who woulddo that myself.”That recording became You andMe, <strong>Bonamassa</strong>’s third album <strong>to</strong> bereleased on his own J&R Adventureslabel and his first <strong>to</strong> debut a<strong>to</strong>pthe Billboard Blues Albums chart.<strong>Bonamassa</strong> has never been a bluespurist—the title track of A NewDay Yesterday, his debut CD, is aJethro Tull song—but on You andMe he expanded his usual mix oforiginal and cover tunes further.In one instance, he <strong>to</strong>ok on LedZeppelin’s “Tea for One,” inspired byBonham’s drumming. It was evidentthen that he had taken a subtle butdefinitive turn, one he furt<strong>here</strong>d byadding Rojas and keyboardist RickMelick <strong>to</strong> his <strong>to</strong>uring band, alongwith drummer Bogie Bowles (whohad previously worked with KennyWayne Shepherd). The result is amore professional band and a fullersound that puts a stronger focus on<strong>Bonamassa</strong> and the songs.“I did not and still don’t fear thinkingoutside the box and changingwhat we’re doing,” <strong>Bonamassa</strong> says.“I had created my own little house,and it was really comfortable. WhenKevin first came <strong>to</strong> see me, it was ina sold-out blues club—300 people—and we thought that was pretty great.Four years later, we’re at the RoyalAlbert Hall with 5,000 people t<strong>here</strong>and Eric Clap<strong>to</strong>n coming out <strong>to</strong> play.The impact of these records withKevin on my career is incalculable.”<strong>Bonamassa</strong> has always had a knackfor finding great material, and hehas continued <strong>to</strong> do so even as hissongwriting has grown stronger. Hisnext CD, Black Rock, which will beguitar world 51
eleased in March, was recorded inGreece and features local musiciansenlivening Leonard Cohen’s “Birdon a Wire” as well as a romp through“Steal Your Heart Away,” an old tuneoriginally done by bluesman BobbyParker. The song was recommended<strong>to</strong> Shirley by Robert Plant, who saidLed Zeppelin rehearsed it in theirearliest days and that he regretted notrecording it.But the guitarist has also becomeextremely prolific. In four years,he has released four studio albums(including Black Rock), a live albumand the Albert Hall DVD. If he werestill on a major label, as he was forhis 2000 debut, he likely would haveput out one or two of those projects.“Taking control and putting ou<strong>to</strong>ur own product has given me a lo<strong>to</strong>f freedom <strong>to</strong> keep trying differentthings and recording when we’reready or just want <strong>to</strong> try something,rather than waiting for someone else<strong>to</strong> tell me it’s time,” he says.Shirley has grown increasinglyimpressed with <strong>Bonamassa</strong> andWeisman’s business acumen andwillingness <strong>to</strong> follow their instinctsand try new things. “Musically, <strong>Joe</strong>will listen <strong>to</strong> ideas and let somethingplay out <strong>to</strong> see if the vision developsand pay off,” Shirley says. “And he’llknow when <strong>to</strong> pull the plug and when<strong>to</strong> keep riding something. He and Royhave approached the business in asimilar way. They’ve been mercurialenough <strong>to</strong> move with the demandsof a fast-changing industry. They seeevery aspect of every cog in the wheelas leading up <strong>to</strong> something else. Theypay for everything out of their pocket,and we have budgets better than alot of big labels will give you now.And it’s all worked. People in thiscollapsing music industry are nowreferring <strong>to</strong> this as the ‘<strong>Bonamassa</strong>model’ and calling me <strong>to</strong> discuss it.”This acquired business savvy is notin any way antithetical <strong>to</strong> great musicianship.<strong>Bonamassa</strong> says that B.B.King’s big advice <strong>to</strong> him was <strong>to</strong> knowhow <strong>to</strong> do everyone’s job and alwaystake care of the money yourself. Still,running a tight ship would be meaninglesswithout great music, and <strong>Bonamassa</strong>has continued <strong>to</strong> grow. Rojassays, “The thing about <strong>Joe</strong> is he’s sotalented and so ready <strong>to</strong> explore. Itmakes it really fun and constantlychallenging <strong>to</strong> play with him. If youcrack open the door even just a littlebit for him, you know he’s going <strong>to</strong>open it up and see what’s t<strong>here</strong>.”Following his Chicago performanceat the Vic, <strong>Bonamassa</strong> was ready <strong>to</strong>do a little more exploring. He andWeisman hopped in<strong>to</strong> a van anddrove a couple of miles north <strong>to</strong> theRiviera Theatre, w<strong>here</strong> Gov’t Mulewere performing. An onstage jambetween these two old friends hadbeen orchestrated, and <strong>to</strong> facilitate it,a quick rehearsal had been held earlierin the day during Mule’s soundcheck.One of <strong>Joe</strong>’s beloved Les Paulshad been placed alongside WarrenHaynes’ arsenal, ready for action.<strong>Bonamassa</strong> arrived for the last twosongs of Mule’s first set, thunderingperformances from their new CD, Bya Thread, that whipped the crowdin<strong>to</strong> a frenzy. Haynes and the band<strong>to</strong>ok their break and headed down <strong>to</strong>their dressing room, <strong>Bonamassa</strong> s<strong>to</strong>odhesitantly in the background for amoment before following them, actingmore like a polite interloper thana guest star.In the dressing room, Haynes and<strong>Bonamassa</strong> greeted each other likelong-lost friends. They first met morethan 15 years ago when they co-wrotea couple of songs for Bloodline’s 1994debut, on which Haynes also played.After that band fell apart, <strong>Bonamassa</strong>recorded Haynes’ “If HeartachesWere Nickels” on his solo debut, andthe song remains a staple of his liveshows. Yet despite the connectionsand a strong mutual respect, thetwo had done precious little publicjamming, and both were excited.Two songs in<strong>to</strong> Gov’t Mule’s secondset, Haynes called for <strong>Bonamassa</strong>, whostrode onstage <strong>to</strong> the cheers of thepacked house. Mule fans always know<strong>to</strong> expect the unexpected—no oneenjoys bringing special surprise guestsonstage more than Haynes—and theywere in for a special treat.Over the course of two songs—“Feel Like Breaking Up Somebody’sHome,” a soul song popularized byblues guitar titan Albert King, and theoriginal instrumental “Sco Mule”—Haynes and <strong>Bonamassa</strong> engaged in aplayful, virtuoso blues guitar dialoguethat played out like an ecstatic ad forGibson guitars. Throwing sparks a<strong>to</strong>ne another and taking flight on onelong complementary journey, the twoguitarists made their Les Pauls sing ineloquent, tube-drenched harmony.Afterward, <strong>Bonamassa</strong> and Weismanpiled in<strong>to</strong> the van and headedback <strong>to</strong> the Vic. The bus was waiting,gassed up and ready <strong>to</strong> push off for St.Louis, w<strong>here</strong> the endless <strong>to</strong>ur wouldcontinue 600 miles later. Rojas andMelick were waiting on the sidewalk,eating French fries and talking<strong>to</strong> some lingering fans. <strong>Bonamassa</strong>greeted them all, then everyone saidgoodbye and piled on<strong>to</strong> the bus. Thedoor pulled shut, and the vehiclepulled away from the curb.They had six or seven hours <strong>to</strong>drive, and most of the guys were nodoubt tucked away in their bunksbefore long. <strong>Bonamassa</strong> was probablyin his seat upfront, sipping wine andlooking out the window again, thinkingabout the miles behind him andthe distance yet <strong>to</strong> cover.guitar world 53
ROLL OF HONOUR 2009BREAKTHROUGHJOEBONAMASSABottle: This manplayed solo guitar infront of Page, Beck,Wood, Slash, May,Townshend & more.Being a hot new artist is one thing - getting out of the'promising' category and in<strong>to</strong> the big league is something else.The Breakthrough award is a brand new award recognisingyounger musicians who've taken critical acclaim and years ofsupport slots and turned them in<strong>to</strong> mainstream success. Withhis acclaimed album The Ballad Of John Henry, and a sell-outshow at the Royal Albert Hall earlier this year, <strong>Joe</strong> <strong>Bonamassa</strong>was this year's deserving Breakthrough award winner.PROUDLY SPONSORED BYrockrad1o. co. ukYou've attended the Roll Of Honour before, but it must feelso much better <strong>to</strong> actually walk away with an award?[Laughing] Honestly, just <strong>to</strong> have been nominated alongsidesome of the artists I was up against was an incredible thrill. Andfor Classic Rock <strong>to</strong> think of me as the first recipient of thiS awardcategory is a tremendous honour. Without the magazine, just likea lot of people, I probably wouldn't be <strong>here</strong> talking <strong>to</strong> you now.You also played at the Awards.That was another first in the five years of these awards. If it hadn'tgone weill might have been the first and last [In fact, Mot6rheada/so performed an acoustic spot at the end of the inaugural ClassicRock Roll Of Honour in 2005 - Ed]It <strong>to</strong>ok guts <strong>to</strong> play in front of all those guitarists...I was trying not <strong>to</strong> think of who was watching.What's in s<strong>to</strong>re for you in 2010?A new record, called Blackrock, that comes out in March, plus gigsin a lot of new terri<strong>to</strong>ries for me"Without thismagazineI probablywouldn'tbe<strong>here</strong>.
THE BEATLES & THE ROCK BAND GENERATION! 12 SONGS<strong>Joe</strong> <strong>Bonamassa</strong>PLUS!21st Century Blues Hero!MaTT SCHofield:Blues Guitar’sNext Big Thing!The Beatles“Back in the U.S.S.R.”The Beatles“I Feel Fine”<strong>Joe</strong> <strong>Bonamassa</strong>“You Upset Me Baby”Shadows Fall“Still I Rise”Alice in Chains“Them Bones”Motion City Soundtrack“Fell in Love Without You”Five Finger Death Punch“Hard <strong>to</strong> See”Opeth“Windowpane”ZZ Top“Just Got Paid”Yes“Owner of a Lonely Heart”+2 Bonus Songs!Les Paul“Stardust”Les Paul“How High the Moon”THECOOLESTGEAR!Marshall Hazeand MG Series CombosSchecter Solo-6T-Rex DGTMNovember 20095 Rotary PedalsSide-By-Side!guitaredge.com
pho<strong>to</strong>: Ashley Maile22 NOVEMBER 2009www.guitaredge.com
COVER STORY<strong>Joe</strong> <strong>Bonamassa</strong>Trans-Atlantic Blues Power{How a young kid from Utica, New York, with a love for Britishblues became the face of his generation of the blues}interview by Dave Rubinwww.guitaredge.comNOVEMBER 2009 23
When Stevie Ray Vaughan roared on<strong>to</strong> thescene in the early Eighties, the guitaristwith Texas-sized <strong>to</strong>ne and chops <strong>to</strong> matchnot only single-handedly rescued the bluesbut also inspired would-be guitarists youngand old across the globe <strong>to</strong> take up musicalarms. Indeed, Vaughan’s influence hadunprecedented reach, as kids as young asfour years old began trading swim lessonsfor Strats, and Legos for Les Pauls. One ofthose youngsters—and arguably the bes<strong>to</strong>f them—was a kid from Utica, New York,named <strong>Joe</strong> <strong>Bonamassa</strong>.In 1984, when he was just seven years old,<strong>Bonamassa</strong> was already copping SRV licks.But it was his father’s record collection featuringBritish blues titans Eric Clap<strong>to</strong>n, JeffBeck, and Peter Green along with their Irishcounterparts Rory Gallagher and Gary Moorethat really fired his imagination and desire. Atage 11, <strong>Bonamassa</strong> found a men<strong>to</strong>r in noneother than Danny Gat<strong>to</strong>n, and a year laterwas opening shows for B.B. King. The followingyear he met Berry Oakley, Jr., son of theAllman Brothers Band bassist, and formedBloodline, along with Erin Davis (son of Miles),and Waylon Krieger (son of Robby), resultingin a critically acclaimed self-titled album. But<strong>Bonamassa</strong> was eager <strong>to</strong> go his own way andin 2000 finally released his solo debut, A NewDay Yesterday. Ten more acclaimed studio andlive discs have followed, including the <strong>latest</strong>,The Ballad of John Henry (J&R Adventures),which cracked the Billboard 200 and was a # 1blues album in 2009.One key <strong>to</strong> his successful journey down theblues highway is the praise he has earnedfrom everyone from B.B. King <strong>to</strong> Ted Nugent.But in the end, it is the wallop of his emotionalexpression, fueled by the rocking energy hederives from that trans-Atlantic blues connectionand driven by his devastating technicalability, that elevates him above his peers andmakes him a certifiable blues guitar hero andthe face of this blues generation.How have you remained true <strong>to</strong> yourkind of blues?For a long time I felt alone and that everyoneelse was going in the opposite direction fromme, <strong>to</strong> the Chicago sound, or certainly <strong>to</strong> theTexas sound. I would show up and have theonly Marshall amp and Les Paul guitar. But,honestly, I couldn’t sell anything else. I probablycould play Texas blues, but I think the fanswould see through it.pho<strong>to</strong>: Ashley MaileThe blues has <strong>to</strong> be played from the heart.Yes, and the fact that I had good success inEngland meant a lot <strong>to</strong> me, because it waslike selling it back <strong>to</strong> them. I figured everybodyand their second cousin would have aMarshall Bluesbreakers combo, a Les Paul, andsound like Peter Green, but I was extremely24 NOVEMBER 2009 www.guitaredge.com
pho<strong>to</strong>: Christie Goodwinmistaken. Again, it was more the Texas thing,and I thought, “Hmm, maybe if I really workthis enough, I could be the only one!”Did you ever study and learn theory?I learned some classical guitar when I was akid, but I don’t know the names of the modesand the numbers of the notes and chords. Ido clinics at G.I.T., and ultimately some kidwho is trying <strong>to</strong> impress his girlfriend willask, “When you add the major 5th <strong>to</strong> theminor 6th, what is your thought process?”And I say, “They add up <strong>to</strong> 11, and I havenot the slightest idea what you just said.” Ilearned by ear from records and would pickstuff out, like the way Eric Clap<strong>to</strong>n wouldweave in and out of the minor and majorpenta<strong>to</strong>nic scales. But I always wanted <strong>to</strong>know why a riff was used and why it soundedso good at the “payoff” moment.In 2007 you released Sloe Gin, which featuredyour acoustic playing. How wouldyou describe the difference between electricand acoustic guitar?With electric, sometimes the guitar and ampwill take you for a ride, in the sense that ifyou get enough volume and sustain, sometimesthe guitar will dictate and take you <strong>to</strong>places you are not intending <strong>to</strong> go. With theacoustic, everything comes out as intended—andit’s brutally honest. I think I soundmore original on the acoustic because I havefewer influences. I use .011–.052 strings onall my guitars. I want the acoustic <strong>to</strong> fight me,but I don’t want it <strong>to</strong> win.How would you like <strong>to</strong> see yourplaying improve?It has always been and always will bephrasing for me. I can hand you my guitarand say, “Play an E note,” and you’ll play ita certain way, and I’ll play an E a certainway. Then we could hand the guitar <strong>to</strong>Eric Clap<strong>to</strong>n, and he’ll play an E a certainway. You could record us and blindfoldsomeone, and with just that single E note,they would be able <strong>to</strong> tell the differencebetween us. It’s phrasing that denotes astyle. Learning lots of scales and techniquelike string skipping is great if you are playingin a band like Dragonforce—of course,t<strong>here</strong>’s always room for the shred. But mykind of music is a little bit different. It’smore emotive and based on simplicitywww.guitaredge.com NOVEMBER 2009 25
pho<strong>to</strong>: Ashley Maileand a more soulful approach. PaulKossoff, from Free, is a greatexample. He was the definition of“tactile and simple.” He could play aLes Paul straight in<strong>to</strong> any amp, whethera Marshall or an Orange, and you couldalways tell it was him. His phrasing and<strong>to</strong>ne, always warm and not <strong>to</strong>o bright, ason “Mr. Big,” just got <strong>to</strong> me. And, he playedwith bad intentions, like he was trying <strong>to</strong>cut your head off.Who were your main influences<strong>to</strong> play the Les Paul?Clap<strong>to</strong>n and Green, but also Jeff Beck.Hearing him on Truth, it was like, how doeshe get that <strong>to</strong>ne on “Let Me Love You, Baby”?Then I met Ken Scott, who engineered thealbum, and I asked him about the intro. Hesaid the studio was so small, they put theMarshall inside a closet, turned it up andmiked it from the outside. It created that big,thick Les Paul sound that I always liked, thehuman voice quality of it. I tried an ES-335 foryears, and it was pretty good, but the soundhad less weight. The transition between thewound strings and the G string is a littlebrighter, while with the Les Paul, if you couldfind a good one, the sound is thick all acrossthe neck like Paul Kossoff, or that outrageous<strong>to</strong>ne Peter Green had on “So Many Roads.”Didn’t Peter Green reverse the direction ofthe neck pickup on his LP <strong>to</strong> get a funky,midrange, out-of-phase sound?I read that he turned the pickup aroundbecause he was trying <strong>to</strong> get the properin-phase sound with both pickups selected.I think his guitar had been wired wrong.I turned the pickup around on my guitarand it did nothing. Upon further inspection,I realized you had <strong>to</strong> also reverse thewiring on the coils. Recently my tech pu<strong>to</strong>ne <strong>to</strong>gether for me with a Burstbucker.It’s usable for some things, but it’s so PeterGreen that it’s almost <strong>to</strong>o much. You know,that sound is his thing.Clap<strong>to</strong>n used an effect on the “Beano” albumcombined with the ’Burst and the Marshall.26 NOVEMBER 2009 www.guitaredge.com
pho<strong>to</strong>: Christie Goodwinpho<strong>to</strong>: Ashley MaileI heard that he used a Dallas Rangemastertreble booster, which is really more of abass cut than a treble boost and that alsocuts the input a little bit. Brian May makesa similar one now, and I tried a couple ofthem and they do a certain thing withthe mids that’s actually pretty decent,but I would love <strong>to</strong> find one of theoriginal ones. I recently played througha Bluesbreakers combo without a treblebooster, but I used a Tube Screamer <strong>to</strong>kind of emulate the sound by taking alittle off the bass and adding some <strong>to</strong> the<strong>to</strong>p on the amp. Bring up the <strong>to</strong>ne andturn the drive down almost <strong>to</strong> minimumon the Tube Screamer, turn your guitarup a little bit more, and it does its thing.What is the rest of yourbasic gear setup?My main guitar is the<strong>Joe</strong> <strong>Bonamassa</strong> signatureLes Paul gold<strong>to</strong>p,which I love. I run that through my oldMarshall Silver Jubilee, plus Category 5 JB100, Van Weelden Twinkleland, and CarolAnn JB 100 amps. For effects I use a reissueIbanez TS-808, Full<strong>to</strong>ne tremolo, WayHuge WHE 201 Pork Poin Soft Clip InjectionOverdrive, a cus<strong>to</strong>m Fuzz Face and cus<strong>to</strong>mCrybaby wah, Boss DD-3 delay, and either aLayla or Palmer amp switch.Speaking of Clap<strong>to</strong>n, you recently got <strong>to</strong>play with him. What was that like?I invited him <strong>to</strong> play with us at the RoyalAlbert Hall in London, in May, telling himwhat a special event it was for me becauseof the legacy and his<strong>to</strong>ry he created. Heaccepted, and I was able <strong>to</strong> realize two ofmy lifelong goals. We chatted some aboutguitars and he <strong>to</strong>ld me he preferred theskinnier necks and the sound of the 1960Les Paul, which I believe is what he playedon the Bluesbreakers album. I recently got<strong>to</strong> A/B a 1959 and 1960 sunburst, and the1960 model had a little more <strong>to</strong>p end on thefront pickup and the back pickup had a littleless bass, which is what you hear on thealbum. We jammed on “Further on up theRoad,” which was also special <strong>to</strong> me becausehis version from Just One Night was the firstelectric blues song I heard. I tried not <strong>to</strong> domy best Eric Clap<strong>to</strong>n impersonation whilehe was up t<strong>here</strong> with me, and it was themost thrilled and scared I’ve ever been. I<strong>to</strong>ld him I owe you a royalty check for everythingI s<strong>to</strong>le from you, and he laughed andsaid, “Don’t worry about it.”28 NOVEMBER 2009www.guitaredge.com
®RONASHETONTRIBUTEJOHNPIZZARELLIJAZZ MASTERCLASSON PLAYING LOUD& STAYING HUNGRYTIPS &TECHNIQUES!POP VAMPIRE WEEKENDMETAL MY RUINROCK JOHN FRUSCIANTEFUNK NILE RODGERSACOUSTIC ANDY McKEEALL ABOUTFLAT-TOPACOUSTICSAL DI MEOLAON MOVINGBEYOND FUSIONNEW RYCOODERANTHOLOGYGEAR REVIEWS!3 ACOUSTIC AMPS2 HOHNER ARTIST MODELSEGNATER REBEL-20APRIL 2009$6.50$6.50040 74470 01010 4A NEWBAY MEDIA PUBLICATIONROBERT CRAY& TAB BENOITON HITTING “WRONG” NOTES
WORKING CLASSHERO<strong>Joe</strong> <strong>Bonamassa</strong> Tells How LoudAmps, Heavy Strings, and HardWork Created His Best Record EverAT A GUITAR MAGAZINE, YOU GET A LOT OF PARENTS PUSHINGa lot of would-be guitar star kids in your face—children noteven in their teens who can play a Satriani tune or a Stevie RayVaughan solo “note-for-note” (they always say that). Despitethe fact that some of these kids actually can play, it’s very rarefor any of them <strong>to</strong> rise above the level of a trained monkey. Theyknow the notes, but they get very little of what’s behind thenotes: the sound, the personality, the soul. And most of themnever do, because if they did, we would know about them.One promising young kid who somehowmanaged <strong>to</strong> run the gauntlet of the music bizwhile getting his chops, <strong>to</strong>ne, and tunes <strong>to</strong>getheris on our cover this month. <strong>Joe</strong> <strong>Bonamassa</strong> wasone of those youngsters who could blazethrough an SRV tune when he was 11. He possessedtechnique and knowledge that so beliedhis youth that it was only natural that if peopledidn’t curse him with the dreaded label of“The Next Stevie Ray,” they would at leastburden him with the “child prodigy” tag thatdragged down so many of his contemporaries.When the discussion turns <strong>to</strong> the idea thathe was some sort of wünderkind, <strong>Bonamassa</strong>BY MATT BLACKETTJKJKgets thoughtful. “As far as me being a prodigy,”he says, “I listen back now <strong>to</strong> myself when Iwas a kid, and I think I was on the line betweenbeing a prodigy and just being good for my age.T<strong>here</strong> were times when I was really good andI excelled and t<strong>here</strong> were times when I waspretty bad.”If he was ever pretty bad, B.B. King didn’tsee it. King talked about <strong>Bonamassa</strong> being thekind of one-in-a-million talent that would be“legendary before he’s 25.” Another guy whomanaged <strong>to</strong> catch some of <strong>Bonamassa</strong>’s gooddays was Danny Gat<strong>to</strong>n, who saw such a uniqueartist that he <strong>to</strong>ok a 12-year old kid under hisPHOTOGRAPH BY RICK GOULDGUITAR PLAYER APRIL 2009 81
COVER STORY<strong>Joe</strong> <strong>Bonamassa</strong>wing and out on the road, providing lessonsand advice. The guidance <strong>Bonamassa</strong> gotfrom these two kingpins, along with jamsessions with a who’s-who of blues gods,spurred him on <strong>to</strong> practice his ass off, studyhis music his<strong>to</strong>ry, get his sound <strong>to</strong>gether,and make a go of it.<strong>Bonamassa</strong> is more right than he knowswhen he says he’s good for his age. That wastrue when he was 11 and it’s even truer now.Even though he’s just in his 30s, he’s beengigging for 20 years and he has the depthand power in his playing of someone with alot more miles on him. He’s an old soul, andthat comes through in his bends, vibra<strong>to</strong>,singing voice, and note choices, which—witheach passing year—get more restrained andrefined.<strong>Bonamassa</strong> is also good for his age in thesense that he’s good for his era. He embodiesa refreshing work ethic and outlook onlife that says no matter how fortunate you are,how many breaks you’re given, or how muchgod-given talent you possess, it doesn’t meanyou don’t have <strong>to</strong> work at it. He knows t<strong>here</strong>is no free lunch (despite the fact that B.B.King once gave him half of his sandwich).He’s a dude who is willing <strong>to</strong> work for a living.He’s not chasing fame or glitz or glam.He wants <strong>to</strong> get a good sound, take a goodsolo, and hopefully make people happy alongthe way.His formula is paying off. He has workedwith celebrated producers Tom Dowd(Coltrane, Cream, Clap<strong>to</strong>n, Allmans, etc)and Kevin Shirley (Black Crowes, Aerosmith,Led Zeppelin). His last two albums havedebuted at number one on the Billboard blueschart. He has won GP’s Readers’ Poll awardfor Best Blues Guitarist two years running,famously tying none other than Buddy Guyone of those years. His <strong>to</strong>urs have gottenstronger every year, although he still prefersthe B.B. King-approved theater circuit <strong>to</strong>stadiums. It makes perfect sense that <strong>Bonamassa</strong>’snew record would be called The Balladof John Henry [J&R Adventures], because <strong>Bonamassa</strong>is a modern-day working-class hero.Conducting this interview from the verybedroom in upstate New York w<strong>here</strong> helearned how <strong>to</strong> play guitar at the age of four,<strong>Bonamassa</strong> obviously has not forgottenw<strong>here</strong> he came from. He’s good for his age.He’s good for this age.Lots of guys can play good blues in a bar, but veryfew can make a studio blues record that has 1/10thof that energy or vibe. How do you pull it off?It is very difficult <strong>to</strong> capture that energyin a studio. The studio tends <strong>to</strong> be a verysterile environment by design. Every trackis separated. You get perfect separation ofthe <strong>to</strong>ms, the kick and the snare, perfect separationbetween the guitar and the bass, andobviously the vocal. And that’s not reallywhat blues music sounds like. T<strong>here</strong> are peopleout t<strong>here</strong> who believe that what I play isnot blues, but think about blues-based music,like Jeff Beck’s Truth, Tons of Sobs by Free, LedZeppelin I, The Hard Road by John Mayall’sBluesbreakers with Peter Green, the “Beano”album. These are my favorite albums of alltime in the blues-rock genre and they allhave this one common trait: Everything melts<strong>to</strong>gether. The drums melt in<strong>to</strong> the bass, thebass and drums melt in<strong>to</strong> the guitar, the vocalis panned <strong>to</strong> one side with the reverb returnon the other. To Kevin Shirley’s credit, heallows for all that. Kevin deserves most ofthe credit on these albums. He’s the guy whospearheads the vision, takes me out of mycomfort zone, and forces me <strong>to</strong> play differentstuff. He also engineers the whole thingso that it has the sound of a live band in aroom, but is separated enough that it doesn’tsound lo-fi. So, that’s my secret: I hire a guynamed Kevin Shirley.1958 GibsonES-140T1950 Gibson ES-5 1961 Guild X-375 Early-’60s Airline 1953 HoyerRegent82 APRIL 2009 GUITAR PLAYERPHOTOS:RICK GOULD
COVER STORY<strong>Joe</strong> <strong>Bonamassa</strong>JKBONAMASSA’S LIVE RIGAX Gibson Inspired by <strong>Joe</strong> <strong>Bonamassa</strong>Les Paul.RACK (<strong>to</strong>p <strong>to</strong> bot<strong>to</strong>m) MonsterPower conditioner, Solid StateLogic XLogic Alpha Channel (foracoustic), Peterson VS-R StroboRack tuner, Electro-Voice wirelessunit, drawer with Keeley-moddedBoss DD-3 delay, Boss RV-5reverb, T.C. Electronic chorus, DiazVibramaster.AMPS (left side) Van WeeldenTwinkle Land, Carol Ann JB-100,(right side) Category 5 JB Cus<strong>to</strong>m,Marshall Silver Jubilee. Cabs—Mojo Musical Supply 4x12sperched a<strong>to</strong>p AuralexGreat Grammas.PEDALBOARD (<strong>to</strong>p row, left <strong>to</strong>right)—Voodoo Lab Pedal Power(2), Whirlwind Selec<strong>to</strong>r, Full<strong>to</strong>netremolo; (bot<strong>to</strong>m row, left <strong>to</strong> right)Boss DD-3 delay, Ibanez TS808Tube Screamer, Gaspedals Carb,Cus<strong>to</strong>m Dunlop Fuzz Face (originallymade for Eric Johnson), Lehle1@3 A/B/C box, Vox wah.Moog T<strong>here</strong>minwith Boss delayand Ernie Ballvolume pedal.84 APRIL 2009 GUITAR PLAYER PHOTO: RICK GOULD
<strong>Joe</strong> <strong>Bonamassa</strong>COVER STORYThe Ballad of John Henry has a real depth <strong>to</strong>it, not just in the playing but in the singing <strong>to</strong>o.What do you attribute that <strong>to</strong>?I went through some personal problemsthis year at home, and this record is moreau<strong>to</strong>biographical than my past work, whichI think is a good thing. I’ve always been shyabout exposing <strong>to</strong>o much of my own life onalbums. This time, I just threw that out thewindow and wrote about true events. I used<strong>to</strong> get really indignant as a kid when peoplewould say that I was <strong>to</strong>o young <strong>to</strong> play theblues. I’d say, “No I’m not! My heart’s beenbroken <strong>to</strong>o!” But now, at 31, after havinggone through some more years of living, Iknow that t<strong>here</strong>’s a sound that comes fromexperience, from being in the world a littlebit. Hopefully I’ll sound even deeper whenI’m 51. We’ll see.How did you create the <strong>to</strong>ne that opens t<strong>here</strong>cord on the title track?That was my live rig: a Marshall SilverJubilee, a Category 5 Super Lead-type of amp,a Two-Rock, and a Carol Ann JB-100, whichis basically a big clean amp. We set up a coupleof room mics, four mics on the amps, andI just hit a big dropped-DDchord with a wahpedal and a Full<strong>to</strong>ne tremolo. The mainrhythm <strong>to</strong>ne is an Ernie Ball John Petruccibari<strong>to</strong>ne. It’s a strange choice for my style ofplaying, but these are fantastic guitars. I thinkpeople tune them down <strong>to</strong> B with lighterstrings, but we tune them <strong>to</strong> C and put heavystrings on them and they sound fantastic. It’salmost like a Danelectro <strong>to</strong>ne.When the Dobro comes in at 0:45, t<strong>here</strong>’s aspooky little part that sounds like harmonics.That’s rhythm guitar underneath theDobro. Kevin grabs bits and pieces from differenttakes and he does a lot of this stuffwithout telling me. He puts these little texturesin the songs. He might take somethingfrom the end of the song and put it in theverse. It’s not necessarily something I playedright in that spot. We talk about this a lot.We make records for people who buy songsoff of iTunes, but we also make records forthe audiophiles, who buy them on vinyl andspin them on really expensive systems with$2,000 headphones. We make sure we putin these little interesting things underneathwhat you’ll hear on computer speakers.Your slide solo in “The Ballad of John Henry”takes the song <strong>to</strong> an all-new place. How did thatcome <strong>to</strong>gether? Are you in standard tuning?It’s standard, but down two full-steps <strong>to</strong>C. Tom Dowd used <strong>to</strong> tell me that I wouldcheat because I play slide in open tunings.Over the years I’ve forced myself <strong>to</strong> play morein standard. When we cut that lead, I wasjust going <strong>to</strong> play a regular solo, but then Ihappened <strong>to</strong> see a slide sitting on a musicstand. I grabbed it and went for it, and I thinkit has a cooler texture than if I had just donemy normal blazing over the <strong>to</strong>p of it. That’sthe cool thing about how we record. We domost of it live, and you’re reacting the wayyou would in a gig situation. It feels morelike you’re playing in a venue than a studio,which is good.Your lead <strong>to</strong>ne on “Jockey Full of Bourbon”sounds like it has a lot of room on it. Is that thesame rig?No. I had a bunch of my old amps in myfolks’ basement—probably 15 or so: myblond Bassman, a blond Tremolux, oldVibroluxes, etc. We shipped them out <strong>to</strong> Californiaand I started setting them up. TheSince 1972THEWORLD’SMOSTTRUSTEDSOURCE ...for the finest inVINTAGE, USED, and NEWguitars, basses, banjos,mandolins, ukuleles, andmore. We always buy, sell,trade, or consign.1100 N. Washing<strong>to</strong>nLansing, MI 48906Toll-Free (in the USA)888-473-5810or 517-372-7890elderly.comThousands of fretted instruments – available in-s<strong>to</strong>re and ONLINE!We also offer one of the world’s largest selections of MUSICAL ACCESSORIES,COMPACT DISCS, BOOKS AND DVDS, and a whole lot more. Visit us <strong>to</strong>day at elderly.comGUITAR PLAYER APRIL 2009 85
COVER STORY<strong>Joe</strong> <strong>Bonamassa</strong>86 APRIL 2009 GUITAR PLAYER PHOTO: MARTY MOFFATT
only two that still functioned after 15 yearsin the basement were the Bassman and theTremolux. I hooked them up and theysounded great with a Les Paul. I turned theamps up <strong>to</strong> 9 and miked them with Sennheiser421 room mics and a couple of Shure SM57sand Beyer condensers on the cabs. All of asudden this massive <strong>to</strong>ne came out of the controlroom moni<strong>to</strong>rs. I ran those with a tubeEchoplex and an Arion chorus pedal.The <strong>to</strong>ne doesn’t sound very chorused.This company called Xotic Effects sent methis thing called an X-Blender, which is aneffects loop for amps that don’t have loops.It’s got controls for bass, mid, treble, and overallvolume. So I ran the tube Echoplex andthe chorus through this external loop andblended them in subtly. You don’t really hearthe chorus, but it added this low end becauseyou can EQ the loop, which EQs the overallsound. So the bot<strong>to</strong>m end, delay, andchorus were kind of melting in<strong>to</strong> theoverall sound, giving it this bigness anddimension without an over-chorused sound.How did you get the boxier <strong>to</strong>ne that’s on “S<strong>to</strong>ryof a Quarryman”?That’s the same rig. Once we got the twoFender amps working, I used them exclusivelyfor the rest of the sessions, whichincluded the songs “S<strong>to</strong>ry of a Quarryman,”“Jockey Full of Bourbon,” “Happier Times,”and “Last Kiss.” Getting those amps working,though, wasn’t easy. T<strong>here</strong> were timesw<strong>here</strong> you would have <strong>to</strong> walk in<strong>to</strong> the amproom, hit them on the <strong>to</strong>p <strong>to</strong> get them <strong>to</strong>s<strong>to</strong>p crackling, and then cut the track. I had<strong>to</strong> leave them on standby overnight, <strong>to</strong> justrun some current through them. Basically,the first half of the record was cut with mylive rig. Then we discovered this great <strong>to</strong>newith the Fenders and the room mics and weused it for the second half.Was that a Les Paul?It was. I have a couple hundred guitars,but I’m so proud of these Gibson Inspiredby <strong>Joe</strong> <strong>Bonamassa</strong> Les Pauls that I primarilyused them on the whole record. I don’t planon breeding, and these gold<strong>to</strong>ps are like mychildren. I played some other guitars. I usedan ES-335, I played an ES-175 on a coupleof things, <strong>to</strong> double certain parts for a differenttexture so it’s not just the midrange-y,wall of Les Paul sound. I also played a GibsonLucille, but no Strats or Teles on thisrecord. They were t<strong>here</strong>, but they just satt<strong>here</strong>. T<strong>here</strong> was no reason other than thefact that the gold<strong>to</strong>p sounded so good, andthe sound we were going for on the recordwas somewhat bigger than what the Fenderswere willing <strong>to</strong> give. I was in a Les Paulframe of mind. I’ve really gotten <strong>to</strong> w<strong>here</strong> Ican finesse the Les Paul. If I want a nice cleansound, I can get that by working the volumeand <strong>to</strong>ne controls. Then, if I need a solo <strong>to</strong>ne,I can turn up and it’s t<strong>here</strong>.How do you set the controls on your Les Pauls?The switch is in the middle and it’s 75percent lead pickup and 25 percent rhythmpickup. It doesn’t do that two-pickup thing,the Steve Cropper sound. This gives youmore lead pickup, but it mellows out thesound just a bit so it has a different <strong>to</strong>ne.If I didn’t know better, I’d say the harmonicsin “Funkier than a Mosqui<strong>to</strong>’s Tweeter” were a nod<strong>to</strong> Mr. Edward Van Halen.That was a nod <strong>to</strong> Van Halen. I alwaysliked his playing, but I was more in<strong>to</strong> theEnglish guys. It <strong>to</strong>ok me until later <strong>to</strong> reallyappreciate how good he was. As I got morein<strong>to</strong> rock, I listened <strong>to</strong> him some more andsaw that he always came back <strong>to</strong> the bluesin a weird way. His voicing was very bluesy.That song was also a nod <strong>to</strong> Jeff Beck. Ihooked up what I call my Jeff Beck rig—notthat he owned it—but this is Jeff Beck circa1972. A 50-watt Marshall head, which wasactually a Park 75, and an old basket-weavecabinet. I plugged in<strong>to</strong> a Colorsound Tonebender(which I bought in a shop in ManchesterEngland), a wah pedal, and a Les Paul. It’smore like his Rough and Ready-era rig.Do you have a favorite <strong>to</strong>ne on your new record?The solo <strong>to</strong>ne on “Happier Times.” It’sthe most expressive and the warmest, andit’s the closest <strong>to</strong> the sound that I alwaysenvision in my head. Everybody has a soundin their head. Achieving it is always a workin progress, at least for me. When I hear thatsong, it has the right kind of complex midsthat I like, but it’s bright—not <strong>to</strong>o dark likea jazz <strong>to</strong>ne. It also has a big bot<strong>to</strong>m end. That<strong>to</strong>ne makes the solo very expressive andheartfelt. I think some of that is in the hands,and some is in the way I approached the solo.It’s also the way the amps happened <strong>to</strong> beon that particular day. That was my live rig.Has your live rig changed since you made t<strong>here</strong>cord?It has changed subtly. I’m using one MarshallSilver Jubilee. T<strong>here</strong>’s also a Category5 <strong>Joe</strong> <strong>Bonamassa</strong> model. Those guys downin Texas at Category 5 wanted <strong>to</strong> build mean amp, and so I said, “Okay—build me a1968 Marshall Super Lead with a Dumblemid boost.” About six months later this ampshows up and it’s exactly what I envisioned.It’s got that Billy Gibbons Super Lead <strong>to</strong>ne,but with a mid boost <strong>to</strong> bring it forward. ItGUITAR PLAYER APRIL 2009 87
COVER STORY<strong>Joe</strong> <strong>Bonamassa</strong>Fender blender—Inaddition <strong>to</strong> his live rig(at left), <strong>Bonamassa</strong>used a passel of vintageFender amps inthe studio.sounds fantastic. I have a Carol Ann JB-100.It has four 6L6s, it’s a 100-watt amp, and Iuse it for a lead <strong>to</strong>ne. It’s a really nicemidrange amp. T<strong>here</strong>’s not a lot of <strong>to</strong>p or alot of bot<strong>to</strong>m, but it’s really complex in themids and blends well with the Silver Jubilee.I sometimes switch the Carol Ann out witha Two-Rock Cus<strong>to</strong>m Signature Reverb. Finally,I just got my second Van Weelden TwinkleLand. I use that for my semi-dis<strong>to</strong>rted cleanthing, blending it with the Marshall.And t<strong>here</strong> are two amps on at once?T<strong>here</strong> are two heads on at any one time,and the Silver Jubilee is always on. The CarolAnn and the Marshall is one <strong>to</strong>ne. The Marshalland the Category 5 is another <strong>to</strong>ne, etc.The oversized 4x12 cabs I use are split verticallyso it’s two 12s for each head. Eachpair of 12s is baffled and sealed separately.It’s like having 4 2x12 cabs without having<strong>to</strong> lug all those 2x12s.Do you set the controls the same way every night?I set them the exact same way every nightand t<strong>here</strong> are two reasons. I use these thingscalled Auralex Great Grammas, which are studio-designedfoam pads that the amps sit on.You put your 4x12s on them <strong>to</strong> decouple themfrom the stage. You don’t get the rumblefrom the stage, which is sometimes hollow,sometimes not. It varies every day. The GreatGrammas make it much more consistent bytaking the stage out of the equation. I alsouse these shields in front of my cabs—angledPlexiglas baffles that are shaped like an “M.”The Plexiglas has <strong>to</strong> have angles in it. If youjust use straight Plexiglas across the front,it’s going <strong>to</strong> sound very harsh and it’s notgoing <strong>to</strong> do much good at all. So I set myamps the same every night because they’realways in their own little environment. The<strong>to</strong>ne and the volume don’t vary from room<strong>to</strong> room.Are certain amp combinations louder thanothers?The volume differences are not that great.T<strong>here</strong> are perceived volume differencesbecause some amps have more midrangethan others. Some amps have more gain thanothers, and some have more or less <strong>to</strong>p end.The more midrange-y amps come out forwardmore. Here’s the deal: The Van Weeldenand the Carol Ann are 6L6, Fender-basedcircuits. The Marshall and the Category 5are Marshall-based circuits. The Marshalltypes will break up sooner than the Fendertypes. I like the <strong>to</strong>ne you get by combiningthem, because you get all the articulationfrom the Fender type and then you get allthe saturation you need for solos from theMarshall. You get the best of both worlds.What are some examples of a good multi-amprig, and what mistakes do players commonly make?Eric Johnson is certainly an example of aguy who got it right. He had three separaterigs: He had a clean rig, he had a semi-dis<strong>to</strong>rtedrig w<strong>here</strong> he used the Dumble SteelString Singer, and he had his Marshall rig,and he would switch between the three. Thepeople who get it wrong are the ones whothink that because they have an A/B box theyhave a multi-amp rig. It’s not that simple.You’ve gotta get your phasing correct. Youhave <strong>to</strong> make sure the ground is proper. Ifyou plugged in my four heads with normalthree-pronged cable, it would buzz like crazy.You have <strong>to</strong> go through the rig with groundlifters and painstakingly figure out what <strong>to</strong>lift and what not <strong>to</strong> lift <strong>to</strong> get it as quiet aspossible. Speaker choice is also critical,because the key is <strong>to</strong> use the amps for differentfrequencies. I use EV EVM-12Ls because88 APRIL 2009 GUITAR PLAYER PHOTO: RICK GOULD
<strong>Joe</strong> <strong>Bonamassa</strong>COVER STORYthey’re true—no extra coloration, no extraoverdrive. Whatever the amp gives you, theEV spits out. If I’m running a lot of mids onthe amp, the EV is going <strong>to</strong> give me thosemids. The other pitfall is people just use twoof the same amp in stereo, and that <strong>to</strong> me isnot a multi-amp setup. That’s just twice thepower. Another problem is a lack of power.People are constantly showing up with ampsthat are 18 watts, 20 watts, maybe 50 watts,and they say, “My 50 watts will beat thatJubilee’s 100 watts.” Well, I’ll take that Pepsichallenge any day. Maybe you’re going <strong>to</strong> getclose in perceived volume, but in clean headroom—noway. You have no clean headroom.The amp’s collapsing before you even begin.It takes a lot of power <strong>to</strong> drive the mids theway they need <strong>to</strong> be driven. Keeping the lowend tight takes a lot of power. That’s why Iuse 100-watt amps, and that’s why I use ampswith different frequency bands.Do you ever like playing through just one amp?I’m not a firm believer in one amp beingable <strong>to</strong> do it all. Every manufacturer has whatthey think is the ultimate amp—I think Isaw that they’re up <strong>to</strong> six channels now.Who needs six channels and 50 knobs? Iwalk up <strong>to</strong> an amp like that and think, “Idon’t even know how <strong>to</strong> turn this thingon, let alone set it so it will work.” T<strong>here</strong>are some exceptions. You plug in<strong>to</strong> an oldMarshall Super Lead, put a reverb on it, andit’s just magic.Go back <strong>to</strong> your first album. What do you hearin your playing and what do you hear in your <strong>to</strong>newhen you spin that record now?I know people really dig that album. It’sone of my biggest thrills in life and one ofmy biggest regrets at the same time. Thebiggest thrill was that I got <strong>to</strong> work with TomDowd, who was like a father <strong>to</strong> me and reallyset the <strong>to</strong>ne for the rest of my career. Mybiggest regret was that I didn’t have the skillsat the time that were worthy of working witha guy like him. When I listen <strong>to</strong> it, I can tellthat I didn’t have my rig <strong>to</strong>gether. I hear akid who was still trying <strong>to</strong> find himself andhis sound, just plugging anything in<strong>to</strong> anythingwith no idea of how it worked. I wasusing two Marshalls and it was more volumeand less sound. You can put amps in a roomand get really loud and you think it soundsbig, but when you mic it up, it sounds reallysmall. I never got that concept back then. Ididn’t get it until I started really listening <strong>to</strong>what each amp was doing. I’ve learned a lotsince that album, and that’s what I hear whenI listen <strong>to</strong> it. I cringe a little bit with the vocals,<strong>to</strong>o. I wasn’t that great of a singer. I wish Icould make that album now. I think I coulddo a lot better and I could achieve more ofthe stuff I would want <strong>to</strong> hear.For your fans, that record is a crucial documen<strong>to</strong>f w<strong>here</strong> you were as a musician, warts and all.I used <strong>to</strong> wonder why people might likeit over some things that I think are better,but I’ve learned that t<strong>here</strong>’s a certain charmin the struggle. When I hear my early work,I hear the struggle <strong>to</strong> get the notes out, <strong>to</strong>sing the parts, and the struggle of writing thetunes. I think that’s why some people aredrawn <strong>to</strong> it: It’s real. I’ve always <strong>to</strong>yed withredoing the vocals on that whole album, butI haven’t because people do like it. I read aninterview with Clap<strong>to</strong>n w<strong>here</strong> he said hehates the way he sounded with John Mayall.I think, “How can you hate that? You wereon fire!” But that wasn’t what he envisionedJJ Cale Roll OnIncludes the single “Roll On” featuring Eric Clap<strong>to</strong>nAVAILABLE AT:Amazon, Amazon.com and the Amazon.com logo areregistered trademarks of Amazon.com, Inc. or its affiliates.www.rounder.comwww.jjcale.comGUITAR PLAYER APRIL 2009 89
COVER STORY<strong>Joe</strong> <strong>Bonamassa</strong>for himself. That’s just w<strong>here</strong> he was in 1966.The grass is always greener for all guitarists.When the great players no longer have <strong>to</strong> struggle,it’s usually bad for their music.It really is an interesting concept. For anartist, t<strong>here</strong>’s the struggle <strong>to</strong> make it, andt<strong>here</strong>’s a fire and a hunger that fuels that.Then, if you make it, the challenge is <strong>to</strong> keepthe fire and the hunger that in reality don’texist anymore. The whole reason those playersdid make it is because of that fire. It’s avery strange phenomenon. If things get <strong>to</strong>oeasy, it definitely translates in<strong>to</strong> recordingsand live shows.Speaking of struggling, do you still string yourelectrics with .011s?I do. My electrics and acoustics have thesame gauges: Ernie Balls, .011-.052.How does using heavier strings on yourelectrics affect your <strong>to</strong>ne and your technique?From a <strong>to</strong>nal standpoint, you get this verynice connection between the wound stringsand the unwound strings. The transitionbetween the wound and plain strings cansometimes get a little strange because you’regoing from this nice warm and inviting <strong>to</strong>newith low end <strong>to</strong> having no low end and avery bright, fretty kind of sound. The .011sgive me a smooth transition between thewound strings and the plain strings, so itdoesn’t sound like you’re playing a differentguitar. It’s very even. I also think that whenyou’re bending the high strings, it gives youa creamier sound that’s not as strident. Ithink the added mass drives the input of theamp a little more and you get a little moreoverdrive. That matters more when you’regoing for natural power amp gain. If you plugin<strong>to</strong> a Boogie Dual Rectifier, t<strong>here</strong>’s plentyof gain for everyone and you can use whateverstrings you want.On a technical level, I look at it like this:I’m not a shredder guy. I’m not fast enough<strong>to</strong> be a shredder guy, but I have shredder tendenciesthat I think get in my way. I have atendency <strong>to</strong> put in a million notes and showoff <strong>to</strong> the world, and that’s not usually mybest solo. So, the .011s keep me from goingt<strong>here</strong> all the time. I can ramp up <strong>to</strong> it butI’m not living t<strong>here</strong>, overplaying all the time.Tell the s<strong>to</strong>ry of when you were at a gig as a90 APRIL 2009 GUITAR PLAYER PHOTO: RICK GOULD
<strong>Joe</strong> <strong>Bonamassa</strong>FEATURESkid and some band’s guitarist didn’t show up.It was a blues festival in upstate New Yorkthat got rained out and moved indoors. Oneof the bands’ guitarists didn’t show, so theydid this open call on the mic, the classic, “Doesanybody play guitar?” My dad asked me if Iwanted <strong>to</strong> go have some fun. I was an adventurous11-year old, so I went up t<strong>here</strong> andplayed. The crowd liked it, partly because itwas a little kid playing, but I did pretty good.The promoter of the show came up and introducedme <strong>to</strong> James Cot<strong>to</strong>n. I sat in with JamesCot<strong>to</strong>n that day and things started <strong>to</strong> snowballfrom t<strong>here</strong>. That year I got <strong>to</strong> sit in withDuke Robillard, Albert Collins, Clarence“Gatemouth” Brown. A year later, I’m on stagewith B.B. King and Buddy Guy and John LeeHooker. What a year! I had pretty much runthe gamut of blues heavyweights, sharingstages with them. I was completely blownaway. And that rained-out blues festival wassort of the beginning of it all.All that led <strong>to</strong> you meeting Danny Gat<strong>to</strong>n.What’s a good s<strong>to</strong>ry about him?He ultimately became my quasi-men<strong>to</strong>rand guitar teacher for the last four years ofhis life. For a while t<strong>here</strong> I was like the Mini-Me version of Danny. I had a Tele, I was pudgy,I slicked back my hair. The coolest s<strong>to</strong>ry isthis: I’m sitting in his Winnebago, which isparked outside the Cat Club in New YorkCity. He said, “C’mon kid. I’m gonna giveyou a guitar lesson.” I loved his butterscotch’53 Telecaster. It was perfectly worn and justa perfect guitar. I always wanted <strong>to</strong> play that,but this time he said, “I’m not going <strong>to</strong> letyou play the Tele. I have another guitar youcan play.” He goes in<strong>to</strong> the back and bringsout Scotty Moore’s ES-295—the guitar Scottyrecorded “Heartbreak Hotel” and all that stuffon. He said, “Today we play jazz. You’re notallowed <strong>to</strong> play blues.” I was nervous becauseI didn’t know anything about jazz. So he startsteaching me these chords and how <strong>to</strong> walka bass line, etc. He looked at me and said,“You know kid, you don’t know anythingabout jazz. You don’t know anything aboutrockabilly, you don’t know anything aboutreal rock and roll like Buddy Holly, Gene Vincentand the Blue Caps, and Chuck Berry.”So <strong>here</strong> I am, a 13-year old kid sitting inDanny Gat<strong>to</strong>n’s Winnebago and suddenlymy life went from mono <strong>to</strong> stereo. A weeklater, he called and said, “Write these recordsdown.” I wrote them down and bought them.It was stuff that influenced me for the res<strong>to</strong>f my life: Charlie Christian, a guy namedHoward Reed who played with Gene Vincent,Merle Travis, James Bur<strong>to</strong>n, Doc Watson,and all of a sudden I’m playing jazz,country, and bluegrass. It’s hard <strong>to</strong> quantifyDanny’s influence on my playing.Lots of promising guitarists who came uparound the same time as you have seen higherhighs and lower lows. What’s your take on that?I have this theory called the Sir EdmundHillary Effect. I would rather be three quartersof the way up the mountain and stayt<strong>here</strong> for 35 years than shoot for the <strong>to</strong>p ofthe mountain and fail. A lot of people in thisgenre who make that last leap <strong>to</strong> see themountain<strong>to</strong>p of pop stardom—w<strong>here</strong> theyno longer want <strong>to</strong> play 2000 seaters andwant <strong>to</strong> sell out arenas and get radio—ultimately end up back at base camp. I’veseen it with friends back in the ’90s. Theywere in these cult hippie bands and theyhad a couple of big hits and now they’replaying smaller venues than I am. How didthat happen? They sold millions of albums.But once you get in<strong>to</strong> the hit business, theywant another hit. It’s a cruel, fickle business.I’m not in the hit business or even theblues business. I’m in the entertainmentbusiness. I’ve gotten a reputation for puttingon a good show, so people don’t come<strong>to</strong> hear one particular song. That freedomis awesome. I’m happy <strong>to</strong> be at three quarters.I want <strong>to</strong> do this for the rest of my life.I want <strong>to</strong> keep making quality records. Inever had a radio hit and I probably neverwill and I’m fine with that. If radio wants<strong>to</strong> play one of my songs, fine, but t<strong>here</strong> willbe no pretense about it.Have you heard any youngsters that youwanted <strong>to</strong> take under your wing, <strong>to</strong> pay it forwardfor what Danny Gat<strong>to</strong>n and B.B. King did for you?I’ve done that with a couple of people.T<strong>here</strong>’s a kid in England named ScottMcKean. He’s really good. He plays a Stra<strong>to</strong>casterbut I don’t hold that against him[laughs]. He plays it in a way that’s sort of across between Doyle Bramhall and Rory Gallagher.Really cool. I like his style, so I lethim open a couple of shows. T<strong>here</strong>’s a Germanguy named Hendrik Fleischleiter andhe’s also really good. My favorite, though,isn’t a guitar player at all. He’s a harmonicaplayer named L.D. Miller from Indiana. L.D.will be 15 this year, and I feel I can say thiswith certainty: He’s one of the <strong>to</strong>p two orthree harmonica players in the world at anyage. He plays like John Popper, Little Walter,and James Cot<strong>to</strong>n all in one. He’s gotthe fire and the soul. He’s a true prodigy.I’ve kind of helped him, like Danny helpedGUITAR PLAYER APRIL 2009 91
COVER STORY<strong>Joe</strong> <strong>Bonamassa</strong>America’s Premier Guitar & Bass Parts Supplier<strong>Bonamassa</strong> tears it up at theAustin City Limits MusicFestival in 2002.Heads<strong>to</strong>ck Trademark Licensed <strong>to</strong> ALLPARTS MUSIC CORPORATION by FenderSend $4 U.S. for COLOR CATALOG 13027 Brittmoore Park Drive Hous<strong>to</strong>n, Texas 77041me. When we go on <strong>to</strong>ur and pick the openingacts, I try <strong>to</strong> get young kids. I think that’sthe greatest thing because if t<strong>here</strong>’s not anew generation of kids playing this music,t<strong>here</strong> won’t be a new generation of fans. Andthat will ultimately hurt guitar music androots music in general.Of all the gigs you’ve played, is t<strong>here</strong> a momentyou can point <strong>to</strong> w<strong>here</strong> you thought, “That mightbe the best solo I’ve ever played”?A lot of times, when I’m up t<strong>here</strong> thinkingthat this is the coolest feeling in theworld, I listen back <strong>to</strong> the tapes and it’s notas good as I remembered. But t<strong>here</strong> was atime on this last <strong>to</strong>ur. It was in ManchesterEngland, a sold-out show at the AcademyOne. We were doing “The Great Flood” offthe new album. I remember hitting thesolo—my band came up with this greatarrangement under the solo—and I’m outt<strong>here</strong> on this big stage with perfect lightsand everything. We ended the song and theaudience just kind of gasped, and then t<strong>here</strong>was this eruption of applause and I got chills.I really felt like everyone in the audiencewas feeling the emotion that I was feeling,and vice versa. It was the most perfectmoment on a concert stage I’ve ever had.We have a tape of it, and I won’t watch itbecause I think it’s going <strong>to</strong> look differentand not be as cool as I remember it. I reallyonly care if the fans think I played well,though. It’s nice <strong>to</strong> satisfy yourself, butmoney’s tight for people and they’re payinggood money for tickets. If they thinkthey got their money’s worth, I’ve done myjob and we can move on <strong>to</strong> the next one.When it happens <strong>to</strong> coincide with when Ithink I played well, then it’s perfect—winwin. T<strong>here</strong> are probably four or five gigs ou<strong>to</strong>f ten w<strong>here</strong> that happens, and that’s not abad batting average. g92 APRIL 2009 GUITAR PLAYER PHOTO: SCOTT NEWTON/WIREIMAGE.COM
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<strong>Joe</strong> <strong>Bonamassa</strong> Concert Review - Phoenix | The GuitarBUZZ...OK, I admit it. I am certified Bona-holic.Consider this my public admission that I have no control over my Bona-diction. That’s step one in the twelve-stepprogram and I feel so much better now that the truth is out.I have said it before and I will say it again: <strong>Joe</strong> <strong>Bonamassa</strong> is the King of modern day blues.Nobody can <strong>to</strong>uch this guy live. Don’t misunderstand me – t<strong>here</strong> are dozens of quality players in the “<strong>to</strong>p 5 percen<strong>to</strong>f modern day blues guitarists,” but <strong>Joe</strong> is in 1st position and he is starting <strong>to</strong> pull away.Secretariat won the 1973 Belmont Stakes by 31 lengths over the best of the rest. I believe we are witnessing the sametype of excellence…and separation.<strong>Joe</strong> <strong>Bonamassa</strong> in Phoenix, 3-19-10, Pho<strong>to</strong> by GuitarDaddyI had the pleasure of being invited <strong>to</strong> meet <strong>Joe</strong> in person last Friday night before the show.T<strong>here</strong> were 6 of us in the private audience (just a few less than the 1,250 who attended the concert later that evening)including 3 guests of mine (2 who were seeing <strong>Joe</strong> live for the first time).The meeting was arranged in the lobby of the Orpheum Theater. We spoke about the “BUZZ”, my review of BlackRock, how the Royal Albert Hall show came <strong>to</strong> be and how <strong>Joe</strong> pulled off the score-of-a-lifetime by having EricClap<strong>to</strong>n join him on stage that night in London.Our talk continued as <strong>Joe</strong> shared that $250,000 was on the line that night (<strong>to</strong> make the DVD) and the pressure he felt <strong>to</strong>not miss a note, his view on amps, watts and how he produces the ultimate <strong>to</strong>ne. He surprised us by leaking some newsabout another new signature guitar that is coming very soon… (I will let <strong>Joe</strong> make that announcement himself). Wecovered a lot of ground in 25 minutes.All in all, he was gracious and relaxed. I was in awe and humbled <strong>to</strong> have a private audience with the 2010 Blues God.I thanked <strong>Joe</strong> for taking time <strong>to</strong> meet and talk with us and for letting us get a little closer <strong>to</strong> the man with the goldenGoldTop.The concert started at EXACTLY 8:00pm as <strong>Joe</strong> walked out with the double neck strapped over his tailored suit (andsneakers). I <strong>to</strong>ok the picture you see from my front row seat in the Orpheum w<strong>here</strong> the sound was dialed in at a perfect10.
I was mesmerized for the entire 135 minute performance that included 9 guitar changes and enough electric guitarmastery <strong>to</strong> fill my hungry soul and yet still leave me craving for more — all because the taste was so good.<strong>Joe</strong> mixed up the set by playing many of his classic staples like “If Heartaches Were Nickles,” “Blues Deluxe” and“Slow Gin” while also introducing the audience <strong>to</strong> a taste of the new Black Rock CD with “Blue and Evil” and “Birdon a Wire.” The guy sitting next <strong>to</strong> me screamed “Mountain Time!” after every song until <strong>Joe</strong> finally looked at himand said, “Be patient!” Those close enough <strong>to</strong> catch it had a good laugh. Mountain Time came along 30 minutes later.<strong>Joe</strong>’s band was spot-on the entire night. Bogie Bowles is one of the most under-rated drummers on <strong>to</strong>ur. Heunderstands the dynamics of every song and ripped it all night long. Carmine Rojas sported an eye-patch from hisrecent eye-surgery and played his amazing bass staying seated in front of Bogie. Great <strong>to</strong> see the recovery is goingwell and he has not had <strong>to</strong> miss the <strong>to</strong>ur. Rick Melick adds the keyboard flair that fills, rounds and compliments eachtrack. While the rumors are all true about <strong>Joe</strong> and the “new band,” I certainly hope he does not abandon these guys.They are a tight group and as a quad, they are capable of creating consistent blues magic.The lone acoustic song of the evening, “Woke up Dreaming,” gave the band members a rest while <strong>Joe</strong> showed that hisskills go far beyond playing electric riffs. Playing completely alone, <strong>Joe</strong> showcased his ability <strong>to</strong> combine a myriad ofcomplicated scale patterns and arpeggios at warp speed all while simulating the percussive beat on the bass strings. Itis something every guitar player needs <strong>to</strong> see — even if only once. I have seen it a dozen times and am still blown awaythat the human fingers can move that fast.When the “Flying V” came out I knew I was in for a full dose of Bona-Rock as <strong>Joe</strong> blasted out his rendition of thesolo from Led Zeppelin’s “Dazed & Confused,” perfectly integrated in<strong>to</strong> his own wicked version of “Just Got Paid”.He raised the “V” high in the air at the end – reminiscent of the conclusion at Royal Albert Hall.While I realized that the night was over, I knew the memories would be eternal.If <strong>Joe</strong> <strong>Bonamassa</strong> is within 3-States of w<strong>here</strong> you live, DON’T MISS THE SHOW.Check out his <strong>to</strong>ur schedule by CLICKING HERE.<strong>Joe</strong> <strong>Bonamassa</strong> With Some Of His GuitarsIf You Enjoyed This Post - Share It!
MAVERICK<strong>Joe</strong><strong>Bonamassa</strong>BLACK ROCKProvogue RecordsPRD73002*****Hard rackingblues with a hinta/GreeceThis is <strong>Joe</strong> <strong>Bonamassa</strong>'s tenthsolo album and once again it teamshim with <strong>to</strong>p producer Kevin Shirley,who has done a fantastic job. Thealbum title BLACK ROCK is namedafter the studios of the same namein San<strong>to</strong>rini, Greece w<strong>here</strong> it wasrecorded. For this new album <strong>Joe</strong>and Kevin wanted <strong>to</strong> 'explore a worldfeeling' which led them <strong>to</strong> record itin Greece, as well as using some ofthe finest Greek musicians <strong>to</strong> helpadd a different sound <strong>to</strong> a couple ofthe tracks by using instruments suchas the bouzouki and clarino. <strong>Joe</strong> alsowanted <strong>to</strong> venture back <strong>to</strong> his earlyalbums w<strong>here</strong> he rocked with a realfreedom. This can certainly be heardfrom the very first track, the powerfulblues rocker Steal Your Heart Awayfrom the pen of Bobby Parker.<strong>Joe</strong> also does some other superbcovers such as a pulsating version ofthe John Hiatt tune, I Know A Place.The wonderfully fun and slightlycrazy jazz-blues styled Baby You GotlDChange Your Mind (Blind Boy Fuller)as well as a great duet with his heroB.B. King on Willie Nelson's NIghtLife.Of <strong>Joe</strong>'s own songs, When the Fire Hitsthe Sea is a blistering blues rockerand Wandering Earth is just mega!Although not sold on the additionof the Greek instruments and the'world' feeling, this is still a massiveblues album that <strong>Joe</strong>'s fans will love.Another work of art from this mastercraftsman. DKwww.jbonamassa.com56 maverick <strong>Joe</strong> <strong>Bonamassa</strong> - a UK success s<strong>to</strong>ry
GIN came out, that was a big thing-allof a sudden we were playing <strong>to</strong> 1,000people. BALLAD OF JOHN HENRY cameout we just did four shows ... 9,600tickets for four shows in the Fall, all soldout-2500 <strong>to</strong> 3000 seat rooms. Then wesell out the Albert Hall in May (2009),and I am like: 'How!' All of a suddenwe got this thing going on over <strong>here</strong>.On the strength of that has pushed thelive draw in Europe up 1,000, and thelive draw in the States up 500 ... it wasjust mental! It was the success in theUK that was really responsible for theworld-wide kinda thing that has beenhappening:you done latelyrThat is why Eric Ciap<strong>to</strong>n is animportant role model for <strong>Joe</strong>. "I usehis career as a model for mine, thisguy is great. I mean B.B. King's careeris a model also, because <strong>here</strong> is a guynot predicated on any hit, but yougo and see him in concert and it willbe great. You will never walk awaydisappointed-that is the beauty of B.B.King-he doesn't need a hit as his showis that good. He can sing Night Life or hecan sing whatever, he is just the kingof the blues. I love him you know, andit's like I really model my career afterhis-slow and steady. Plant yourself in"It was just mental! It was the success in the UK thatwas really responsible for the world-wide kinda thingthat has been happening."Of course the big one night only gigat the Royal Albert Hall has helped <strong>Joe</strong>both <strong>here</strong> and in America and he talkedabout whose idea it was. "Purely myidea, it was something that I wanted <strong>to</strong>do since I was a kid. I said that I wanted<strong>to</strong> play the Albert Hall with Eric Ciap<strong>to</strong>n.I don't care if the two are synonymousor linked. So the way the whole thingwent down, I wrote Eric Ciap<strong>to</strong>n aletter: 'I happen <strong>to</strong> know that you arein Town (thank-you internet) and youare playing the Albert Hall the weekafter we are playing (thank God)' and Isaid: 'I would be honoured if you couldcome and sit in, if you could, being thatyou are an extraordinarily bUSy personbut would you like <strong>to</strong> come down: Andhe wrote me back three weeks later.I remember it was in this Blackberry(looking at his mobile phone) on email,and I was like: '1 know who this is: Iam like sitting t<strong>here</strong> screaming on aSunday: 'I know who this is, I know whothis is: So he said along the lines youknow as long as the song was not theMahavishnu Orchestra's Birds Of Fire,you know keep it simple and fun, andwe played Further On Up The Road-andit was the best six minutes of my life:So whose choice was the song? "Isuggested it, I suggested a couple.I truthfUlly wanted <strong>to</strong> do Further OnUp The Road. The first electric bluessong I ever learned was Eric Ciap<strong>to</strong>n'sFurther On Up The Road, that was myintroduction <strong>to</strong> electric blues and I waslike: 'wow this is like full circle: It's anamazing feeling <strong>to</strong> sit <strong>here</strong> now a yearlater thinking: 'I cannot believe I pulledthat off!' But it also lets you know thatit is time <strong>to</strong> go <strong>to</strong> work again, you knowthat you cannot just rest on your laurelsas people will start thinking What havethese theatres, try <strong>to</strong> get t<strong>here</strong>, it is areally good accomplishment <strong>to</strong> get that,but once you get t<strong>here</strong> you must stayt<strong>here</strong>. Don't go for the Arena glory,pop success, as you will disappointyourself and your fans and end up backat base camp. Stay three quarters andyou will be happy you have a career.People hundreds of years from nowwill be talking about B.B. King. Theywill be talking about somebody withsuch originality and power in his voiceand his persona that it is unrivalledby anybody. Freddie King was a bigpersonality, Bobby Bland is a bigpersonality, MUddy Waters was a bigpersonality, but King is the king and it islike nobody beats him ... in my humbleopinion:Each album so far has been differentso <strong>Joe</strong> explained how BLACK ROCKcame about. "We did the Albert Halland BALLAD OF JOHN HENRY which wasa big record, so the concept now was<strong>to</strong> pretend we had never made a soloalbum before and we were going <strong>to</strong>play heavy and fast and throw caution<strong>to</strong> the wind and that is it. We weregoing <strong>to</strong> go back <strong>to</strong> when we did ANEW DAY YESTERDAY and we didn'tcare about hits-we were just going<strong>to</strong> play music, that is the new record.Everything really got a bit majestic fora While, big majestic songs and venues,my starchy collars and suits, You want<strong>to</strong> get grounded a little bit and youwant <strong>to</strong> have a sense of w<strong>here</strong> youcome from and you want <strong>to</strong> challengenot only yourself but also the listener.I had a couple of opportunities I couldhave made BLUES DELUXE volume twoor SLOE GIN volume two. Just take thesame blueprint but I don·t believe inthat. I am not going <strong>to</strong> be like thetypical artist who is always: 'this is thebest record I have ever done: No this isa different record that I have done. Tome. it is like an album will not make orbreak your career, bad shows will makeor break your career:"It will always be a s<strong>to</strong>p,the challenge is moreknowing when not <strong>to</strong> workand when <strong>to</strong> work. Wehave offers that we couldplay thirty shows in thirtydays in the UK-it is <strong>to</strong>omuch! It is a big marketbut area wise t<strong>here</strong> areonly so many gigs you cando. Each one has <strong>to</strong> bean event, has <strong>to</strong> be doneright..."The good thing is that <strong>Joe</strong><strong>Bonamassa</strong>'s albums are allmasterpieces plus he regularly <strong>to</strong>ursthe UK which should hopefUlly be apermanent feature. "It will always bea s<strong>to</strong>p, the challenge is more knowingwhen not <strong>to</strong> work and when <strong>to</strong> work.We have offers that we could playthirty shows in thirty days in the UK-itis <strong>to</strong>o much! It is a big market but areaWise t<strong>here</strong> are only so many gigs youcan do. Each one has <strong>to</strong> be an event,has <strong>to</strong> be done right. The four gigs weare doing in May are between fourand six thousand seats. That is likedaunting even for me. So I am happywith it, happy w<strong>here</strong> we are <strong>here</strong>. Butwe haven't played Omaha in Nebraskain two years, so I have got <strong>to</strong> playOmaha-Wisconsin, Milwaukee, t<strong>here</strong>'sa lot of places I need <strong>to</strong> visit. So yous<strong>to</strong>p off <strong>here</strong> for four or five datesthen gotta go <strong>to</strong> Germany, Holland,Scandinavia, Italy and then you have <strong>to</strong>go <strong>to</strong> Eastern Europe and then <strong>to</strong> Russiaand then t<strong>here</strong> is Spain. We could workeveryday if we wanted <strong>to</strong>, but you don't,because you want it <strong>to</strong> be an event:"You also want people <strong>to</strong> be excitedabout the shows. For example last yearit was the theatre and suits show, thisyear it's rock venues standing 6,000.We have got screens coming, lights,everything but explosions and dancinggirls (laughs). We started off in a littlevan with a small little trailer, this <strong>to</strong>urwe will have three trucks and threebuses ... mental! So I remember thosedays. We have a good fan base <strong>here</strong>,but again we cannot rest on our laurels.We have <strong>to</strong> say: 'Ok now what's next?'"David Knowles<strong>Joe</strong> <strong>Bonamassa</strong> - a UK success s<strong>to</strong>ry maverick 57
Review: <strong>Bonamassa</strong> makes guitar singMusician plays rock-blues-jazz infusion with intensity andmastery at Civic Center showBy GARY PANETTA (gpanetta@pjstar.com)Journal StarPosted Oct 24, 2009 @ 12:20 AMLast update Oct 24, 2009 @ 08:51 PMPEORIA —Few rock-blues guitarists can match <strong>Joe</strong> <strong>Bonamassa</strong>, who performed Friday night at the CivicCenter Theater.His fluidity and technique on the guitar is supplemented by a capacious knowledge of theinstrument and its manifold traditions. Not only British-style rock and blues in the tradition ofEric Clap<strong>to</strong>n but also Mississippi delta blues and B.B. King; not only Buddy Holly, Merle Travisand Doc Watson but also a healthy helping of jazz.A lesser guitarist riffs like crazy. <strong>Bonamassa</strong> riffs with imagination. Guitar runs swerve and loop,double back and then turn, leap and shoot off in<strong>to</strong> uncharted terri<strong>to</strong>ry. Notes dance and sing andmoan and cry.Who is this guy? Just some kid from Utica, N.Y., who started <strong>to</strong> play guitar at 4 and nevers<strong>to</strong>pped. He grew impressive enough by the age of 12 <strong>to</strong> startle King in<strong>to</strong> proclaiming<strong>Bonamassa</strong> the next big thing.Now at 32, <strong>Bonamassa</strong> really is the next big thing - a dedicated craftsman and consummate artistwho knows how <strong>to</strong> negotiate his way around the fret board, up and down and sideways; <strong>to</strong> bend anote <strong>to</strong> soul-wrenching effect; <strong>to</strong> make the instrument sing with vibra<strong>to</strong>; and <strong>to</strong> wring color aftercolor from the strings of an electric guitar.<strong>Bonamassa</strong> has a huge following in Great Britain. Earlier this year, he played at Royal AlbertHall in London, w<strong>here</strong> he jammed briefly alongside his idol, Clap<strong>to</strong>n. <strong>Bonamassa</strong> also is gaininga steady following in the United States, w<strong>here</strong> he is now <strong>to</strong>uring; he attracted 1,000 <strong>to</strong> the 2,200-seat theater Friday (many local guitar fans really missed something).
He and his band - Rick Melick (keyboard), Bogie Bowles (drums) and Carmine Rojas (bass)- didabout a two-hour set of tunes that included "The Ballad of John Henry," "Lonesome RoadBlues," "Sloe Gin," "The Great Flood" and "Woke Up Dreaming."Yet <strong>Bonamassa</strong> doesn't so much do sets as walk the plank and leave himself exposed andvulnerable. At one point, for instance, he traded an electric guitar for an acoustic and started <strong>to</strong>conjure sound without the help of keyboard, bass or drums. A percussive palm and pluckingthumb generated an insistent rhythm; fast-moving fingers made the instrument roil and boil withnotes."Go, <strong>Joe</strong>, go!" someone shouted as <strong>Bonamassa</strong> increased the intensity with unexpected stacca<strong>to</strong>slams on the strings and then alternated the mood with fluttering, et<strong>here</strong>al jazzy passages. Thisone-man-band affair finally concluded, a little flamboyantly, with a rich, bluesy chordprogression.<strong>Bonamassa</strong>'s blues singing doesn't match his blues playing (the former is an art on its own), buthe does a creditable job with vocals. He extended and slid vowels, bent back his head and criedout in love, anguish or ecstasy as the song demanded.At such moments - when he would <strong>to</strong>y with feedback, strike a pose in his sunglasses or hopabout frantically on stage as if unable <strong>to</strong> contain the energy surging through him - you couldglimpse the kid he used <strong>to</strong> be. The kid who wouldn't leave the guitar alone, who obsessivelysearched for an ever-new pathway down the fretboard, who wanted <strong>to</strong> be just like Eric Clap<strong>to</strong>nand finally succeeded at becoming something different and just as wonderful: <strong>Joe</strong> <strong>Bonamassa</strong>.Gary Panetta can be reached at 686-3132 or gpanetta@pjstar.com.
<strong>Joe</strong> <strong>Bonamassa</strong>: 24 Oc<strong>to</strong>ber 2009 - Chicago < Reviews | PopMattershttp://www.popmatters.com/pm/<strong>to</strong>ols/print/1161871 of 2 11/19/2009 10:25 AM<strong>Joe</strong> <strong>Bonamassa</strong>: 24 Oc<strong>to</strong>ber 2009 - Chicago[16 November 2009]By Lisa ToremIf you want your son <strong>to</strong> become a nuclear physicist don’t play him concert videos of Eric Clap<strong>to</strong>n and for Heaven’s sake don’t succumb <strong>to</strong> that gleamin his eye when he spots the shimmering Les Paul in your local music s<strong>to</strong>re. By all means, shove the mitt and t-ball gear in his backpack on the way<strong>to</strong> kindergarten or you may end up parenting the likes of an obsessive musical prodigy like blues-rock vocalist, guitarist and songwriter <strong>Joe</strong><strong>Bonamassa</strong>.<strong>Bonamassa</strong> has not only garnered the acclaim of those twenty and thirty something fans that fuel the economy’s date-night influenza, he’s evenseduced their parents. Here is what one dedicated fan had <strong>to</strong> say about this <strong>to</strong>p-notch performer. “This was my third time seeing <strong>Joe</strong> since beingintroduced <strong>to</strong> his music by my twenty-three year old son. Each show has been better that the last and the Vic show was beyond awesome.”<strong>Joe</strong> has really developed in<strong>to</strong> a terrific showman along with his enormous talent. Sitting in the front row with my family, getting the set-list from theband and shaking <strong>Joe</strong>’s hand after the encore was just icing on the cake. “Delicious”, said Scott Wendell of the Chicago area. Wendell also said thathe’s never paid <strong>to</strong> see an artist three times in over thirty-seven years of concerts. After <strong>to</strong>night’s performance, I get it.<strong>Bonamassa</strong> has lost weight and trimmed his hippie hair since his Chicago hiatus. After thick applause, he launched in<strong>to</strong> the tune “The Ballad of JohnHenry – Spike Driver Blues” from the ’09 album of the same name and immediately drove the crowd in<strong>to</strong> an enthusiastic frenzy. This song wasinspired by the performer’s growing awareness of America’s increasingly mute response <strong>to</strong> its working class. He uses the legendary John Henry as ametaphor for hard-work.<strong>Bonamassa</strong> holds the stage well. Sometimes he stands absolutely still for a moment holding up his Les Paul like the Statue of Liberty gripping herilluminated <strong>to</strong>rch. Lights swirl around him and boxy patterns intermittently appear on the stage floor. This is my first time seeing him live and I’mexpecting some shuffles, virtuosity and, well, anything more is simply Delta gravy. This 32 year old immediately demonstrates high-energy. But,who is he really? I’m waiting <strong>to</strong> see if he sneers like Jagger, bends like Clap<strong>to</strong>n or shreds like Vaughan.He poses randomly after the more riveting songs and smirks at the crowd. He’s a little pale for an “Angelino”, but his skin is luminous set against hisclose-cropped dirty-blonde hair and over-sized shades. Maybe the smirk signifies that fragile little boy coming out for our approval or maybe it’s thesatisfaction of knowing that the crowd is at his bluesiest beck and call. In any event, it’s unarguably a well-deserved smirk.His <strong>to</strong>uring band consists of the dynamic Carmine Rojas (bass), Rick Melick (keys) and Bogie Bowles (drums). Rojas, who has been Rod Stewart’sbass player, is a big fan of Mo<strong>to</strong>wn, Salsa and British Rock and he maintains an easy-going likeable persona throughout the never-ending stream ofchord and tempo changes that the performance mandated.Melick was careful not <strong>to</strong> compete with <strong>Bonamassa</strong>’s sonar moments. Instead, the melodic keyboard lines successfully drifted from dreamy <strong>to</strong> roughand back again. Bowles performed like a demon; laying back then cracking the whip on numbers such as “Lonesome Road Blues” and “Just GotPaid”.<strong>Bonamassa</strong> opened for B.B. King at age eleven. He poured his childhood passions in<strong>to</strong> the recordings of John Mayall, Eric Clap<strong>to</strong>n, Rory Gallagherand Cream. He seems a little like a stunned, overjoyed kid at times judging by some gushing smiles and a voice that cracks with spontaneousemotion. Tonight, t<strong>here</strong>’s undeniable warmth in the room. Wendell is not the only fan who has eagerly anticipated <strong>to</strong>night’s show. <strong>Bonamassa</strong> sayson his new DVD release, Live from Royal Albert Hall, “I don’t want a real job. I want <strong>to</strong> play guitar.”The reper<strong>to</strong>ire is diverse this evening. As he wails commentary about “sinners and saints” and utters a bewildered line about how “She left mestanding <strong>here</strong>” in a scratchy, gripping vocal, set against a throbbingly emotive bassline and scorching keyboards, he and his guitar warp-speedthrough a soul-crushing solo. T<strong>here</strong> are many nods <strong>to</strong> heartache <strong>to</strong>night and when he plays “If Heartaches were Nickels” and milks the grit from thecoveted line “If heartaches were nickels I might be the richest fool alive”. no one can stand <strong>to</strong> hear his philosophies end.The dreamy and et<strong>here</strong>al “Sloe Gin” w<strong>here</strong> <strong>Bonamassa</strong>’s beautiful but hypnotic guitar work pedal- point punctuates the raw horrors of lonelinessand creates stillness in the packed room. The twelve- bar- blues shuffle “Your Funeral and My Trial” provides a sharp contrast <strong>to</strong> “Happier Times”which is tinged with a bittersweet bite and fluidly harbors a folk sensibility. <strong>Bonamassa</strong> puts as much feeling in<strong>to</strong> covers like Blind Faith’s “Had ToCry Today” and ZZ Top’s “Just Got Paid” as he does in<strong>to</strong> his original material.The heartache continues when he rises above “The Great Flood”, bending notes fluidly and majestically in this immensely evocative anthem. Again,the message is simple: “It’s been <strong>to</strong>o long since I said I love you” but the delivery is <strong>to</strong>rrid and rips through our gut like a Thanksgiving meal. Is itdeliberate when he looks up at the heavens between passages? <strong>Bonamassa</strong> plays his rock-blues aorta out and you could swear the Almighty islistening intently and when he moans, “I’ve been suffering all my life” you wish Moses would part the seas and just let the man walk on wateralready.The faces in this balcony express awe and I hear fans whisper <strong>to</strong> each other and point out moments not <strong>to</strong> be missed. Though no one dares <strong>to</strong> singalong, you can see fans mouth much-loved lyrics. “Mountain Time” features a quasi-raga patter and spellbindingly hushed vocal <strong>to</strong>nes. <strong>Bonamassa</strong>proves he can <strong>to</strong>uch and move us even outside of the pigeon-holed Rubik’s cube that rock-blues artists often find themselves boxed in<strong>to</strong>.In “Ball Peen Hammer”, an acoustic ballad, he plays dynamically varied melodic figures, his fingers trickle over the fret board with a “come-hither”charm. Repeating the self-defeating phrase “I can’t stand it”, his anguish pours through the silent room.The stand-out of the evening was the mid-set “Woke Up Dreaming” with <strong>Bonamassa</strong> alone on stage with his acoustic. The line, “I woke up dreamingI was gonna die” is woven meticulously like hounds<strong>to</strong>oth on a Scottish kilt as <strong>Bonamassa</strong> played phenomenal lightening quick hammer on afterhammer on while singing in a rasp, and several cadence points are sprinkled with stacca<strong>to</strong> jazz chords.Like those around me I’m pinned <strong>to</strong> my chair. It’s just <strong>Joe</strong> and an acoustic and I’m as<strong>to</strong>nished. In fact, I’ve never heard anything like it. Blues?Natch. Rock? Uh-huh. But this…Whazzup? The whir of styles, the constant cajole of tempo, the merciless trail of blues notes that meld in<strong>to</strong> barrechords than bleed in<strong>to</strong> breathtaking harmonics and those jostling jazz chords that show up like sacred painted cows at a crowded New Delhithoroughfare are powerful and unexpected, but at the same time delightful and appreciated.Excitement mounts as he segues in<strong>to</strong> a gorgeous semi-classical section that hints at Segovia-inflected ‘Malagueña’. My imagination wanders back <strong>to</strong>a club I frequented in my youth which was built in<strong>to</strong> a Madrid cave w<strong>here</strong> dancers pounded the tables with harshly, clicking heals. But, I’m jolted
<strong>Joe</strong> <strong>Bonamassa</strong>: 24 Oc<strong>to</strong>ber 2009 - Chicago < Reviews | PopMattershttp://www.popmatters.com/pm/<strong>to</strong>ols/print/1161872 of 2 11/19/2009 10:25 AMback <strong>to</strong> the Vic as <strong>Bonamassa</strong> soars and swelters in<strong>to</strong> raunchy rockabilly and then abruptly, but luxuriously, embraces a lush twelve-bar blues.Between each section he smirks again and teases us. Now the ball’s in our court. We can’t stand it because no one wants this song <strong>to</strong> end. No onewants this night <strong>to</strong> end.Instead, we want <strong>to</strong> stay <strong>here</strong> and text our husbands and wives and sleeping children. “Throw the mitt in the recycling bin.” “Who cares about littleleague?”“Why the heck can’t my kid play like that?”Published at: http://www.popmatters.com/pm/review/116187-joe-bonamassa-24-oc<strong>to</strong>ber-2009-chicago-il/advertising | about | contribu<strong>to</strong>rs | submissions© 1999-2009 PopMatters.com. All rights reserved.PopMatters.com and PopMatters are trademarks of PopMatters Media, Inc.
Review from MODERNGUITARS.COMCD Review: The Ballad of John Henry by <strong>Joe</strong> <strong>Bonamassa</strong> (February 4, 2009)by Brian D. Holland.The <strong>latest</strong> studio CD from <strong>Joe</strong> <strong>Bonamassa</strong>, The Ballad of John Henry, will be released onFebruary 24, 2009. The included twelve tracks, seven of which are <strong>Bonamassa</strong> originals,come <strong>to</strong>gether <strong>to</strong> make the seventh compelling studio project from the New York basedblues-rock guitarist. He embraces this diverse collection of contemporary andconventional songs, calling it his strongest work <strong>to</strong> date.Listeners will soon discover that the intensity of the music matches the lyrical contentthroughout, as the album's dual lyrical theme is split between songs of the working-classhero and of the more personal nature, <strong>Joe</strong>'s relationship issues of recent.The title track, "The Ballad of John Henry," also known <strong>to</strong> some as "Spike Driver Blues,"opens the CD with a wallop, as he wastes no time in getting the raw power and flagrantpassion out t<strong>here</strong>. The catchy lead guitar riffs and hooks that drive it along, as well as itsdownright bluesy and subdued intervals, put it right in<strong>to</strong> the diverse <strong>Bonamassa</strong> arena. Heonce again demonstrates that even though a song is contemporary and powerful, its link<strong>to</strong> tradition is only a measure away. John Henry, the folk legend and working class hero,is depicted brilliantly. Effective moans of anguish from <strong>Joe</strong>'s slide guitar amid rhythmicrailroad hammering leave little <strong>to</strong> the imagination in the lyrical s<strong>to</strong>ry of the ailing humanspirit. Take notice of this one, as it's certainly a <strong>Bonamassa</strong> original for the records."S<strong>to</strong>p!" is a killer slow blues that's everything <strong>Bonamassa</strong> in passion and performance.Although he beckons a cry of ailing love with soaring guitar notes of fury and passion,his voice flourishes alongside the six-string flair. In fact, throughout the whole CD, itdoesn't appear <strong>to</strong> be a talent he's taking lightly, as the fervor and control he exerts in hissongs through voice is outstanding. In other words, the ability doesn't take a backseat <strong>to</strong>his superb musicianship by any means.More energetic blues-rock and searing guitar dexterity emerges in the funky "Last Kiss."The down-on-his-luck swagger of Tom Waits' "Jockey Full of Bourbon" is really quiteinteresting, a bold transformation as well. With its acoustic and traditional approach,along with a Vaudeville piano additive, the song's atmosp<strong>here</strong> doesn't prevent <strong>Joe</strong> fromplugging in a loud and dis<strong>to</strong>rted guitar <strong>to</strong> beef up the mix."S<strong>to</strong>ry of A Quarryman" is abundant in guitar flair. Its numerous rhythm and lead dubstake it through a multitude of melodic changes and diversions. The dual lead guitar
segments are harmoniously brilliant. "Happier Times," a song of love lost, is a moodyand atmospheric excursion, complete with soaring notes and brilliant <strong>to</strong>ne.Originally covered by the likes of Nina Simone and Sammy Davis Jr., the AnthonyNewly and Leslie Bricusse penned "Feelin' Good" is given the full electric, acoustic, andslide guitar treatment. <strong>Joe</strong> belts out the vocal passionately. He keeps the Nina Simonecovers going with the Aillene Bullock penned "Funkier than a Mosqui<strong>to</strong>'s Tweeter."More in the vein of Ike and Tine Turner or James Brown <strong>here</strong>, this danceable and funtune is funked up <strong>to</strong> the max."The Great Flood," another <strong>Bonamassa</strong> original, is a slow blues <strong>to</strong>ur-de-force, heavilyladen with sizzling notes of passion and emotion. The short and acoustically atmospheric"From the Valley" segues nicely in<strong>to</strong> the CD's closer, "As the Crow Flies." Once againgiving life <strong>to</strong> songs of the past, <strong>Joe</strong> takes this Tony <strong>Joe</strong> White composition andpersonifies it respectfully and admirably, adding his own vocal and guitar accents <strong>to</strong> it.It's easy <strong>to</strong> discern that <strong>Joe</strong> <strong>Bonamassa</strong> is a performer who puts a lot of thought andenergy in<strong>to</strong> his releases. That extra effort exhibits itself in the end product. The Ballad ofJohn Henry is an album of new horizons for <strong>Joe</strong>, with personal and meaningful lyricalcontent that matches the passion of the music. The CD is a display of his guitar playingprowess, a talent that not only gets better as he ages, but is easily one of the best on themusic scene <strong>to</strong>day, in both style and <strong>to</strong>ne. Each song is comprehensive and complete inits own right, with brilliant instrumental arrangements and sonic adventurism throughout.It's the perfect follow-up <strong>to</strong> his 2008 release, Live From Now<strong>here</strong> In Particular.Every now and then, a brilliant player possessing solid roots comes along and causes aresurgence <strong>to</strong> occur, one that stirs notice and reverence upon the deserved music thatstarted it all. <strong>Joe</strong> <strong>Bonamassa</strong> is one of those particular musicians whose style sheds ligh<strong>to</strong>n the blues. That said, he appears <strong>to</strong> be doing it for rock and roll as well. He easily flowsbetween both genres with competence and flair, melding everything in<strong>to</strong> a style that's allhis.The Ballad of John Henry Track Listing1. The Ballad of John Henry2. S<strong>to</strong>p!3. Last Kiss4. Jockey Full of Bourbon5. S<strong>to</strong>ry of A Quarryman6. Lonesome Road Blues7. Happier Times8. Feelin' Good9. Funkier Than A Mosqui<strong>to</strong>'s Tweeter10. The Great Flood11. From the Valley12. As the Crow FliesLabel: J&R Adventures
"I have been taught something that cannot be measured by grades; I have been taught <strong>to</strong> listen <strong>to</strong>music. The magic I've found is that through the musician singing about the trials of his life, itmanages <strong>to</strong> brighten up mine. The first time I felt that, I began <strong>to</strong> understand why the blues cameabout." - A high school student after attending a Blues In the Schools EventBlues in the Schools (BITS)<strong>Joe</strong> <strong>Bonamassa</strong> is becoming a <strong>to</strong>rchbearer for the next generation of Blues fans. As a child prodigy,<strong>Joe</strong> has been recognized as a blues guitar phenomenon since the age of 8 and had the honor ofperforming with B.B. King at the age of 12, and John Lee Hooker when he was 14! <strong>Joe</strong> enjoysworking with youth, as he knows the importance of introducing them <strong>to</strong> Blues music at a young age.WHAT IS BLUES IN THE SCHOOLS?“Blues In The Schools” is a program developed by the Blues Foundation in Memphis ten years agoas part of their effort <strong>to</strong> promote and preserve the heritage of Blues music. In most cases, a musicianor a group conducts a workshop for students <strong>to</strong> learn more about Blues music (as well as music ingeneral). These appearances include; live performances, recorded music, slide presentations andinformative narratives. <strong>Joe</strong>’s hour-long BITS presentation is structured for middle school, highschool and college students as he takes them on a musical journey tracking the evolution of Bluesmusic from the Deep South in the late 1800’s up through <strong>to</strong>day’s different Blues styles.WHY BLUES IN THE SCHOOLS?Music reflects the feelings of the times. By exposing students <strong>to</strong> Blues music, it can lead them <strong>to</strong>new found interests that will help them <strong>to</strong> develop and grow with increased self-esteem andconfidence in themselves.With the exception of Native American music, Blues is the first pure American music form <strong>to</strong> haveits origins in the United States. Coming from the oral traditions of folk music, the Blues serves asthe foundation for all other popular music forms <strong>to</strong>day. To fully appreciate all music, it is important<strong>to</strong> understand the evolution of the musical structure of the Blues. Moreover, much can be gleanedby understanding the ways blues music expresses individual emotions.T<strong>here</strong> are many things that we can learn about our nation’s evolving culture through Blues music.Students can be shown the essential part these rural lyrics played in the African-American oraltraditions. Lacking an educational system, these early country blues men and women createdbeautiful poetry that reflected, and responded <strong>to</strong>, the conditions of their world. Sometimes the lyricsexpressed the anger they could not speak. Other times, they painted a vivid picture of African-American life in the fields. At the same time, the music incorporated danceable rhythms and socalled "blue notes" that helps people forget their stress and enjoy being alive.
(\JOTIl NG,- H-A II -Pusj N::J v 2-7 2..00Keeping genre alive<strong>Joe</strong>' red ale •Due indangeig<strong>Joe</strong> <strong>Bonamassa</strong>He opened for blues legend B.B. King at the age of 12, hasplayed alongside Stephen Stills, Foreigner, Eric Clap<strong>to</strong>n and<strong>Joe</strong> Cocker, and sold out the Royal Albert Hall. STEVE HAINESmeets <strong>Joe</strong> <strong>Bonamassa</strong>.DESPITE his early exposure <strong>to</strong> thegreats of American blues, many of<strong>Joe</strong> <strong>Bonamassa</strong>'s intluences areBritish. "I always liked the dangerof the British blues," says the. 32-year-old, acknowledging his debt<strong>to</strong> the likes of Eric Clap<strong>to</strong>n, Jeff Beck and GaryMoore."The American blues always seemed sedate <strong>to</strong>me as a kid, but the English blues with Marshallamps always felt like it had a rock edge. And as akid, you're always attracted <strong>to</strong> danger."So what is the difference between blues androck?"For me, it's all about a feeling. With blues,you're trying <strong>to</strong> channel your feelings directly <strong>to</strong>the audience, while rock tends <strong>to</strong> be more of aspectacle. 1only ever play stuff that 1like and 1think it's that conviction that is infectious, andthat enjoyment spreads <strong>to</strong> the audience."Having spent two decades as a blues guitarist,<strong>Bonamassa</strong> has seen his own style develop."It's matured as I've gotten older. T<strong>here</strong>'sperhaps less fire and spark. You don't have thesame blind belief in yourself at 32 as you do at 22.It becomes more calculated and you have a betterGig . IWho <strong>Joe</strong> <strong>Bonamassa</strong>W<strong>here</strong> Royal Concert HallWhen Monday, 7.30pmTickets £22 (returns only), 0115 989 5555idea how things will sound <strong>to</strong> an audience sot<strong>here</strong>'s less reckless abandon."For me, maturity in music is about a certain<strong>to</strong>ne with the right note at the right time, andalso being able <strong>to</strong> engage an audience throughthe music and keep them on the edge of theirseats. The high watermark is B.B. King who canplay one note and make you cry."<strong>Bonamassa</strong>'s Nottingham visits have becomeincreasingly popular. After the Running Horsefour years ago, he's stepped through the RescueRooms and Rock City <strong>to</strong> the 2,600 capacity RoyalConcert Hall, w<strong>here</strong> he appears on Monday.w<strong>here</strong> we ran the programme a few years ago.But he fears for the future of the blues. SoBut t<strong>here</strong>'s room for more. The more the merriermuch so that he dedicates a lot of time <strong>to</strong> thein fact.Blues in Schools programme."The more kids getting in<strong>to</strong> it and playing it''I've been doing this for several years and it'smeans the message is getting through."both a labour of love and of self~preservation.Blues messenger <strong>Joe</strong> <strong>Bonamassa</strong>As part of the programme, <strong>Bonamassa</strong> will beWith blues music, MTV and popular radiorunning a free hour-long session for 14 <strong>to</strong>doesn't give the exposure, so we bring the kids <strong>to</strong> "I really do think blues music is at risk. We 22-year-olds at the venue on Monday from 3pm.us as a field trip and show them how it's done need a new generation of kids coming through or He'll explain what blues music is all about andand how all the stuff they listen <strong>to</strong>, from Led else we're in real trouble.provide a showcase of styles in the hope thatZeppelin <strong>to</strong> Leona Lewis, can be traced back <strong>to</strong> "But the feedback has been great and we now Nottingham's youngsters may be inspired <strong>to</strong>the blues.have kids opening up for us in <strong>to</strong>wns and cities follow in his footsteps...................................................................................................................................................................................................................................................................................................................................................................