Record review: Joe Bonamassa – Different Shades of Blue (2014, LP)

joe bonamassa different shades of blue

This being his 11th solo album of blues-rock in just 14 years, Joe Bonamassa could be forgiven for running out of new ways to express his prodigious guitar talents on record. Thankfully, Different Shades of Blue finds the 37 year-old American axe-slinger on top form and showing once again why he’s one of the hottest six-string shredders in the world today. This is the Grammy nominee’s first album to feature all original material; a significant step for a blues-rock purist. Not that the influences aren’t as glaringly obvious as usual; the hands of Clapton, Page and Rory Gallagher are all over this record, and that can only ever be a good thing. At the top of the pile for rock riffage is second track ‘Oh Beautiful!’, which rivals anything found on Led Zeppelin II, while ‘Heartache Follows Wherever I Go’ brings the melancholic blues and there’s even a Queen-esque ballad to keep things varied with ‘Never Give All Your Heart’. Bonamassa is often labelled as Eric Clapton’s natural successor, although Clapton himself probably wouldn’t take kindly to that, given he’s still putting out records himself. In saying that, it’s a fitting sentiment, and this record will only serve to reinforce it.

For The Brag

Interview: Robert Cray

robert cray

WHERE do you start with a musician as accomplished as Robert Cray? He’s been playing the blues since the seventies, has over twenty albums in his catalogue, has bagged five Grammy Awards and played with the biggest names in the business, from John Lee Hooker, Albert Collins and B.B. King. Oh, and he also appeared in Animal House with John Belushi AND is still releasing top-notch blues records. On top of all this, he’s only one of the nicest guys around. Have I missed anything? Probably.

Hi Robert, let’s talk about your new album, In My Soul, first of all. How do you feel when you have a new record being released?

Happiness. It’s great because it’s a new record that gives us an opportunity to add to our repertoire and more to play to the fans. It’s a lot of fun.

You made some changes to the line-up just before recording. Why did you feel that was necessary?

Change is good; it’s necessary sometimes. We had two changes for this record. The first of which was having Les Falconer join as drummer. I’ve watched Les from afar, but not too far away; he’s been in the Keb’ Mo’ band for years. It just so happened that three or four years ago Les asked me if I ever wanted to make a change to consider him, and I did so about 16 or 18 months ago, so that was the reason for that change. We changed keyboard players, and we have Dover Weinberg on board, who also used to be in the band in the late ’70s. We made the change because I remember Dover having a great sound and a great feel, and I thought it would be great to have him work on the new record before we went into the studio.

Will this version of the band be set in stone for the foreseeable future?

For the foreseeable future, yes. We have a good time and we have a new album to present with this band. But we also play a lot of the older songs and we have a really good time with those, thank you.

Was the soulful feel to the album a deliberate step or more of a natural progression?

It was just by osmosis, actually. We had Steve Jordan come in to do the production. Steve’s a great musician as well. He made a couple of suggestions before we came into the studio; one was the Otis Redding cover, ‘Nobody’s Fault But Mine’, and the other was a Mable John song, ‘Your Good Thing (Is About To End)’. He suggested those two songs, but I thought it was going to be that maybe we’d record them in case the band and myself didn’t have enough original material. Well, the band had original material which were rhythm and blues, and I had songs which were rhythm and blues as well, so we just wound up with soulful songs.

How did you react when he suggested covering ‘Nobody’s Fault But Mine’?

I dug it, because it’s a song by Otis that I’ve admired for years. I’ve never had the opportunity to play it, but lots of friends of mine have covered the tune and I always thought it was cool.

What else does Steve Jordan bring to the table?

Steve’s a great communicator and organiser. He gets everybody into the studio, makes them participate and feel like they’re part of the project. That’s really important and how he conducts all operations in the studio. For example, we have this one song that’s a bonus track called ‘Pillow’; it’s got this really ’70s funky feel to it. Before we tackled the song we went into the control room where Steve had a copy of Curtis Mayfield’s Super Fly record. We played a couple of tracks and started reminiscing about all the ’70s music, then we took a lunch break and let the music digest itself, you know? We came back into the studio, the electric sitar came out, different drums came out, and he had set the mood for the song. He’s in there conducting us, he’s in there dancing or he’s playing along, you know?

One of my favourites is ‘What Would You Say’, which contains a bit of social commentary. Would you call it a political song?

It’s not political in the way other songs we’ve done before covered deeper subjects like the wars in Iraq and Afghanistan. This is commentary and trying to be a bit more positive about what’s going on today with homelessness, the cancer that’s everywhere today and the war in Syria. But not in a big way, if you know what I mean. I wouldn’t call myself a political singer, but we do touch on it.

How was your experience of Bluesfest last year?

It was fantastic. We should come every year as far as I’m concerned [laughs]. It’s always a blast to be a part of it, but also to witness it. It’s a great event.

So you’re putting your name firmly in the hat for any future Bluesfests?

My name is in there every year. It’s just a matter of getting the opportunity to do it. There are so many acts who want to do it, and we have to wait our turn.

You’ve played with most of the blues greats in your time; which one made you the most starstruck?

That’s hard to say. I think all of them did, you know? I’m starstruck by all of them. But the thing is, all the people I’ve had the opportunity to meet have always been really nice and comforting, in the sense that they see how nervous you are and see that you’re awestruck and all that. But they reassure you and make you feel cool.

Could you pick one blues player who has had the biggest influence on you?

Probably Eric Clapton. I play that style of electric guitar, you know? John Lee Hooker is huge, Muddy Waters the same, but my style is more akin to Eric Clapton and the electric players he admires.

When you were in Animal House in 1977, was there any indication that it would be a cult classic movie?

As far as I knew, nobody knew what would happen with the film. We had just bit parts in it; we weren’t even credited as the musicians in the band. We just lip-synched to the music. We never saw a script, so we didn’t even know what the working title was. It was just a bunch of local guys doing a movie, then all of a sudden it’s what it is today. Now it’s history.

How much contact did you have with John Belushi?

He befriended a good friend of mine, Curtis Salgado. We lived in Eugene, Oregon at the time. Curtis was fronting a band called the Nighthawks from Eugene; it was where the movie was filmed and also where I lived at the time. On Monday nights we had a splinter group called the Crayhawks; a combination of the two bands. Belushi would come in and people would ask us if we knew Belushi was in the audience, and we’d go ‘who’s John Belushi?’ because we were always working on Saturday nights and never had seen the programme. But eventually we let him on the stage to do his Joe Cocker impersonation, and all the while the movie was being filmed in Eugene, Curtis was taking John Belushi back to his house and schooling him on blues. To cut a long story short, he got educated through Curtis and that whole thing begat The Blues Brothers. The prescription sunglasses Curtis wore became part of The Blues Brothers model and they dedicated the first record to Curtis Salgado.

What are your plans for the rest of the year and beyond?

Well, we just came back from a six-week tour of the UK and Europe. This coming week we’re about to start another six-week leg in the States, followed by another European leg in the fall. If things go right, maybe we’ll see you at Bluesfest next year. Like I said, my name is in the hat [laughs].


For the AU Review

Record review: Eric Clapton – Unplugged: Deluxe Edition (2013 Reissue)


Man, it took a long time for Eric Clapton to become cool again. Since the mid-sixties when the words “Clapton is God” were daubed on London walls in reference to the then Bluesbreakers’ member’s skills, the man born Eric Patrick Clapton in 1945 has been considered a master of the guitar and one of the most important axe-slingers to have stepped onto a stage. However, there was a patch after around 1970 when Layla and Other Assorted Love Songs came out that the quality of his output went decidedly downhill. After the epic brilliance of his work with Cream and Derek and the Dominos, he began the seventies crushed by the death of Jimi Hendrix, before going on to have a string of affairs, make some unsavoury and racist remarks onstage while drunk, take a poorly misguided stab at reggae, and be labelled a dinosaur by a punk movement hell-bent on destroying the old guard.

After several more patchy albums throughout the eighties and the death of his four year-old son in 1991, he managed to reinvent himself with this classic entry into the MTV Unplugged series, which is perhaps bettered only by Nirvana’s effort, and he did it without really seeming to try that hard; maybe that’s what makes it so good.

Reinvention is most definitely the word to describe what is happening on this re-released, expanded edition of the original 1992 recording, as the finely executed ‘Lonely Stranger’ benefits from a softer approach, and the classic ‘Layla’ is heavily reworked, with Clapton challenging the English audience to “try to spot this one” before a heavy roar erupts as the lyrics kick in.

Elsewhere, Clapton takes his eight-piece band through a series of old blues and rock ‘n’ roll numbers including Jimmy Cox’s Depression-era classic ‘Nobody Knows You When You’re Down and Out’, the brilliant Ellas Otha Bates’s (a.k.a. Bo Diddley’s) ‘Before You Accuse Me’, and Big Bill Broonzy’s ‘Hey Hey’. But perhaps most special is Clapton’s tribute to his deceased son, ‘Tears In Heaven’; if there’s any song that will give you a lump in your throat, it’s this one. The fact that it was written and performed when the emotional wounds of his son’s death were still so prominent make it all the more heart-wrenching. With his mojo well and truly returned, Clapton’s output would take a sharp upwards turn from here on.

Extras here include six previously unreleased tracks (remastered), and an optional album and concert DVD option, which is worth getting just to see how smoothly the old master pulls it off. It’s been more than twenty years since this album heralded somewhat of a return for Clapton, and this re-release is a timely reminder of its – and his – brilliance.