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Dust Bowl ReviewJoe Bonamassa is nothing if not old-school, releasing an album a year since 2000 despite touring relentlessly. That's a refreshing change from the modern norm of artists going years between releases/tours. "Dust Bowl" is the latest in Joe's increasingly-impressive catalog.The album opens with "Slow Train," an original that features a clever instrumental intro mimicking the start-up of a steam engine, a blistering solo, and an arresting vocal. "Dust Bowl," another original, is a twang-and-tremolo treat with a vocal reminiscent of "Book of Dreams"-era Steve Miller and a spooky spoken-word voice-over by Peter Van Weelden, Joe's current favorite amp guru. The rollicking "Tennessee Plates" features a rocking duet (both vocal and instrumental) with John Hiatt. Next up is a cover of the Bobby Troup/Leah Worth jazz classic "The Meaning of the Blues," with some more of Joe's tasty soloing; definitely not the Miles Davis version! "Black Lung Heartache" is another original that deftly blends some unusual stringed instruments with a crunchy rock riff. "You Better Watch Yourself," an old Little Walter hit, is meat-and-potatoes blues-rock that gives the wah pedal a workout. "The Last Matador of Bayonne," another original, slows the pace but features a soaring solo in Joe's trademark style. Joe's Black Country Communion bandmate Glenn Hughes joins in for a duet on the Paul Rodgers/Free classic "Heartbreaker," and their affection for the material comes across in a fine performance. Another cover, of the Tim Curry/Michael Kamen grinder "No Love On the Street," keeps the classic blues-rock vibe going and features guests Beth Hurt and Blondie Chaplin. "The Whale That Swallowed Jonah," another original, is an up-tempo number with a nice blend of acoustic sounds (including Joe on mandolin) with electric. Vince Gill drops in for a visit on a cover of his "Sweet Rowena," a guitar/vocal duet that is one of the album's high points. The album winds up with "Prisoner," written by Blue By Nature's Karen Lawrence, a song Barbra Streisand made famous when she sang it on the "Eyes of Laura Mars" soundtrack.
I suppose it is to be expected that an artist will always describe her/his most recent work as "the best yet" (as Joe does in the liner notes here), but in this case I would agree. This is a collection of finely-crafted, affecting performances in a variety of styles. Joe's vocals have never seemed more relaxed and confident, and the guitar work is exemplary (duh!). Joe says he was worn out from touring and needed a break when this album was recorded. I'm sure that was true, but this album sure doesn't show it. Highly recommended.Dust Bowl Overview
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