The title Redemption carries a bit of weight, suggesting Joe Bonamassa is seeking salvation in something -- either he's grappling with an inner torment or finding refuge in his music, but these two things aren't mutually exclusive. Certainly, Redemption teems with images of loss and regret, with Bonamassa admitting he suffered "Self-Inflicted Wounds" that left him to "Pick Up the Pieces" before he finally realizes "I've Got Some Mind Over What Matters" and discovers he's "Stronger Now in Broken Places." All those songs ...
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The title Redemption carries a bit of weight, suggesting Joe Bonamassa is seeking salvation in something -- either he's grappling with an inner torment or finding refuge in his music, but these two things aren't mutually exclusive. Certainly, Redemption teems with images of loss and regret, with Bonamassa admitting he suffered "Self-Inflicted Wounds" that left him to "Pick Up the Pieces" before he finally realizes "I've Got Some Mind Over What Matters" and discovers he's "Stronger Now in Broken Places." All those songs arrive in that chronological order, suggesting Redemption is something of a song cycle, but Bonamassa's thematic control isn't what's impressive about the album. Instead, Redemption resonates because it's simultaneously Bonamassa's most ambitious album and his most impassioned record. Working again with longtime producer Kevin Shirley, Bonamassa touches upon a variety of blues-rooted sounds -- there's a strong shot of Zeppelin's heavy mysticism, Southern soul horns vie with Delta Dobro, and there's even a nod to junkyard blues, along with cameos by Dion DiMucci and Jamey Johnson -- while remaining anchored upon the electrified Chicago wail that is his signature. He uses the familiar sounds to pivot to uncomfortable territory, both musical and lyrical, and this gives Redemption a kinetic tension that easily makes it Bonamassa's most original album as well as his best. ~ Stephen Thomas Erlewine, Rovi
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