Joe Bonamassa: I wrote it in Nashville and we recorded in Vegas. MR: Was there anything you took away from your co-writing experience? MR: Did it stir up anything in terms of how to approach music from a deeper level with Joe Bonomassa? JB: I've been asked by several artists to produce them and I think, "I don't want that responsibility." What are you, crazy? MR: I think you'd be pleasantly surprised to hear how often your name comes up when I ask artists which contemporaries they love. People either love it or they can't stand the sight of me, which is great. MR: I haven't personally heard that perspective from anyone yet.I took the year off from recording last year because I wanted to write a whole record. It's been a while since I did that kind of thing, so I had a good fundraiser in Nashville. JB: Well, it's always a luxury to have too many songs. Maybe new methods of approaching the creation of a song? JB: Yeah, next time I go to write songs I think it's going to be a lot deeper for me. In fact, I might as well ask everyone, "What do you think about Joe Bonamassa? JB: You can go on any internet forum and there's plenty of un-love for Joe B, I'll tell you that.But in the glare of business hours, the scourge of “cruising” isnʼt much of an issue.The Strip in daytime is mostly worker-mobiles shuttling hurriedly between Beverly Hills and Hollywood, which was actually the original purpose of this 1.7-mile stretch of road: to get movie people swiftly from their homes in the palmy west to the studios in the sunbaked east, and back again. “That island,” he says, motioning to a blank triangle of land marooned in the intersection of Sunset and Crescent Heights, “was where they had a little club called Pandoraʼs Box.At one point, however, Holmes gives an interesting glimpse into at least part of the reasoning behind his decision to launch the podcast.
A lot of times with this kind of music, it's like, "When's the solo? MR: Are co-writes going to become a more frequent approach in the future? JB: I think as a singer, every time I record an album, I get a little more confident. JB: I always have Kevin Shirley, Anton Fig plays drums on the record, Carmine Rojas plays the bass, this time Reese Wynans plays keyboards, those kind of guys are a really great support cast.
I could've said, "What a great night this was for me," but when I walked off stage, I said, "What a great night for the blues," because here's a proof of concept. Just when they're about to write us off and put us at the Kennedy center honors, honoring the great works of John Philip Sousa and the entire genre that is the blues for a half hour, these cats like Gary and Derek and Susan and a few others figure out a way to make it relevant again.
Ninety-seven hundred people paid to hear blues music again. I think it's actually in a really healthy state at the moment. JB: You have to be yourself, and you have to find your own path through it all.
But we just got done playing a big gig at Red Rocks with a nine-piece band that was killing.
MR: Did you approach recording any differently this time around? We used a horn band, but we only recorded four-piece. JB: Yeah, we've always been comfortable with a three or four piece.