Joe Bonamassa - Driving Towards The Daylight (Album Review)
Monday, 28 May 2012
Written by Simon Ramsay
Ladies and gentlemen the secret is out and it's time to rejoice; the blues is cool again! For over a decade New York native Joe Bonamassa has been on a relentless mission to bring his brand of blues soaked, riff fuelled rock music to the masses. Armed with a dazzling array of sizzling six string skills and boasting a smoky, coolest-cat-in-the-bar vocal delivery Bonamassa is a veritable modern day guitar God and leading light of the current revival of blues based music. Whether reinventing classic material and little known gems with innovative aplomb, or penning exceptional original songs he's worked tirelessly to forge his own sound, giving a contemporary twist to an anachronistic genre in the process. His sonic signature resides somewhere between Zeppelin, Clapton, Jeff Beck and B.B.King, with a healthy mix of Country, Soul, Americana and World music spliced into the mix to ensure he isn't just treading the same old ground as other blues musicians who reside in a large pack of gifted, yet faceless generic players. In addition to his precocious talent Bonamassa's astonishing work rate has left other musicians drenched in dust as he delivers 'Driving Towards The Daylight', his 13th solo album since his debut dropped back in 2000. In the last 3 years alone he's released 4 solo records, two albums with his newly formed super group Black Country Communion and a stunning collection of soul covers with Beth Hart (Axl Rose ...please take note).
For 'Driving Towards The Daylight' Joe and his long time producer Kevin Shirley relocated to Las Vegas to record in the same studio where they began their fruitful relationship on 2006's 'You and Me'. Shirley's contribution shouldn't be overlooked as he constantly challenges his protege, intentionally creating situations that drag him out of his comfort zone, knowing that keeping Joe on his toes inspires him to deliver his best work. The master stroke this time round was bringing in a group of highly rated musicians to play on the album, rather than using Joe's well-drilled touring band as Shirley felt he was too comfortable with them. Instead the cast of characters is impressive: the legendary Anton Fig returns on drums and gives one of the best performances of his career, playing like a man whose been told this is his last ever recording session. Blondie Chaplin and Pat Thrall add additional rhythm guitars, alongside phenomenal piano and organ work from Arlan Schierbraun. However, the real coup is the inclusion of Brad Whitford , Aerosmith's underrated rhythm guitarist, who Shirley knew would provide the ideal foil for Bonamassa. The result is a pulsating chemistry that literally grabs the listener from the first few seconds and doesn't let up until the closing track is over and an unpleasant air of silence fills the room.
The record kicks off with 'Dislocated Boy', a bruised, prowling funk strut steeped in the finest traditions of delta blues, showcasing a punch packed chorus and searing guitar solos that'll grasp you by your lapels, hurl you to the floor and wrestle you into submission. As ever this record features a number of covers, with Robert Johnson's 75 year old sparse acoustic number 'Stones in my Passway' given an electrified makeover courtesy of choppy Led Zep rhythms, honky tonk piano flourishes and devilish slide work from Joe. Although entertaining it's the album's one slight misstep as the excellent individual parts never really gel into a cohesive whole. More successful is Howlin Wolf's 'Who's Been Talking', featuring a wonderful spoken intro from the big man describing the “calypso beat” the song requires. The band oblige, unleashing a kinetic, hip-shaking groove as Joe plays call and response between his soaring vocal and a meaty slab of rhythm guitar riffery. People may think it contains a nod to Zeppelin's 'Whole Lotta Love', but in a recent interview Bonamassa let it be known that the wolf did it first!
With tongue firmly in cheek Joe recently promised his UK fanbase this album wouldn't include a single hit - but the title track may make him a liar! It's an achingly beautiful country flavoured piece that begins with a fragile piano refrain backed by casual acoustic strumming and a lonesome twanging guitar, before a haunting melodic verse segues into the kind of redemptive radio friendly chorus that deserves wider recognition. Another highlight and the album's undoubted show stopper is 'A Place In My Heart', which could almost be a lost Gary Moore track from the early 90's when his blues future and heavy rock past combined to sensational effect. The track's lead guitar line simply oozes exquisite vibrato - sounding like a broken hearted angel weeping in anguish - and contains one of the best solos Joe has ever played, combining speed, technique and emotion as his fizzing fingers use the fretboard like a catholic uses the confessional booth. In short – he bleeds all over this track and it's a stinging retort to those who claim Bonamassa is all style over substance.
Next up is a delicious rendition of Bill Withers 'Lonely Town Lonely Street', where the band sizzles with a laid back swagger reminiscent of 'Sticky Fingers' era Rolling Stones. The final few minutes boasts the best jam committed to record since the 1970's as Joe and Arlan dual off against each other in a mesmerising musical exchange. Perhaps the most surprising tune on display is 'Heavenly Soul', bolstered by great harmonies from Healing Sixes Doug Henthorn, a lovely folk flavoured mandolin, swooning vocal hooks and a solo that's as close as Joe has ever got to Jimmy Page with the staccato phrasing, tone and flow sounding like vintage Zeppelin. If U2 had recorded a Mexican flavoured driving blues rocker for 'The Joshua Tree' it may have sounded like this.
A blistering, bluesy take on Tom Waits 'New Coat Of Paint' is another mixed success as Joe doesn't carry the vocal melody with the same bleary eyed, sunset romanticism as the world worn troubadour's original. However, he unleashes a cascade of scintillating emotion throughout the track on a stunning array of solos that would make the jaw of even the most musically ignorant Neanderthal hit the floor with gusto. Then, in something of a first, 'Somewhere Trouble Don't Go' sees Joe pen his first ever sexy song! With a cracking ZZ Top slide riff and lascivious, libido propelling vibe it could easily be the soundtrack for strippers the world over to ply their trade! Finally, Jimmy Barnes duet 'Too Much Ain't Enough Love' brings the album to a close as the Australian Springsteen gives his impassioned throaty rasp a ballsy workout, sparring with Joe to create a brilliant slab of blue collar rock & soul.
This exceptional release strips back the epic soundscapes of Bonamassa 's recent work, delivering a back-to-basics, blues rock master class that's so immediate and energised you could close your eyes and swear you were listening to a live recording as Shirley's production crackles with a bar band intensity. This is the sound of imperious musicians having the time of their lives and playing to the very best of their abilities.
'Driving Towards The Daylight' has debuted at number 2 on the UK album chart, giving Joe his highest placed record yet and showing what a devastating combination of talent and hard work can achieve, especially given his lack of mainstream media exposure and the style of music he plays. One wonders how long Joe can maintain not only his work rate, but the unbelievably high level of quality material he keeps producing. His BCC band mate Glenn Hughes recently expressed fears that Joe could be heading for burnout if he maintains this pace. On the evidence of 'DTTD' and the sheer enthusiasm that flows from the speakers he's a long way from that point at present. And with Shirley looking after him he's clearly in the best possible hands. But how will he challenge Joe next? In order to release an album a year Bonamassa always splits his records roughly 50/50 between his own compositions and re-workings of classic songs. Not Since 2002's underrated 'So It's Like That' has there been a full album of original material. Maybe that's the next step? Whilst his guitar playing is always the focus of his work and his voice gets stronger with each and every release his growing ability as a songwriter is perhaps understated. Wonderful self penned nuggets like 'Happier Times', 'The Great Flood', 'Black Lung Heartache' and 'Quarrymen's Lament' have shown that a whole album of originals could be an intriguing proposition. He may have to - whisper it - take some time off, but the result could well be worth it.
Whatever the future holds for Joe Bonamassa, at this moment he is on a run of unprecedented form and every release should be savoured and cherished as musicians like him don't come around too often. Yes, the blues is cool again and he is the undoubted king. Long may he reign.
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For 'Driving Towards The Daylight' Joe and his long time producer Kevin Shirley relocated to Las Vegas to record in the same studio where they began their fruitful relationship on 2006's 'You and Me'. Shirley's contribution shouldn't be overlooked as he constantly challenges his protege, intentionally creating situations that drag him out of his comfort zone, knowing that keeping Joe on his toes inspires him to deliver his best work. The master stroke this time round was bringing in a group of highly rated musicians to play on the album, rather than using Joe's well-drilled touring band as Shirley felt he was too comfortable with them. Instead the cast of characters is impressive: the legendary Anton Fig returns on drums and gives one of the best performances of his career, playing like a man whose been told this is his last ever recording session. Blondie Chaplin and Pat Thrall add additional rhythm guitars, alongside phenomenal piano and organ work from Arlan Schierbraun. However, the real coup is the inclusion of Brad Whitford , Aerosmith's underrated rhythm guitarist, who Shirley knew would provide the ideal foil for Bonamassa. The result is a pulsating chemistry that literally grabs the listener from the first few seconds and doesn't let up until the closing track is over and an unpleasant air of silence fills the room. 
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