Joe Bonamassa

Further on up the Road

Joe Bonamassa · Blues Deluxe · 2003

What Makes This Sound Unique

Bobby Bland's blues classic in Bonamassa's hands becomes a full-tilt high-gain showcase. The tone is more aggressive than his later sophisticated Dumble tones — this is the early era big-amp crunch that first brought him to attention. The Les Paul into a Marshall or Bogner combination, played at high volume.

  1. 1Gibson Les Paul
  2. 2Marshall JCM800 (or Bogner Ecstasy)
  3. 3Boss OS-2 Overdrive/Distortion
Gain / Volume9
Bass6
Mid6
Treble7
Presence7

High gain Marshall approach — earlier Bonamassa tone before the Dumble refinement period. Full crunch from the amp, not primarily from pedals. The Les Paul's PAF-style pickups into the Marshall creates the warm-but-crushing foundation. The OS-2 boosts for solo sections.

How to Play It

Traditional 12-bar blues structure with extended solo sections — the vocabulary is straight-ahead blues-rock, with the added fluency and speed of a player raised on Clapton, Page, and Stevie Ray Vaughan simultaneously. No modal jazz, just blues escalation.

Achievable With

Les Paul → Marshall JCM800 or equivalent at high gain → boost pedal (Tube Screamer or SD-1) for solos.

Adapt to My Amp

Other Song Rigs

Blues Deluxe

Blues Deluxe · 2003

A Jeff Beck cover that Bonamassa made his own — Les Paul through a Fender Bassma

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Sloe Gin

Sloe Gin · 2007

Bonamassa's commercial and artistic breakthrough. A Marshall-focused tone rather

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Driving Towards the Daylight

Driving Towards the Daylight · 2012

Later Bonamassa with a more varied tonal palette — the title track uses a Strato

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The Ballad of John Henry

The Ballad of John Henry · 2009

Bonamassa's title track from his most commercially successful album — the Les Pa

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Had to Cry Today

Had to Cry Today (Live) · 2009

Bonamassa's cover of the Blind Faith track is a full-power blues-rock statement

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Mountain Time

You & Me · 2006

Bonamassa at his most Allman Brothers — the slide guitar tone here echoes Duane

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