Anybody who was initially confused by singer/songwriter 's foray into blues with 2005's could only have been further confounded upon listening to the album and coming to the realization that it was actually good. And not just kinda good, especially for guy who had been largely labeled as a clone, but really, truthfully, organically good as a blues album in its own right. However, for longtime fans who had been keeping tabs on, the turn might not have been so unexpected. Soon after the release of his 2003 sophomore album, the laid-back, assuredly melodic, began appearing on albums by such iconic blues and jazz artists as,, and. And not just singing, but playing guitar next to musicians legendary on the instrument. In short, he was seeking out these artists in an attempt to delve into the roots of the blues, a music he obviously has a deep affection for.

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Rather than his blues trio being a one-off side project completely disconnected to his past work, it is clear now that it was the next step in his musical development. And truthfully, while certainly showcases 's deft improvisational blues chops, it's more of a blues/soul album in the tradition of such electric blues legends as and, and features songs by that perfectly marry his melodic songcraft and his blues-slinger inclinations. In fact, what seemed at the time a nod to his largely female fan base (the inclusion of 'Daughters' and 'Something's Missing' off ) was actually a hint that he was bridging his sound for his listeners, showing them where he was going. That said, nothing he did up until the excellent, expansive could have prepared you for the monumental creative leap forward that is 's 2006 studio effort,.

Working with his blues trio/rhythm section of bassist and drummer, along with guest spots by trumpeter and guitarist, brings all of his recent musical explorations and increasing talents as a singer/songwriter to bear on. 1911a1. Produced solely by and, the album is a devastatingly accomplished, fully realized effort that in every way exceeds expectations and positions as one of the most relevant artists of his generation. Adding weight to the notion that 's blues trio is more than just a creative indulgence, he has carried over two tracks from the live album in 'Vultures' and the deeply metaphorical soul ballad 'Gravity.' These are gut-wrenchingly poignant songs that give voice to a generation of kids raised on TRL teen stars and CNN soundbites who've found themselves all grown up and fighting a war of 'beliefs.' Grappling with a handful of topics -- social and political, romantic and sexual, pointedly personal and yet always universal in scope -- 's here earns a legitimate comparison to 's. Nobody -- not a single one of 's contemporaries -- has come up with anything resembling a worthwhile antiwar anthem that is as good and speaks for their generation as much as his 'Waiting on the World to Change' -- and he goes and hangs the whole album on it as the first single.