Fans of guitar master Joe Bonamassa will be delighted that 2011 was such a prolific year in his career. First came the fine, rootsy Dust Bowl, then 2, the second chapter in his Black Country Communion project's catalog. Don't Explain, a collection of soul, blues, and jazz-oriented covers in collaboration with vocal firebrand Beth Hart marks his third entry this year. The ten-song set of blues and soul is a logical extension of her vocal contribution to "No Love on the Street" from Dust Bowl. Opening is a thoroughly raucous contemporary blues reading of Ray Charles' "Sinner's Prayer," followed by a quirky version of Tom Waits' "Chocolate Jesus," and an unusual cover of contemporary jazz-pop singer/songwriter Melody Gardot's "You Heart Is as Black as Night." On this cut, a string orchestra adds a touch of perversity; it offers the impression of a femme fatale singing a Brecht-Weill number in a smoky cabaret in front of a moody string orchestra, buoyed by a brooding electric blues quintet. "For My Friends," a Bill Withers' tune, is a big, nasty, jagged blues number that keeps the funky groove intact. The title track, a number closely associated with Billie Holiday, falls flat. Hart tries too hard to employ Holiday's phrasing, the string orchestrations are overblown, and Bonamassa's crew is too reverent. This formula also mars the remake of Aretha Franklin's "Ain't No Way" that closes the set. Far better are readings of Etta James' signatories "I'd Rather Go Blind," and "Something's Got a Hold on Me." Hart's emotive, throaty delivery is perfectly suited to both songs, and she resists trying to ape James' phrasing. Since they follow one another directly, the musical difference between them also showcase's Hart's diverse abilities. The former is a soul burner, the latter a gospel blues. Bonamassa and band accent her every phrase with requisite rowdiness, sting, and grit. The pair's only vocal collaboration is a burning read of Delaney & Bonnie's "Well, Well." With Anton Fig's breaks and rim shots underscoring Arlan Scheirbaum's electric piano fills, Bonamassa's burning leads, the chunky, rhythmic foundation from guitarist Blondie Chaplin, and Carmine Rojas' bassline, Hart and the lead guitarist trade whip-smart call and response vocals with enough raw country-soul to bring the song to a new audience. While not a perfect recording, Don't Explain is a good one, whose strengths are numerous enough to warrant a second go round.

Chocolate Jesus

Don't go to church on Sunday

在星期天不要去教堂

Don't get on my knees to pray

也不跪下来祈祷

Don't memorize the books of the Bible

更不会诵读圣经

I got my own special way

只想走我想走的路

I know Jesus loves me

我知道耶稣爱我

Maybe just a little bit more

或许只是多那么一点点

I fall on my knees every Sunday

在星期天我只会虔诚地跪在

At Zerelda Lee's candy store Zerelda Lee

的糖果店

Well it's got to be a chocolate Jesus

或许有个巧克力耶稣

Make me feel good inside

让我心情愉悦

Got to be a chocolate Jesus

巧克力耶稣

Keep me satisfied

让我发自内心满足

Well I don't want no Anna Zabba

不想要Anna Zabba

I don't want no Almond Joy

也不想要Almond Joy

There ain't nothing better

与之相比没有什么

Suitable for this girl

会更适合这个女孩

Well it's the only thing That can pick me up

唯一能让我振作的

Better than a cup of gold

一杯金子都比不过

See only a chocolate Jesus

只有巧克力耶稣

Can satisfy my soul

能满足我的灵魂

When the weather gets rough

天气变坏

And it's whiskey in the shade

阴霾中有威士忌的味道

It's best to wrap your savior

最好把你的上帝

Up in cellophane

用玻璃纸包裹

He flows like the big muddy

他可能会像烂泥一样融化

But that's ok

不过没关系

Pour him over ice cream

用冰淇淋泼洒

For a nice parfait

他会变成一杯美味的芭菲

Well it's got to be a chocolate Jesus

或许有个巧克力耶稣

Make me feel good inside

让我内心愉悦

Got to be a chocolate Jesus

巧克力耶稣

Good enough for me

拥有他我已足够

Well it's got to be a chocolate Jesus

或许有个巧克力耶稣

Make me feel good inside

让我内心愉悦

Got to be a chocolate Jesus

巧克力耶稣

Keep me satisfied

让我发自内心满足

One of music’s most powerful female voices and one of the world’s greatest guitar players come together on the new album Don’t Explain, featuring soulful covers that both celebrate and rethink the original recordings. Each known for their potent and expressive blues-rock sounds, Beth Hart and Joe Bonamassa deliver scorching versions of ten classic songs first made famous by artists including Billie Holiday, Etta James, Tom Waits, Ray Charles, Delaney & Bonnie, Bill Withers, and Aretha Franklin. 

The album was recorded live in the studio over the course of four days in early 2011, with producer Kevin Shirley (Joe Bonamassa, Led Zeppelin, Black Crowes) capturing the raw energy generated by Hart and Bonamassa’s spirited collaboration. As charged as the tracks are, Hart also colors her interpretations with tenderness and vulnerability, adding nuance in equal measure to passion. “Beth’s got a pretty heady voice, very reminiscent of Janis Joplin, and she’s also got a lot of Etta James in her, but hadn’t really accessed it yet,” says Shirley. “With this material, there is a gentleness to the way she delivers the most heartfelt tunes that she hasn’t shown before.” 

Hart and Bonamassa are both based in L.A., but their collaboration grew out of the friendship they developed after crossing paths on the road numerous times, particularly when traversing the festival circuit in Europe. “I was, of course, a big fan of his,” says Hart. “I played a show in London in early 2010, and heard through the grapevine that he was there, though I didn’t see him.” Bonamassa also remembers the show—“It was killer,” he says. When they bumped into each other in Holland soon after, Hart recalls, “He mentioned we should do a project together.”