“What’s In a Name?”: Interview With Joe Bonamassa (Valley Scene Magazine, 2009)
What’s in A Name? If it’s the “Gibson, Les Paul Guitar”–everything. The inventor of the solidbody electric guitar, the multi-track recording, and reverb and delay process, Les Paul, changed the face of modern music. “Les Paul and Friend’s–A Tribute to A Legend,” celebrates the achievements of this extraordinary artist and innovator. A heartwarming and affecting tribute, it showcases Paul’s immense influence on a broad range of genres and styles from the blues, to pop and rock n’ roll. The album fills a tall order. It’s not just about innovation. It’s about inspiration. An electrifying array of artists that helped define music over the past several decades give a shout out and a kudos to the man who inspired them.
Through the shrewd production of Bob Cutarella and Fran Cathcart, Paul’s far-reaching influence and virtuosity resonate delightfully. The artistry of musicians like Mick Hucknell (Simply Red) in “I Love you More Than You’ll Ever Know,” and the lavish vocals of Joan Osborne, in “I don’t Want To Be With Nobody But You,” offer a piquant odyssey of soulful melodies. In witty renditions like Lisa Fisher’s bluesy romp “Slipping Into Darkness,” the warmly indulgent and hearty vocals of Richie Sambora (U-2) in “Great Hall of Fame,” and the charismatic booming bass of Slash (formerly of Guns and Roses) in “Vocalise,” the artists show enthralling vocal and instrumental feats that seem effortless. We even get to hear Hiram Bullock blaring a raspy beat. The producers tweaked two tracks from a previous tribute, “American Made World Played.” These include “All I want is You” with Johnny Rzeznik, and “69 Freedom Special” with Les Paul and Friends. Here, they are vividly polished renditions. “Friends” like Bonamassa render the album’s dazzling highlight: “The Good Luck You’re Having.” It features him on the guitar delivering a palpable, upbeat, rhythmic, delightful punch–it’s a knock out, reminiscent of early Eric Clapton. This album hits the mark on many levels, building on a core of innovation illuminating the achievements of a man deeply devoted to his craft. Even the cover design brings a cool, confident air to the collection. It’s a noteworthy addition to Paul’s numerous honors, recordings and collaborations. It remains a cohesive and heartfelt tribute to the man without whom modern day music might still be echoing in the dark.
Recently, Gibson has honored another great artist with a guitar–Joe Bonamassa. When honored with double signature ”The Joe Bonamassa Limited Edition Gold Top Les Paul,” Bonamassa recalls, “I was bit apprehensive cause … it is Les’ guitar.” His version is a variation of one he had when he was a kid and that his dad, a guitar dealer, had to sell to help the business. Now 31, Bonamassa, who started playing the guitar when he was four, has likewise begun to transform the music world with his playing. He toured with B.B. King beginning at the age of 11 and during his teenage years even helped form a small band with the sons of noted rock stars. Now he’s on the leg of a tour that’s taking him through Eastern Europe. For Bonamassa, genre does not define him–he defines genre, recording everything from pop, to blues, to rock n’ roll. Recently, he’s even received praise for his singing voice–notably for his latest album “Sloe Gin.”
Bonamassa has played the Les Paul model since the age of eight. He recalls the first time he picked up a Les Paul. He reminisces that “I was about 8. My dad had a 1968 Gold Top…. I plugged it in…. Immediately it stored the amp, which I liked.” He adds that “I had played a Fender up until then.” The Les Paul “was a little bit cumbersome to play.” But he says he got used to it. His idols like Eric Clapton and Jeff Beck were using the Les Paul too. Bonamassa admires its versatility, durability and of course, it’s “big, fat” sweet sound. He comments: “The Less Paul’s always been pretty much my anchor sound… You put it (on) any amp and it works…. You still get that pure crystal clear clean sound that it’s known for.”
Himself reaching iconic status, Bonamassa’s following in the footsteps of a man who “spearheaded a movement that has influenced everything we listen to on the radio today.” He muses that “People my age don’t even realize sometimes that Les Paul is a man, let alone a genius on the guitar.” Though Bonamassa “rarely go[es] to concerts as a pure fan,” he remembers going to “two Les Paul concerts as a Fan in NewYork.” He reflects that he’d “just sit and watch.” When he finally met Paul “through a mutual friend,” it was a “real thrill.” Not surprisingly, Bonamassa “was honored to be on that record.” He never thought he’d be in the same company. He recalls that it was an honor just to shake his hand and thank him for the inspiration. He’s “Such a kind man, such a beautiful soul.”