01. Jam (Intro)
02. Cradle Rock
03. Steppin’ Out/Rice Pudding
04. New Day Yesterday
05. Miss You, Hate You
06. Walk in My Shadows
07. Know Where I Belong
08. Colour and Shape
09. Trouble Waiting
10. If Hearaches Were Nickles
11. Don’t Burn Down That Bridge

Joe Bonamassa – guitar, vocals
Eric Czar – bass
Kenny Kramme – drums

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's 2001 tour 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 company felt the need for it, then, is up for grabs (more promotion...thinking Bonamassa's virtuosity came across stronger in a live setting...who knows?), but what's clear is that the young guitarist's trio lacked nothing in terms of on-stage presence and performing tightness as compared to what was heard on said studio album. Their kinetic reinventions of oft-overlooked '70s rock classics such as Free's "Walk in My Shadows" and Jethro Tull's "A New Day Yesterday" instantly distinguish Bonamassa from teenage blues competitors such as the overly Stevie Ray Vaughan-reliant Kenny Wayne Shepherd or the more purist (and technically less dazzling) Jonny Lang, and his better-conceived originals ("Colour & Shape," the wonderful "Miss You Hate You") stand up under any circumstance -- but again, so what? Didn't listeners just buy their studio versions a few months ago? Yes, there's the additional benefit of extended jamming and incendiary guitar soloing to expand upon their themes, but suffice to say that this set need only be sought out by Bonamassa fanatics, or, in the event that they've yet to hear the studio version, first timers, too -- why not? ---Eduardo Rivadavia, AllMusic Review

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CD1:

01. 72nd St. Subway Blues (1:06)
02. Slow Train (6:35)
03. Cradle Rock (4:22)
04. When the Fire Hits the Sea (3:43)
05. Midnight Blues (7:49)
06. Dust Bowl (7:06)
07. The River (6:36)
08. I'll Take Care of You (with Beth Hart) (5:41)
09. Sinner's Prayer (with Beth Hart) (5:04)
10. You Better Watch Yourself (4:10)
11. Steal Your Heart Away (3:52)

CD2:

01. Bird On a Wire (5:45)
02. Down Around My Place (with John Hiatt) (5:51)
03. I Know a Place (with John Hiatt) (4:39)
04. Blue & Evil (6:50)
05. Walk in My Shadows (with Paul Rodgers) (4:58)
06. Fire and Water (with Paul Rodgers) (4:38)
07. Mountain Time (12:32)
08. Young Man Blues (9:39)
09. If Heartaches Were Nickels (8:06)

Line Up:
Joe Bonamassa - Guitar, Vocals
Carmine Rojas - Bass
Rick Melick - Keyboards
Tal Bergman – Percussion

Joe Bonamassa is an amazing guitar maestro with a smoky blues voice and has gained immense popularity worldwide. This 2-CD set captures the intensity and excitement of his live, sold-out concerts which took place over two nights at New York's Beacon Theatre. It includes guest performances by Beth Hart on "I'll Take Care of You" and "Sinner's Prayer," John Hiatt on the dark "Down Around My Place" and "I Know A Place," and Paul Rodgers of Free and Bad Company on "Walk in My Shadows" and Free's "Fire and Water."

Beacon Theatre: Live from New York contains 20 songs and was produced by Kevin Cave Man Shirley, who has worked with Aerosmith, Black Crowes, and Led Zeppelin. The sound quality is excellent for a live recording.

Bonamassa's band for this CD consists of Carmen Rojas on bass, Tal Bergman on drums, and Rick Melick on keyboards. They are all outstanding, especially Melick. The keyboards weave wonderfully with Bonamassa's mesmerizing guitar on songs like "When the Fire Hits the Sea" and "Mountain Time." Standout tracks on the first CD include "Slow Train," "Steal Your Heart Away," "River," and "You Better Watch Yourself." This is not to take away from the other songs, all of which are evocative and distinctive numbers.

Disc 2 contains my favorite number, Leonard Cohen's "Bird on a Wire." This is a long-time favorite song and Bonamassa's version is just stunning. "Young Man Blues" has incredible guitar work that shines even among the other great guitar work throughout both CDs. Other great songs include the searing "Down Around My Place" and the other songs featuring John Hiatt and Paul Rodgers. While the Beth Hart vocals are great, my personal preference in this case is for the male vocals. It is impossible to overstate how phenomenal Bonamassa is at progressive blues-rock. He makes and every note matter and resonate emotionally. Indeed, he is one of the finest musicians in the business today, in the opinion of this reviewer, and this double CD is the next best thing to seeing him live. --- Rhetta Akamatsu, blogcritics.org

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01 Steal Your Heart Away
02 I Know A Place
03 When The Fire Hits The Sea
04 Quarryman's Lament
05 Spanish Boots
06 Bird On A Wire
07 Three Times A Fool
08 Night Life
09 Wandering Earth
10 Look Over Yonders Wall
11 Athens To Athens
12 Blue And Evil
13 Baby You Gotta Change Your Mind

Joe Bonamassa - Guitar, Vocals
Bogie Bowles - Drums, Percussion 
Anton Fig - Drums, Percussion 
Manolis Karadinis - Bouzouki
B.B. King - Guitar, Vocals
Rick Melick - Keyboards 
Carmine Rojas - Bass 
Lee Thornburg - Arranger, Brass
Thanasis Vasilopoulos - Clarino 
David Woodford - Saxophone 

It’s a sign of Joe Bonamassa’s increasing profile that he got blues legend B.B. King to guest on his eighth album Black Rock -- and if what you’re doing is good enough to rope B.B. in, there’s not much reason to change, so Bonamassa doesn’t tinker with his formula here, retaining a little of the folky undertow of The Ballad of John Henry, but with its remaining roots in a thick, heavy blues-rock more redolent of ‘60s London than the ‘50s Delta. Of course, Bonamassa has never shied away from his love of Brit-blues, even underscoring it with a good streamlined cover of Jeff Beck’s “Spanish Boots,” but he retains a healthy respect for all manners of classic blues, kicking out a Chicago groove on a cover of Otis Rush’s “Three Times a Fool,” reaching back to Blind Boy Fuller for “Baby You Gotta Change Your Mind” and ably replicating B.B.’s latter-day soul groove on a horn-smacked cover of Willie Nelson’s “Night Life.” Bonamassa has an ear for non-blues writers too, cherrypicking Leonard Cohen’s “Bird on a Wire” and John Hiatt’s “I Know a Place,” tying it all together with beefy lead lines, but the provocative moments on Black Rock are all self-penned, whether it’s the clattering stomp “When the Fire Hits the Sea,” the British folk lilt of “Quarryman’s Lament” and “Athens to Athens,” or the droning dramatic epic “Blue and Evil.” These are easily the most intriguing songs here, suggesting Bonamassa realizes that the familiar covers allow him to stretch out elsewhere, and while it might be interesting hearing him follow this path for a full album, what’s here on Black Rock is both satisfying and admirably, if reservedly, ambitious. ---Stephen Thomas Erlewine, AllMusic Review

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1. 	"Slow Train"   		6:49
2. 	"Dust Bowl"   	4:33
3. 	"Tennessee Plates" (ft. John Hiatt; John Hiatt cover) 	4:18
4. 	"The Meaning of the Blues" (Bobby Troup cover)	5:44
5. 	"Black Lung Heartache"   	4:14
6. 	"You Better Watch Yourself" (Little Walter cover) 	3:30
7. 	"The Last Matador of Bayonne"   	5:23
8. 	"Heartbreaker" (ft. Glenn Hughes; Free cover) 	5:49
9. 	"No Love on the Street" (Tim Curry cover) 	6:32
10. 	"The Whale That Swallowed Jonah"   	4:46
11. 	"Sweet Rowena" (ft. Vince Gill; Vince Gill cover) 	4:34
12. 	"Prisoner" (Barbra Streisand cover) 	6:48

Personnel
    Joe Bonamassa - Guitars and vocals; Tzouras, Baglama and Slide bouzouki (2, 5); Mandolin (10)
    Carmine Rojas - Bass (1-2, 4-9, 12)
    Anton Fig - Drums (1-2, 4-9, 12); Percussion (2, 5); Hammer guitar (5); Shaker (9)
    Rick Melick - Organ (1-2, 4-8, 12); Piano, tambourine (2, 5-7, 12); Synthesizers (4), Accordion (5)
    Peter Van Weelden - Spoken word (2)
    John Hiatt - Vocals ( 3)
    Vince Gill - Guitar (3, 11); Vocals (11)
    Michael Rhodes - Bass (3, 10-11)
    Chad Cromwell - Drums (3, 10-11)
    Steve Nathan - Hammond organ (3); Piano (3, 11)
    Tony Cedras - Trumpet (7)
    Glenn Hughes - Vocals (8)
    Arlan Schierbaum - Hammond organ (9)
    Blondie Chaplin - Guitar (9)
    Beth Hart - Vocals (9)
    Reese Wynans - Hammond organ, piano (10)

For his second solo album in a year -- not counting his excursion with Black 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’s not quite as devoted to the past as he may initially seem. It’s not the only trick he has up his sleeve, either. Appropriately enough for an album entitled Dust Bowl, Bonamassa kicks up some country dirt on this record, enlisting John Hiatt for a duet on the songwriter’s “Tennessee Plates” and bringing Vince Gill in to play on the lazy shuffle “Sweet Rowena.” These are accents to an album that otherwise sticks to Bonamassa’s strong suit of blues in the vein of Cream, Stevie Ray, and Gary Moore, but it’s just 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. --- Stephen Thomas Erlewine, Rovi

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CD 1

    Bridge To Better Days
    Walk In My Shadows
    So Many Roads
    India/Mountain Time
    Another Kind Of Love
    Sloe Gin
    One Of These Days

CD 2

    Ball Peen Hammer
    If Heartaches Were Nickels
    Woke Up Dreaming
    Django/Just Got Paid
    High Water Everywhere
    Asking Around For You
    New Day Yesterday/A Starship Trooper/Wurm

Line-Up:
Joe Bonamassa - guitar, vocals
Carmine Rojas - bass
Rick Melick - keyboard
Bogie Bowles – drums

Two CD set. Live from Nowhere in Particular is the 2008 album from Joe Bonamassa, an US blues guitarist/singer. Guitar One Magazine has stated that 'he just might be the best guitarist of his generation.' His blues-rock style is similar to that of Stevie Ray Vaughan's. In an interview in 'Guitarist' magazine (issue 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 Tour' and 'Goodbye' by Cream. ---Editorial Review, amazon.com

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CD1

01. We Went Down to the Mississippi Delta...
02. Muddy Waters Talking
03. Tiger In Your Tank
04. I Can't Be Satisfied
05. You Shook Me
06. Stuff You Gotta Watch
07. Double Trouble
08. Real Love
09. My Home Is On the Delta
10. All Aboard

CD2

1. Howlin' Wolf Talking
2. How Many More Years
3. Shake for Me
4. Hidden Charms
5. Spoonful
6. Killing Floor
7. Evil (Is Going On)
8. All Night Boogie (All Night Long)
9. Hey Baby (New Rising Sun)
10. Oh Beautiful!
11. Love Ain't a Love Song
12. Sloe Gin
13. The Ballad of John Henry
14. Mississippi Heartbeat (Opening Title)
15. Muddy Wolf (Credits)

Joe Bonamassa (guitar, vocals)
Anton Fig (drums)
Michael Rhodes (bass)
Reese Wynans (piano, Hammond organ)
Lee Thornburg (trumpet, horn arrangements)
Ron Dziubla (saxophone)
Nick Lane (trombone)
Mike Henderson (harmonica)
Kirk Fletcher (guitar)

On August 31st of last year, contemporary blues rock guitar hero Joe Bonamassa paid tribute to blues greats Howlin’ Wolf and Muddy Waters at the Red Rocks Amphitheatre in Golden, Colorado. Billed as the “biggest show of Bonamassa’s career,” the Red Rocks blues extravaganza will be released on DVD, Blu-ray and CD on March 24th.

Muddy Wolf at Red Rocks features Bonamassa and his band offering their take on seven Howlin’ Wolf tunes and seven Muddy Waters songs, as well as an encore devoted to Bonamassa’s own compositions (with a Hendrix cover thrown in for good measure).

“The idea of Muddy Wolf came up from [producer] Kevin Shirley—starting off with Muddy Waters tunes and then doing a set of Howlin’ Wolf and then a few of our own songs,” Bonamassa said in a recent interview. “That just seemed like a really good idea—I really love the catalog and the band was just stellar. For me, it kind of proved the concept that 10,000 people will come out to a blues concert in America. It proved that it’s not just something that’s going to be put in the Smithsonian one day.” --- rocksquare.com

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1.Merry Christmas, Baby
2.Bring Back My Cadillac
3.Christmas Boogie (One Little Kiss)
4.Christmas Date Blues
5.O Holy Night
6.Lonesome Christmas
7.Santa Claus Is Back In Town

I really look forward to the holiday season each year. The precious family time, the tightly wrapped presents, the glistening white snow – ok, no glistening white snow for me anymore, I’m in Florida now. And holiday time means holiday tunes, usually starting in about October these days. But if you’re like me, you’re just a little bit tired of hearing the same holiday jingles over and over again each year. Of course, there’s something fun about the first time you hear “Winter Wonderland” and “The Christmas Song” coming through that department store’s speakers. After all, who doesn’t love the holidays? And by Thanksgiving, I’m already pulling out my copy of Jewel’s first Christmas album – that can be our little secret, by the way. But you and me – deep down we’re blues fans, and after a few weeks of the novelty of Christmas music starts to wear off like yesterday’s aftershave, we’re ready to get back to our musical roots. ---jbonamassa.com

Czy muzyka świąteczna w odcieniu bluesa może nas odpowiednio nastroić? Ależ oczywiście! Blues jest dobry na każdą okoliczność, a w takim wykonaniu i w takim brzmieniu muzyka świąteczna nabiera jeszcze większego smaczku i uroku.

Co na krążku? Siedem cudnych kompozycji i 27 minut tupania nóżką. Świąteczne teksty, bluesowe harmonie, piękne gitarowe zagrywki i świąteczne smaczki wplecione w utwory. Sprawne ucho wychwyci wszystkie znane fragmenty melodii, które od dziecka kojarzą nam się z Świętami Bożego Narodzenia. ---radiobiper.info

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01. Ball Peen Hammer (3:27)
02. One Of These Days (5:40)
03. Seagull (3:49)
04. Dirt In My Pocket (4:54)
05. Sloe Gin (8:13)
06. Another Kind Of Love (3:10)
07. Around The Bend (5:15)
08. Black Night (4:22)
09. Jelly Roll (2:12)
10. Richmond (4:31)
11. India (3:19)


Carmine Rojas, Bass
Rick Melick, Keyboards, Tabla
Jeff Bova, Orchestral Arrangements
Anton Fig, Percussion, Drums 
Joe Bonamassa, Guitars, Liner Notes, A&R

I have long admired the talent of Joe Bonamassa and his albums have nestled quite happily here amongst the others at Leedham Towers for a while now. And they have been getting the customary periodic airings that most good albums do. But I have to be honest and say that I have only recently learned to love the blues again in a way that I once did and that has allowed me to really appreciate the quality on offer here.

“Sloe Gin” opens with ‘Ball Peen Hammer’ a song from the pen of the late American contemporary bluesman Chris Whitley which features some good heavy acoustic guitar as well as some good heavy blues playing as well. The intro reminds me of something else but I can’t think what it is at the moment. A mid paced chugger of a track it sets the scene for what is to follow perfectly. A nice mixture of rock and blues, electric guitar and acoustic guitar, and with just a hint of country in the vocal melody. ‘One of These Days’ is best known as a Ten Years After track and was obviously written by Alvin Lee. The riff is very reminiscent of the old catfish blues tracks and Bonamassa plays some great delta blues riffing as well as providing a vocal in the traditional Muddy Waters or Willie Dixon style. The latter part of the song sees a tempo change and has some good jamming and soloing going on, the use of the piano is also a nice foil to the guitar. ‘Dirt In My Pocket’ is the first of the original compositions on the album and has a really heavy, rock like, riff to start with before it drops down into an acoustic guitar underneath the vocal only for the heavy riff to come back in again after the opening verse. The solo bridge at the mid way point is a nice mixture of acoustic guitar with some heavy notes flashed across the top. It really is a superbly structured song. ‘Seagull’ is a cover of a Bad Company track from their debut album. It is never easy to cover a Paul Rodgers vocal but Bonamassa makes a decent enough job of it. It is reasonably true to the original, arrangement wise, apart from being far heavier overall, especially in the chorus, and having a more electric feel than the Bad Company version. The use of the piano is also a nice touch. ‘Sloe Gin’ was written by Alice Cooper’s producer Bob Ezrin and the late Michael Kamen and was first heard on Tim Curry’s debut album back in the late seventies. It has become one of Bonamassa’s trademark songs now though and this eight minute epic remains one of his most loved tunes amongst his ever increasing fan base. A slow moody atmospheric blues it features some great guitar work, which is better heard than described. The middle part where the sound effects and the drums lead into the extended musical break is a particularly good peice of arranging. It was apparently producer Kevin Shirley’s idea to record the track rather than Bonamassa’s.

‘Another Kind Of Love’ sounds very similar to The Hunter and is a classic blues stomper in the British style from the pen of John Mayall. It certainly reminds me of some of those high energy Free shows. High praise indeed. It is almost certainly the fastest and most energetic song on the album with Bonamassa throwing in some great solo flashes throughout. ‘Around The Bend’ is a Bonamassa co-write with Waylon Jennings of all people and marries the blues with a nice country ballad feel perfectly. Some lovely gentle guitar sounds and picking providing a perfect contrast to the power and energy of the previous track. The dirty sounding solo is a nice touch and Bonamassa also does a great job on the vocal holding together what is a very delicate melody as well as any more lauded singer could. This may even be my favourite track on the album. It is certainly my favourite melody. ‘Black Night’ is not the Deep Purple song but an old blues tune written by Charles Brown who along with T-Bone Walker was one of the main members of the Texas blues clean up movement that cleaned up the blues sound for white American audiences in the forties. A standard slow paced blues tune it is done here more in a Led Zeppelin style than an old time blues one. Although it is the only track here that could be officially described as an old time blues composition it doesn’t sound in any way dated. Despite being written way back when it could easily pass for a modern day contemporary composition. Personally I feel it could have been extended particularly in the middle section where Bonamassa lets rip with some great blues rock soloing. John Martyn’s ‘Jelly Roll’ is up next and provides a nice quirky break from the more standard blues and rock sound of the rest of the album with its fast paced folky feel and the use of the Resonator guitar. ‘Richmond’ is another original and displays Bonamassa’s gentle guitar side as well as his ability to hold a nice country tinged melody in the vocal. Along with ‘Around The Bend’ it is probably the best melody on the album and shows that Bonamassa is far more than just an out and out blues guitar slinger. In fact I could imagine this getting plenty of airplay on the rockier country stations such is its feel. The heavy acoustic intro of the final track ‘India’ immediately puts you in mind of III era Led Zeppelin, which is of course no bad thing, and is a nice instrumental end to the album.

“Sloe Gin” is the seventh full length album from Joe Bonamassa and the second to be produced by Kevin Shirley. It spent a considerable amount of time at the number one spot on Billboard’s Blues chart and shows that Bonamassa really has legitimate claims to be regarded as the leader in the field of current day blues rock crossover performers. Any lover of this type of music should welcome this album, and Joe Bonanmassa, into their lives as soon as they possibly can. ---martinleedham.wordpress.com

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1. Cradle Rock
2. A New Day Yesterday
3. Miss You, Hate You
4. Trouble Waiting		play
5. If Heartaches Were Nickels
6. I Know Where I Belong
7. Had to Cry Today
8. Red House (Joe plays w/ Indigenous on their encore)

Bonamassa tours the world regularly, and his ability to connect with live audiences is epic. He generally has no opening act, and he never leaves the stage until the last encore two hours later.

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01 - Woke Up Dreaming
02 - Walk In My Shadow				play
03 - So Many Roads
04 - Bridge To Better Days
05 - Just Got Paid
06 - Bridge To Better Days
07 - So Many Roads
08 - One Of These Days				play
09 - Sloe Gin
10 - Just Got Paid
11 - Woke Up Dreaming
12 - You Upset Me Baby

2008 Session Interview Audience Questions Interview With Paul Jones

Musicians include:
Joe Bonamassa, Carmine Rojas, Rick Melik, Bogie Bowels

This live session was recorded for broadcast on Monday 11th February. Our host, Paul Jones introduced the band, Bogie Bowles, on drums, Carmine Rojas, ace on bass, and Richard Melick, a fine keyboard player from Oz, and Joe Bonamassa on guitar and vocals.

Joe leapt up and the band went straight into the high impact number, "Bridge For Better Days", played loud, seventies style! This was followed by "So Many Roads" a slower song, by Otis Rush, combining a beautiful vocal line and heavy rock treatment.

Then Paul interviewed Joe about his album, his work for the Blues Foundation's Blues In The Schools programme. Joe revealed that he thinks Led Zeppelin is as much the blues as Robert Johnson.

"One of These Days" got the heavy rock treatment with excellent dynamics, change of volume and pace and spaces between the notes plus fills. The introduction to "Sloe Gin" brought a change of pace. This son (written by Bob Ezrin and Michael Kamen for Tim Curry's debut LP in 1978), is the title track from his current album.

A question and answer session was followed by tour dates which included the Cornbury Music Festival, in Oxfordshire, in July.

Joe then sang "Woke Up Dreaming", which he played solo on an acoustic guitar in a style reminiscent of Tommy Emmanuel. He then called Paul Jones up to play some fine harmonica on "You Upset Me Baby?". Joes's vocals on this were blues wailingly good. The closer "Just Got Paid" had some screaming, loads of notes guitar, with a staggeringly good undercurrent of bass, followed by some controlled plyaing making use of light and shade and volume control.

Paul Jones came back for the outro, bringing the session to a close. However, apparently a couple of tracks, which had seemed faultless to us, did not meet with approval, so we had a reprise. No one was complaining. It was a great evening of stadium rock by a master of the form. ---Fran Leslie, editor of “Blues In Britain” magazine, April 2008

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