Joe Bonamassa – Albums Collection 2000-2012 (17CD) FLAC

Collection includes 10 studio albums and 4 live albums past American blues-stone guitar virtuoso Joe Bonamassa.

Guitar mastermind Joe Bonamassa, a immature player with the childhood dream of playing music similar to legends similar Stevie Ray Vaughan, Eric Clapton, and Jimi Hendrix, was 22 when he inked a deal with Epic. Hailing from Utica, New York, Bonamassa could play the blues before he could drive a car. He first heard Stevie Ray Vaughan at age iv and was instantly taken past Vaughan'southward high-powered playing. At age eight, he opened for B.B. Male monarch, and at age 12, he was playing regularly effectually upstate New York. It was soon thereafter that Bonamassa hooked upward with the band Bloodline, which featured other musicians' sons: Waylon Krieger (Robby Krieger's son), Erin Davis (Miles Davis' drummer kid), and Berry Oakley, Jr. (son of the Allman Brothers bassist). Bloodline released a self-titled album, only Bonamassa wanted to motility on. In summer 2000 he guested for Roger McGuinn on Jethro Tull'southward summer tour, subsequently releasing his debut solo anthology, A New Mean solar day Yesterday. Produced by longtime fan Tom Dowd, the album marked a move toward a more organic and stone-sounding direction. He put together a ability trio with drummer Kenny Kramme and bassist Eric Czar and hit the road to back up the anthology.
Upon returning from the road, he hooked up with Dowd to tape the muscular and sweeping studio disc So, It's Like That and released a document of the tour, A New Day Yesterday Alive. The following year, Bonamassa put out Blues Palatial, featuring nine cover versions of blues classics aslope 3 originals. The muscular You & Me appeared in 2006, followed by the more than acoustic-tinged Sloe Gin in 2007. A year afterward, Bonamassa released the two-disc live album Alive from Nowhere in Item, followed in 2009 by The Carol of John Henry. Tardily in 2009 he released the DVD Alive from the Royal Albert Hall with invitee spots from Eric Clapton and Paul Jones. In 2010, the guitarist released his first disc for the Premier Artists characterization, Blackness Rock, featuring a guest appearance by B.B. Rex. It was followed by the debut album from Black Country Communion, a blues-rock supergroup that put him in the company of bassist/vocalist Glenn Hughes, drummer Jason Bonham, and keyboardist Derek Sherinian. Bonamassa, ever the overachiever, released his bawdy Grit Bowl in March of 2011, followed by Black Country Communion's 2 in June and past his unique collaboration with vocaliser Beth Hart on a searing drove of soul covers entitled Don't Explain in September.
In May of 2012, Bonamassa released Driving Towards the Daylight. The album reunited the guitarist with producer Kevin Shirley, who brought in Aerosmith'south Brad Whitford to play rhythm guitar on the 11 tracks. Driving Towards the Daylight was a significant blues hit — it topped the Billboard blues charts and debuted at number two on the overall British charts — and Bonamassa didn't tiresome downwardly. Early in 2013, he released a live CD/DVD set called An Acoustic Evening at the Vienna Opera House and prepared SeeSaw, a studio album of archetype covers with vocalist Beth Hart. SeeSaw was released later in 2013, and Bonamassa and Hart followed it up with Live in Amsterdam in March of 2014.

Biography by MacKenzie Wilson, Allmusic.com

http://en.wikipedia.org/wiki/Joe_Bonamassa

http://www.jbonamassa.com/

Named after the early Jethro Tull classic, which he expertly covers here in a jaw-dropping performance, A New Twenty-four hours Yesterday is a fine debut by guitar ace Joe Bonamassa. And though his record company tried to ride the coattails of teenage guitar prodigies like Kenny Wayne Shepard and Jonny Lang and position him (misguidedly and much too late) equally a directly-up prodigal dejection child, Bonamassa is really much more than a traditional bluesman. Rather, as best exemplified by the Jethro Tull number cited above, his bluesy have on Free's "Walk in My Shadows," or his difficult boogie romp through Al Kooper's "Nuthin' I Wouldn't Practice (For a Adult female Like You)," this excellent debut places the guitarist's influences as much in classic '70s difficult stone as in the blues. Along with his deceptively historic period-wearied vocals (he was only 22 at the fourth dimension of this recording), this unusual combination translates into the aggressive, soulful crunch heard on Bonamassa'southward many original compositions. Among these, the jolting double whammy of "Miss You, Hate Yous" and "Colour and the Shape" (note the Anglicized spelling) are the most obvious standouts, but the guitarist also makes the Warren Haynes-penned "If Heartaches Were Nickels" his own with a tense, riveting performance. All in all, a promising debut.

Review by Eduardo Rivadavia, Allmusic.com

Tracklist:
01. Cradle Rock – three:51
02. Walk In My Shadows – three:27
03. A New Day Yesterday – 4:45
04. I Know Where I Belong – v:38
05. Miss Y'all, Hate Yous (Stone Radio Remix) – 3:40
06. Nuthin' I Wouldn't Do (For A Woman Like You) – v:10
07. Colour And Shape – 5:03
08. Headaches To Heartbreaks – 4:56
09. Trouble Waiting – 3:26
x. If Heartaches Were Nickels – 7:51
11. Electric current Situation – 3:36
12. Don't Burn down That Bridge – 4:21
13. Miss Y'all, Hate Y'all (Original Full-Lenght Version – Bonus Rails) – 6:05

Something of an odd release, A New Day Yesterday Live documents the final date of a 60-day jaunt during blues guitar prodigy Joe Bonamassa'due south 2001 bout in support of his major-label debut bearing the same title, and (this is the odd part), released just a few months earlier. Just why his record visitor felt the need for it, then, is upward for grabs (more promotion…thinking Bonamassa's virtuosity came across stronger in a live setting…who knows?), but what's articulate is that the young guitarist's trio lacked nothing in terms of on-stage presence and performing tightness every bit compared to what was heard on said studio anthology. Their kinetic reinventions of oftentimes-overlooked '70s rock classics such every bit Free's "Walk in My Shadows" and Jethro Tull'south "A New Twenty-four hours Yesterday" instantly distinguish Bonamassa from teenage dejection competitors such equally the overly Stevie Ray Vaughan-reliant Kenny Wayne Shepherd or the more purist (and technically less dazzling) Jonny Lang, and his meliorate-conceived originals ("Colour & Shape," the wonderful "Miss You Hate You lot") stand upwardly under whatever circumstance — but once more, then what? Didn't listeners only buy their studio versions a few months agone? Yeah, there'southward the additional benefit of extended jamming and incendiary guitar soloing to expand upon their themes, but suffice to say that this set need but be sought out by Bonamassa fanatics, or, in the event that they've notwithstanding to hear the studio version, offset timers, also — why not?

Review by Eduardo Rivadavia, Allmusic.com

Tracklist:
01. Jam Intro – 3:21
02. Cradle Rock – three:38
03. Steppin Out/Rice Pudding – five:32
04. A New Day Yesterday – 8:05
05. Miss You, Hate You – seven:20
06. Walk In My Shadows – v:57
07. I Know Where I Belong – 10:14
08. Color & Shape – 6:13
09. Trouble Waiting – four:37
x. If Heartaches Were Nickels – seven:43
xi. Dont Burn That Bridge – 8:22

Joe Bonamassa may well exist a young guitar virtuoso, in line with the likes of Derek Trucks and John Mayer (like Jonny Lang and Kenny Wayne Shepherd before them) to be the Next Blues-Rock Guitar Hero. Unfortunately, he'due south not much of a songwriter. And then, Information technology'due south Like That, his sophomore solo effort, is filled with subpar tunes bloated with clichés. The product (by Clif Magness) is great enough, though Bonamassa's guitar sometimes sounds likewise carefully muddy, and his band — comprised of drummer Kenny Kramme and bassist Eric Czar — far as well generic. Bonamassa shines when he is immune to stretch out and explore, on songs such as the sonically varied "Pain and Sorrow." There, on a long improvisation, he works through myriad modes of playing, textures, and musical ideas. And, since information technology is 1 of the album'due south only extended tracks, information technology is also one of the album's merely redeeming moments — and the only thing that clearly separates Bonamassa from generic boorishness.

Review by Jesse Jarnow, Allmusic.com

Tracklist:
01. My Error – four:53
02. Prevarication #1 – 4:22
03. No Slack – 5:05
04. Unbroken – iii:49
05. And then, It's Like That – 2:49
06. Waiting For Me – 3:54
07. Never Say Goodbye – iii:32
08. Mountain Time – 3:42
09. Pain And Sorrow – ten:37
10. Takin' The Striking – iv:44
11. Under The Radar – three:20
12. Sick In Honey – 3:25
13. The Hard Fashion – 7:49

Joe Bonamassa's first solo release in 2000, A New Mean solar day Yesterday, paid homage to archetype '70s blues/hard rock. Three years later, with the release of Blues Palatial, the immature guitarist is doing the same with the roots of the blues. Eight of the 12 tracks are covers: B.B. King's "Y'all Upset Me Baby," John Lee Hooker'southward "Burning Hell," Buddy Guy's "Man of Many Words," Elmore James' "Wild About Y'all Baby," T-Bone Walker's "Long Distance Blues," Freddie Male monarch'due south "Pack Information technology Upward," Albert Collins' "Left Overs," and Robert Johnson's "Walking Blues." The trouble with about one-half of the disc is the difficulty of covering this type of material without being able to add much to it. At this relatively early stage in Bonamassa'due south discography, it may have been a better idea if he would have mixed lxx-percentage originals with a few covers instead of vice-versa. Information technology'southward obvious Bonamassa has devoured this material, but his take on "Burning Hell," for example, doesn't come close to matching the force and realism of the original. The album's stiff points are the three originals — "Woke Up Dreaming," "I Don't Live Anywhere," and "Mumbling Discussion" — and the Jeff Brook Group's "Blues Deluxe," which features smokin' guitar pyrotechnics. Still, thanks to musicians like Bonamassa, the more traditional blues artists covered on this disc continue to gain just as much exposure every bit younger artists equally Eric Clapton, Stevie Ray Vaughan, or Jimi Hendrix.

Review by Al Campbell, Allmusic.com

Tracklist:
01. You lot Upset Me Babe – 3:35
02. Burning Hell – 6:50
03. Blues Deluxe – 7:20
04. Man of Many Words – 4:11
05. Woke Up Dreaming – 2:51
06. I Don't Live Anywhere – 3:42
07. Wild Well-nigh You Baby – 3:39
08. Long Altitude Blues – iii:53
09. Pack Information technology Upwardly – 4:04
10. Left Overs – three:24
11. Walking Blues – four:29
12. Mumbling Word – 3:28

Guitar hero Bonamassa may have dropped the "Smokin'" prefix from his performing name that he carried as a teenager, just he still specializes in superheated fret work. And for him, the faster information technology is, the improve. Bonamassa sought to showcase the "heavier side of blues" on his fourth studio recording, emphasizing the approach used past the classic English language dejection-rockers. And he does simply that with a hyperactive "Travellin' Southward" that X Years Afterward would have been proud to merits and a difficult-edged remake of the B.B. King hit "Never Make Your Motility Too Soon". The title track, a Blind Organized religion favorite, is transformed into a frenetic live jam while Lowell Fulson'south "Reconsider Baby", a staple of Bonamassa'southward live prove, is given an extended conditioning and features some of his most potent blues licks. Sometimes Bonamassa is in too much of a hurry for his ain skillful, but his penchant for speed works specially well on a couple of instrumentals. He races through "Revenge of the x Gallon Hat", a land-flavored tribute to mentor Danny Gatton, and the rapid-fire, Al Di Meola-influenced closer "Simulated Mantini."

Review by Michael Bespeak, Amazon

Tracklist:
01. Never Make Your Move Too Soon – four:06
02. Travellin' South – 3:51
03. Junction 61 – 0:49
04. Reconsider Baby – 6:52
05. Effectually the Bend – 5:xi
06. Revenge Of The 10 Gallon Hat – 2:54
07. When She Dances – four:54
08. Had to Cry Today – 6:50
09. The River – v:thirty
10. When The Sun Goes Down – 2:45
xi. False Mantini – ii:27

Despite his statement in the liner notes that "In an era where it is best to play it safe, I chose to accept a take a chance…," there isn't much surprising or risky almost young guitarist Joe Bonamassa's fifth studio album. Most of his previous releases have mixed blues covers with his own originals, all played with a rocker's attitude, volume and less-than-subtle approach. This one follows suit and even though he goes on to say that he "wanted to make a dejection anthology, non a rock anthology that has blues on it," equally in the past; information technology's impossible to claim that he has succeeded with Yous & Me. That doesn't brand this a bad or disappointing disc; quite the contrary, it's a solid blues-rock release and arguably his best piece of work to date. But every bit early on as the 2nd runway, an original rocker titled "Span to Better Days," Bonamassa takes off on an early on Free/Savoy Brown-styled stomper. Things settle down and get more rootsy on the following two slow blues tracks, although a lovely Bonamassa original, "Asking Effectually for You," adds strings, not exactly a touch most would acquaintance with pure dejection. Regardless, it'due south extremely constructive and when the strings return on a nine-and-a-half-minute cover of Led Zeppelin's "Tea for One," it is a spine-tingling experience and possibly this album's finest moment. Drummer Jason Bonham, who is excellent throughout, brings additional authenticity to the song his dad first played on. Bonamassa unplugs for a few mid-disc tracks, including a cover of "Tamp 'Em Up Solid" (oddly credited to Ry Cooder but typically known as a traditional piece, fifty-fifty on Cooder's version). Twelve-yr-erstwhile harmonica whiz Fifty.D. Miller does his best John Popper faux on a hyperactive version of Sonny Boy Williamson'due south "Your Funeral and My Trial" (someone needs to inform the kid that playing lots of notes really fast doesn't hateful he has soul), and the instrumental titled "Django" shows that Bonamassa has been listening to Gary Moore'southward "Parisienne Walkways." Information technology adds upward to a quality Bonamassa disc that will delight existing fans and might bring some new ones into the fold, but information technology's also one that doesn't take the chances that he claims might push button the guitarist into uncharted territory.

Review by Hal Horowitz, Allmusic.com

Tracklist:
01. High Water Everywhere – four:07
02. Bridge to Improve Days – 5:07
03. Asking Around for Yous – four:eighteen
04. And so Many Roads – vii:06
05. I Don't Believe – three:23
06. Tamp Em Upwards Solid – two:31
07. Django – four:57
08. Tea for 1 – 9:35
09. Palm Trees Helicopters and Gasoline – i:47
ten. Your Funeral and My Trial – three:00
11. Torn Down – iv:28

For his 7th studio album, guitar wiz Joe Bonamassa has chosen to work once again with producer Kevin Shirley, who produced the highly successful and huge-sounding You & Me for Bonamassa in 2006. This outing, though, is far from a ditto session, with a much more than acoustic feel and a greater focus on Bonamassa'south singing, which unfortunately has been generally (and unfairly) overshadowed by his guitar playing. Bonamassa has besides stepped upwards his songwriting (four of the xi tracks hither are originals; the residuum are blues and hard rock covers) and cut way down on his clichés, delivering in the process his most varied and impressive album nonetheless. The lead rails, a version of Chris Whitley's "Brawl Peen Hammer," is an atmospheric gem, every bit is the title tune, a cover of a song written by Bob Ezrin and Michael Kamen that kickoff appeared on Tim Curry's solo debut anthology in 1978. Bonamassa's singing on both of these is wonderfully nuanced and shows he can exercise way more than only shout out dejection-rockers. Too worth noting is his Dobro work on a fine cover of John Martyn's "Jelly Roll," and then at that place are the 4 originals — "Clay in My Pocket," "Richmond," "Around the Bend," and the hitting "Bharat" — which show Bonamassa's connected growth and conviction every bit a songwriter. There are less of those flashy and jaw-dropping guitar leads on Sloe Gin (residue assured, he stretches out a few times on guitar, though), which is generally a good matter, since it allows his increasing maturity as a writer and singer to smoothen through. This is a fine album, and 1 gets the distinct feeling that an even meliorate 1 may be lurking just effectually the bend.

Review by Steve Leggett, Allmusic.com

Tracklist:
01. Brawl Peen Hammer – 3:27
02. One Of These Days – 5:xl
03. Seagull – 3:49
04. Dirt In My Pocket – 4:55
05. Sloe Gin – 8:14
06. Some other Kind Of Beloved – 3:11
07. Around The Bend – v:16
08. Blackness Night – 4:22
09. Jelly Roll – 2:13
ten. Richmond – 4:31
xi. India – 3:xx

Two CD gear up. Live from Nowhere in Particular is the 2008 album from Joe Bonamassa, an US dejection guitarist/singer. Guitar One Magazine has stated that 'he merely might be the all-time guitarist of his generation.' His blues-rock style is similar to that of Stevie Ray Vaughan's. In an interview in 'Guitarist' magazine (upshot 265), Joe Bonamassa cited the three albums that had the biggest influence on his playing: John Mayall & the Bluesbreakers with Eric Clapton (the 'Beano Album'), Rory Gallagher's 'Irish gaelic Tour' and 'Goodbye' past Cream.

Tracklist:
CD 1 – 00:44:13
01. Bridge to Better Days – five:28
02. Walk in my Shadows – 5:xv
03. And then Many Roads – six:x
04. India-Mountain Fourth dimension – 10:18
05. Another Kinda Love – 3:48
06. Sloe Gin – seven:xx
07. 1 of These Days – 5:54
CD two – 00:54:28
01. Brawl Peen Hammer – four:24
02. If Heartaches Were Nickels – four:08
03. Woke Up Dreaming – 7:59
04. Django-Just Got Paid – 17:53
05. High Water Everywhere – 4:49
06. Asking Around For You – 7:24
07. A New Day Yesterday-Starship Trooper-Wurm – 7:51

In 2007, Joe Bonamassa titled his album subsequently a Bob Ezrin song. In 2009, he named his 7th studio album The Carol of John Henry after one of the most enduring tales in American folk music. The deviation betwixt these two songs should indicate a swell difference between the ii albums and that's true, to a certain extent. The Ballad of John Henry is heavy on myth-making that translates to heavy guitars on several occasions, specially on the ballsy six-infinitesimal title track, whose roiling minor-key riffs, orchestrations, and excursions into acoustic instruments are closer to prog than blues. While the rest of the record never gets as overblown as this, it shares like thick sonics and a sober sensibility, an approach that treats Ike & Tina Turner'due south "Funkier Than a Mosquito's Tweeter" as sacred text and straightens out Tom Waits' "Jockey Full of Bourbon." This sobriety means that The Carol isn't a whole lot of fun — when Bonamassa sings that he's "Feelin' Good," information technology feels a flake similar drudgery — but this dogged approach does requite the anthology some self-serious heft, adding the impression of weight that fits a record that feels like a summation of his strengths. His guitar and voice carry equal weight as he runs through SRV-styled wearisome blues, a shuffle or ii, acoustic numbers, covers, and originals — everything that he'south dabbled with on previous albums is pulled together here, making for his nearly varied album and possibly his all-time, even if that heaviness means that it's not necessarily the easiest to bask.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. The Carol Of John Henry – 6:27
02. End! – six:48
03. Last Kiss – seven:15
04. Jockey Full Of Bourbon – 5:22
05. Story Of A Quarryman – 5:00
06. Lonesome Road Blues – iii:09
07. Happier Times – 6:40
08. Feelin' Proficient – 4:44
09. Funkier Than A Mosquito's Tweeter – 5:00
10. The Slap-up Overflowing – vii:39
11. From The Valley – 2:24
12. As The Crow Flies – iii:59

Guitarist Joe Bonamassa was opening for B.B. King when he was only viii years old and was a veteran of the road and gigging past the time he was 12, so it's tempting to toss him in the all flash but no soul prodigy trash bin that has been filling upwards pretty well since Stevie Ray Vaughan shuffled off to blues heaven — but that would be a big mistake. Bonamassa has soul, plenty of it, and he plays guitar with a reverent grace, and sometimes lost in all this is that he's a pretty good vocalist, too, sounding more than a piffling chip similar a reconstituted Paul Rodgers. His stunning headline show from the Royal Albert Hall, which featured invitee spots by Eric Clapton and Paul Jones, was released in 2009 on DVD and download versions of the songs have been available on iTunes for a while, just this two-disc set marks the first official release of the concert as an album in and of itself, and information technology'south simply wonderful, full of great guitar playing, solid singing, and with a horn section and double drummers on board, the audio is full and even majestic. Bonamassa is the real bargain, and tracks hither like the elegant opener "Django," "The Ballad of John Henry," the marvelous cover of Charley Patton's "High Water Everywhere," and a shifting, sprawling conditioning on Rod Stewart'south "Blues Deluxe" show a musician at the top of his game, ane who has learned that a guitar atomic number 82 should serve the song and not the other way around. Bonamassa isn't some kid prodigy anymore — he'due south grown up into one of the most soulful blues-stone performers on the planet. In that location's plenty of proof of that here.

Review by Steve Leggett, Allmusic.com

Tracklist:
CD ane – 01:06:51
01. Django – iii:44
02. The Ballad Of John Henry – half dozen:47
03. And so It's Similar That – ii:56
04. Last Kiss – 7:eighteen
05. Then Many Roads – vi:16
06. Stop! – 5:56
07. Further On Up The Road (with Eric Clapton) – five:45
08. Woke Up Dreaming – x:06
09. High Water Everywhere – v:07
ten. Sloe Gin – viii:19
11. Lonesome Road Blues – 4:38
CD ii – 01:05:18
01. Happier Times – 7:22
02. Your Funeral My Trial – 4:05
03. Dejection Deluxe – ix:13
04. Story Of A Quarryman – v:15
05. The Great Flood – seven:53
06. Just Got Paid – 10:44
07. Mountain Fourth dimension – ten:43
08. Request Around For You – 10:02

It'due south a sign of Joe Bonamassa's increasing profile that he got dejection legend B.B. King to invitee on his eighth album Black Rock — and if what you're doing is skillful enough to rope B.B. in, there'south non much reason to change, so Bonamassa doesn't tinker with his formula here, retaining a little of the folky undertow of The Carol of John Henry, but with its remaining roots in a thick, heavy blues-rock more redolent of '60s London than the '50s Delta. Of course, Bonamassa has never shied away from his love of Brit-blues, even underscoring it with a expert streamlined cover of Jeff Beck'south "Spanish Boots," but he retains a salubrious respect for all manners of classic blues, kick out a Chicago groove on a encompass of Otis Rush's "Three Times a Fool," reaching back to Blind Boy Fuller for "Baby Yous Gotta Change Your Mind" and ably replicating B.B.'s latter-day soul groove on a horn-smacked cover of Willie Nelson's "Dark Life." Bonamassa has an ear for not-blues writers as well, cherrypicking Leonard Cohen's "Bird on a Wire" and John Hiatt's "I Know a Identify," tying information technology all together with beefy atomic number 82 lines, but the provocative moments on Blackness Stone are all self-penned, whether information technology'due south the clattering stomp "When the Fire Hits the Sea," the British folk lilt of "Quarryman's Complaining" and "Athens to Athens," or the droning dramatic epic "Blue and Evil." These are easily the most intriguing songs here, suggesting Bonamassa realizes that the familiar covers allow him to stretch out elsewhere, and while it might be interesting hearing him follow this path for a full album, what's hither on Black Rock is both satisfying and admirably, if reservedly, aggressive.

Review past Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Steal Your Heart Away – 3:48
02. I Know A Place – 4:xix
03. When The Fire Hits The Sea – 3:55
04. Quarryman's Lament – 5:22
05. Castilian Boots – 4:39
06. Bird On A Wire – 5:21
07. Three Times A Fool – 2:03
08. Dark Life – 3:26
09. Wandering Earth – 4:19
ten. Look Over Yonder's Wall – 3:27
xi. Athens To Athens – 2:27
12. Blueish And Evil – 5:44
xiii. Infant You Gotta Change Your Mind – four:25

For his 2nd solo album in a yr — not counting his excursion with Blackness Country Communion — Joe Bonamassa, the hardest working blues-rock guitarist of the 21st century, strikes up a bit of a smoky Black Keys vibe, signaling that he'southward not quite as devoted to the past as he may initially seem. It's not the just trick he has upwardly his sleeve, either. Appropriately enough for an anthology entitled Dust Bowl, Bonamassa kicks up some land clay on this tape, enlisting John Hiatt for a duet on the songwriter'southward "Tennessee Plates" and bringing Vince Gill in to play on the lazy shuffle "Sweetness Rowena." These are accents to an anthology that otherwise sticks to Bonamassa'due south strong accommodate of dejection in the vein of Cream, Stevie Ray, and Gary Moore, only it's only enough of a difference to give Dust Bowl a distinctive flavor and suggests that the guitarist's constant work is pushing him to synthesize his clear influences into something that is uniquely his own.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Slow Train – 6:50
02. Dust Bowl – iv:33
03. Tennessee Plates (feat. John Hiatt) – 4:19
04. The Meaning Of The Blues – 5:44
05. Blackness Lung Heartache – 4:14
06. You Better Watch Yourself – 3:31
07. The Terminal Matador Of Bayonne – 5:24
08. Heartbreaker (feat. Glenn Hughes) – 5:49
09. No Love On The Street – half dozen:32
10. The Whale That Swallowed Jonah – 4:46
xi. Sweetness Rowena (feat. Vince Gill) – 4:34
12. Prisoner – 6:49

Joe Bonamassa is a guitar hero and a route domestic dog — the blues-rock crusher plays up to 200 shows a year, and it's significant that of the xv albums he released between 2000 and 2012, four of them were live sets. When Bonamassa played the Beacon Theatre in New York City in November 2011, the marquee declared it "the guitar issue of the year," and something that important would certainly merit another live album, wouldn't it? Beacon Theatre: Live from New York is a hefty two-disc set that features plenty of Bonamassa's trademark guitar piece of work, at one time precise and bombastic and firmly rooted in the traditions of British blues, and for this show he had Paul Rodgers on hand to lend appropriately swaggering pb vocals to a pair of Free covers, "Burn and Water" and "Walk in My Shadows." Two other guest singers popular upwardly on this ready: John Hiatt, whose craggy tone lends a welcome bit of texture to versions of 2 of his tunes, "Downwards Around My Place" and "I Know a Place," and Beth Hart, who has collaborated with Bonamassa in the past and lends her vocalisation to spirited versions of "Sinner'southward Prayer" and "I'll Take Care of You lot." There's no arguing the technical skill of Bonamassa and his ring (Ruby Rojas on bass, Rick Melick on keys, and Tal Bergman on drums), who perform with the accuracy of a Swiss watch, simply some might question his taste — at that place's nothing the least bit subtle about Bonamassa'south big, burly sound, and the emotional shadings of these songs are pretty much trampled into the clay by the end of disc 1, while the presence of the guest stars unfortunately reminds listeners that Bonamassa's vocals are not on a par with his skills on the fretboard. Simply if you're already a convert, Buoy Theatre: Live from New York finds Bonamassa playing with all his might for a crowd who are clearly excavation what he has to offer, and if, like many of his fans, you're convinced he sounds stronger and more powerful on-stage, this anthology will tide you over nicely until he next rolls into your area.

Marking Deming, Allmusic.com

Tracklist:
CD1:
01. 72nd St. Subway Blues (01:05)
02. Wearisome Train (06:35)
03. Cradle Stone (04:22)
04. When the Burn down Hits the Sea (03:43)
05. Midnight Dejection (07:49)
06. Dust Basin (07:06)
07. The River (06:36)
08. I'll Take Care of You (05:41)
09. Sinner's Prayer (05:04)
10. You Amend Sentinel Yourself (04:ten)
11. Steal Your Heart Away (03:52)
CD2:
01. Bird On a Wire (05:45)
02. Down Around My Identify (05:51)
03. I Know a Identify (04:38)
04. Blueish And Evil (06:50)
05. Walk in My Shadows (04:58)
06. Burn and Water (04:38)
07. Mountain Time (12:32)
08. Swain Blues (09:39)
09. If Heartaches Were Nickels (08:06)

He'll never exist the new Stevie Ray Vaughan, but at the rate blues-rock (emphasis on the latter) guitarist Joe Bonamassa is going, he tin have a stab at existence the side by side Gary Moore. Similar the Irish guitarist, Bonamassa is influenced by the British blues-rockers more than the Americans they lifted their licks from. He'southward also just every bit prolific; this is his thirteenth album in twelve years and that's non including side projects with Black Country Communion and Beth Hart, and DVDs grabbed from his 200-nighttime-a-year route schedule filled with sweaty, high-energy performances. Makes you tired just reading about it. Bonamassa isn't much of a songwriter so he wisely contributes only 4 tunes to this disc'southward eleven, with some relatively obscure deep dejection covers from Howlin' Wolf ("Who'due south Been Talkin'"), Willie Dixon ("I Got All You lot Need"), and Robert Johnson ("Stones in My Passway") gravitating toward his roots side. Also included are offbeat choices from Neb Withers ("Lonely Town/Lonely Street") and Tom Waits ("New Coat of Paint"). For better or worse, they all end up sounding like Joe Bonamassa tracks, since he feeds them into his leathery rock sensibilities, churning out requisite hot guitar solos whether they serve the song or not. He's left his route-hardened band on the sidelines and calls in peak-notch session guys, including Aerosmith'south Brad Whitford, David Letterman drummer Anton Fig, and keyboardist Arlen Schierbaum, whose piano and organ add some much-needed R&B attitude to the hard rock attack. Bonamassa even relinquishes atomic number 82 vocals to Australian Jimmy Barnes, who goes and so over the elevation singing his own "Too Much Ain't Enough Love" it seems similar he is auditioning for AC/DC. Longtime producer Kevin Shirley gets a slick, professional audio from these guys, and when everyone is cooking and the material is solid, such every bit on the grinding Bonamassa original "Dislocated Male child" and the Wolf embrace (including a spoken discussion sample of the blues fable that kicks off the melody), the arrangements and guitars mesh together like whisky and soda. What Bonamassa lacks in a distinctive sound and singing, he makes up for with sheer decision, which is almost plenty to push the album from pretty good to pretty cracking, especially on the horn-enhanced wearisome blues of "A Place in My Center" that explodes out of the speakers in a way Gary Moore could summon at will. In other words, this is a keeper if y'all've already bought into the guitarist's more-is-more than approach that has served him well thus far, and he shows no signs of abandoning it now.

Hal Horowitz, Allmusic.com

Tracklist:
01. Confused Male child (06:39)
02. Stones In My Passway (03:56)
03. Driving Towards The Daylight (04:49)
04. Who's Been Talking? (03:27)
05. I Got All Y'all Demand (03:03)
06. A Identify In My Eye (06:47)
07. Lonely Town Lonely Street (07:05)
08. Heavenly Soul (05:55)
09. New Glaze Of Pigment (04:06)
10. Somewhere Trouble Don't Become (04:58)
11. Too Much Own't Enough Honey (w\ Jimmy Barnes) (05:37)

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