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4.6 out of 5 stars131
4.6 out of 5 stars
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20 of 20 people found the following review helpful
on 29 May 2012
Joe is building his legend, little by little, always with a surprise. He had an incredible 2011 with his solo, Beth Hart duet, and Black Country Communion super-group CDs. In 2012 he has already issued one of the best music videos ever (I think) - the New York concert - and now we are treated with this fantastic album. I have all his albums and this is in my opinion his best studio work. Songs are great, and I'm very glad with his version of "Stones in my passway", which he successfully covers without trying to tread in Johnson's, or even Clapton's, steps. Invited luminaries are Jimmy Barnes and Brad Whitford (from Aerosmith), and I think by now it is time to stop talking about it and to just recommending anyone readign this to BUY THIS NOW.
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8 of 8 people found the following review helpful
on 24 May 2012
I must admit some of Joe's albums have left me cold with the exception of "Blues Deluxe" and " Sloe Gin" but this one is right up there with the best of them. All the tracks are interesting and remind me some what of the old rhythm and blues days before the term was hi-jacked by some other form of music. His guitar playing is fantastic and to me he sounds rejuvinated. Track 6 "A place in my heart" is beautiful and he plays his guitar with such feeling, very reminiscence of Eric Clapton. This is predominantly a blues/rock album with some very bluesey numbers, I really like this album a lot. Also the booklet which accompanies the CD is very informative especially the history of Joe's guitars and how he bought them, how much he paid, and the differerent sounds they produce, extremely interesting to any up and coming guitarist who may be thinking of buying a guitar.
I have rewritten my review as originally I only gave it two stars. This was due to my mate who came round with this new Joe Bonamassa CD and after about five fine bottles of wine between us I thought I had listened to it but I obviously had'nt. Also I would like to thank the reviewers that advised me that I must be mad not to like it. It is a very very good album and I listened to it sober, thanks.
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13 of 13 people found the following review helpful
on 1 June 2012
Cant believe how long this guy has been around and I've only just discovered him.
This album is the best blues rock album I've heard for years.
Stunning guitar riffs, and that track with Jimmy Barnes is to die for !!
Bridges the gap left by Gary Moore and Jeff Healey.
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5 of 5 people found the following review helpful
on 5 July 2012
Well! I agree with a lot of comments and for me this is Joe's best album so far, the first track I heard off this album was `too much ain't enough love' and the singer Jimmy Barnes who I'm not too familiar with, wow! I just fell in love with this track and to put this track last on the album sums up how good it is.

Great blues/rock album fell in love with it straight away and I'll be playing this to death when I'm on holiday in 2 weeks, hard to pick a favourite track as there are so many to choose from, just shows you if you can include some catchy tunes, melodies and cover the songs he's not written better than the original then this is what you get, also Joe is so busy collaborating on so many other artist albums, obviously this must help for future material I just don't know how he finds time for his own, anyway! To sum up this is my favourite album of 2012 so far, go out and buy! You won't be disappointed.
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15 of 16 people found the following review helpful
on 24 May 2012
I don't know how Joe Bonamassa manages to produce CD after CD with so much vitality while also undertaking such a long touring schedule plus a radio show. He is a rock blues artist and this CD leans towards his blues side, despite covering songs by Bill Withers & Tom Waits. I love his versions of Robert Johnson's `Stones In My Passway' and Howlin Wolf's `Who's Been Talking' which has an intro of about 30 seconds of an interview with Howlin Wolf. (and it works). However the stand out track for me is his version of the Bill Withers classic, `Lonely Town Lonely Street.' Joe Bonamassa fans will not be disappointed, and this CD is also a good introduction for those that are new to this great artist.
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5 of 5 people found the following review helpful
on 25 June 2012
This is another excellent work by JB. I found many of the rhythm sections too "tight" for me and would have wanted a few more licks thrown it. But I guess they wanted a really disciplined production on this one. All in all a great album.

The cardboard book style doesnot work for me, its odd in my collection and doesn't fit into my CD library and I think it will look tattled and torn quite soon,

Maybe they were trying to emulate a vinyl cover or something ;-)
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2 of 2 people found the following review helpful
TOP 1000 REVIEWERon 19 September 2012
You can't deny for one second that Joe Bonamassa is one greast guitarist, but my own take is although he is adverised as blues,lately he's more rock than blues,the Black Country Communion showed that he's very good at whatever he chooses. Beacon Theatre again shows me he's nowdays more rock styled in his approach.This album comes down both sides of the fence,some rock mixed with some pretty awesome blues.He clearly in his onward surge touching all areas of music that take his fancy and that's good.An artist who has amazing large output,who sweems to be always on tour.A new BCC album coming,then a live acoustic DVD early in the new year.His range is wide and you never know exactly what your going to get,other than it will be good.
This release for me is by far the best sincs John Henry,with my favourite of all being Blues De Lux, well produced, very good selection of songs some new ,some borrowed and some blue as they say.The band is as always right on the note. Good but for me not as good as the new releases by Walter Trout and Robert Cray,who've uped the level, Joe maybe putting too much out but each release recently is just a touch short of a classic, this is a very fine release make no mistake, but for me I know there's an even better one coming soon.
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10 of 12 people found the following review helpful
on 5 June 2012
Thirteen studio albums in and Joe Bonammassa's insatiable appetite for producing sublime albums show no signs of abating. In my opinion all 13 albums are terrific but JB hit a real rich vein of form with the release of the Sloe Gin album and Driving Towards the Daylight is right up there.
There can be little argument that Bonamassa is one of the best guitar players on the planet but what is great to see is the continuing vocal maturity and the way in which Bonamassa now has the confidence to know that sometimes less is more.
Driving Towards the Daylight is an eccelctic combination of original numbers and covers of some of Bonamassa's luminaries. This is one aspect that seems to contunually draw criticism, the lack of total original material on his albums. Personally I don't get it, when the music is as good as this and it is clear how much the guy reveres his heroes why not just revel in the opportunity to hear some classics reworked by a modern day genius. This album sees a return to a slightly rootsier, rougher sound than last year's Dustbowl, a mere obsevation, not a criticism.
Of some of the original work here Driving Towards the Daylight is destined to become a live classic, it is a haunting and beautiful song that drifts out of the speakers. Opener Dislocated Boy has a low down groove to it, whilst Heavenly Soul is simply stunning. Three songs that begin to encompass Bonamassa's talents.
Of the covers for me all are true gems in their own way; Robert Johnson's Stones In My Passway is Zeppelinesque in its sound and delivery, Howlin' Wolf's Who's Been Talking is delightful and the choice of Too Much Ain't Enough Love with Jimmy Barnes reprising his unique roadhouse vocal is a masterstroke. The two JBs compliment each other perfectly. However, the standout in my opinion is the truly awesome Place In My Heart, originally written by guitar maestro Bernie Marsden. Bonamassa excels on the solos and delivers the vocal with real feel.
The whole package fits together perfectly and makes for around an hour of real bliss.
Forget the rubbish about not being all original songs just listen and enjoy musicianship of the very highest order!
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on 5 September 2012
This album has a great start and a good finish but flags considerably in the middle. Dislocated Boy is a great opening track, very powerful and seemingly quite personal, and Joe's re-working of Robert Johnson's Stones In My Passway is a work of great imagination which doesn't lose any bluesy feelings in translation, full marks to Brad Whitford whose baritone guitar lends an extra dimension to the soundscape.

But Mr. B's version of Who's Been Talking would confirm any Blues Nazi's worst opinions, he sledgehammers the song to death, removing every last shred of sensitivity, and worse, uses a recording of Howling Wolf talking about the song to justify the treatment. His cover of Willie Dixon's little-known All You Need is pleasant but perfunctory, A Place In My Heart is a rather standard post-Gary Moore slowie, and saddest of all, Joe seems to have fallen into the trap of many highly talented rock/blues guitarists, and plays to impress not to express, ripping out dozens of high-speed runs and flurries that in the end don't convey anything but flash.

The Digi-Book is purely for gearheads, and consists of pictures of Joe's vintage guitar collection and an interview about the same, either that'll make you drool or bore you to bits, for me the latter. There are some nice numbers later, particularly Heavenly Soul with its tuneful harmony vocals, and the ZZ Top flavoured Somewhere Trouble Don't Go, but generally Joe never takes his foot off the gas and everything's delivered with the amps on 11 and not a clean tone in sight.

In the liner notes Joe describes the album as "a joyous challenge full of boulders to dodge and cliches to avoid," but it sounds to me as if he's been driving so fast, he's hit quite a few of both without noticing.
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on 5 June 2012
Joe Bonamassa has stood for, and a talented guitarist, prolific being a musician. The guy never stops and constantly engaged in various projects. Someone may have thought that this could somehow pass the bill to the American, but the facts show otherwise. Joe Bonamassa is walking, for some few albums ago, the highest curve so far in his career. It seems that the musician knows no lower altitudes.

The Ballad of John Henry (2009), Black Rock (2010) and Dust Bowl (2011), the latter recently awarded a Blues Music Award for Best Blues Album Rock, are a strong and amazing trilogy. It is in some way with this superlative trio of albums that Joe Bonamassa is located along the top of the World Blues Rock.

Undeniably, Stevie Ray Vaughan is the main reason that today there are so many examples of Blues Rock, some not more than a blatant and shameless copy, and others in their songs remain some vestiges of the late genius noise guitarist 80s. Bonamassa was accused of being a candidate to be the SRV of the times. The truth is that it is much closer to who takes over to populate the void left by the death of Gary Moore, before anything else. It is no surprise that Joe drew a lot of the sounds of British Blues and that's something that in his music note to first listen.

Driving Towards the Daylight is within the more bluesy Joe has launched in recent times. It's an album that exudes eleven songs Blues Rock piece, without excuses or apologies. From a great start with Dislocated Boy until the end of the plate with the powerful Too Much Is not Enough Love, with the help of Jimmy Barnes, is a constant traffic, but not too many surprises, among savages and amazing guitar solos , which we are accustomed Bonamassa, and effective riffs.

The covers have always been present in the disks of Joe Bonamassa and Driving Towards the Daylight is no exception. Stones in my passway of Robert Johnson sounds great and demonstrates the ease with which Bonamassa is conditional on the structural and melodic essence of the song, Whose Been Talking, original Howlin 'Wolf, wolf starts with the same talking about music, then enter the standard of the song. I got all you need classic sounds of Willie Dixon and cool at the same time. Lonely Town Lonely Street by Bill Withers and ingeniously restructured version New Coat of Paint, Tom Waits original, reversals are the rest of the album offers.

The cut is perfect namesake. The melodic emotion Driving Towards the Daylight is lovely, it worked very well as job start promoting the album of the same name. Gary Moore's ghost hovers heavily on the slow blues A Place in my heart. This song does nothing but be the assertion of the proposition stated above.

The keys of the Hammond B3 certainly have an important role in Driving Towards the Daylight, creating a platform or walking by the artifices of the guitar. No doubt some of the credit of the great achievement made in Heavenly B3 Soul is due to the incessant hue and harmony of the strings. Another song is quite remarkable Somewhere Trouble Do not Go, their sound is captivating modernoso.

Driving Towards the Daylight is a great album, containing some excellent songs and follows the line of his predecessors. But no better than their older siblings in the progeny record. There has been more dynamic in terms of quality in the latest releases of Joe, but beware that this is mostly disadvantageous. All the latest releases of the guitarist thirties have been a tremendous bill, however, are not the album five stars which logically would expect from Joe Bonamassa. The wait will continue, but for now we can enjoy this tremendous albums like Driving Toward the Daylight. Blues Rock in bulk.
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