Praise and Blame

Critical response

Upon its release, Praise & Blame received generally positive reviews from most critics. Giving the album four stars, Andrew Perry in The Daily Telegraph claimed that the album was "by far Jones’ best album in two decades" and stated that "with its loose, spontaneous sound, and the all-pervasive sense of artistic rebirth…it’s a revelation." Similarly, Andy Gill in The Independent stated: "Overall, it's an extraordinary achievement: Praise & Blame represents the kind of reconnection with his core creative fire that was hinted on a few tracks of his last album, 24 Hours, but is here left naked and bleeding raw, bereft of showbiz blandishments.” Giving the album five stars, Gill labelled the album one of the best in Jones’ six decade long career.

The album's stripped down production and focus upon spiritual songs gained numerous comparisons to Johnny Cash's American series and Elvis Presley's 1968 comeback. Writing in American Songwriter, Rick Moore applauded the song selection and stated that "on this excellent collection of songs examining the human condition, Jones confronts the issues of heaven and hell in a way that Cash did for much of his life, especially toward the end of it… [Tom] Jones and [Ethan] Johns have made a real statement in the same way that Rubin, and of course T Bone Burnett, do almost every time they produce an album." Writing in The New York Times, Stephen Holden states that Jones’ vocal delivery "conveys the contrition of a sinner as he delivers a mixture of traditional spirituals and contemporary gospel songs tautly arranged for a small band. It is a respectful, expressively focused exploration of a genre beloved by Mr. Jones’s American counterpart, Elvis Presley."

The change of musical direction, together with stripped down, live production – much at odds with Jones’ traditional style – led Michael Hann in The Guardian to state "at last Jones the artist is the match of Jones the entertainer." Allison Stewart, writing in The Washington Post, stated that Praise & Blame is "Jones's "O Brother," "Raising Sand" and "Ain't No Grave" all rolled into one, a mixed bag of roots-related styles – blues, gospel-lite, country-folk, rockabilly, soul – stripped of all fat and reduced to the barest elements of voice and spartan, if often electrified, instrumentation. The song choices are impeccable, from a thunderous cover of Bob Dylan's "Oh Mercy" standout "What Good Am I?" to a holy roller redo of John Lee Hooker's "Burning Hell," all propelled by Jones's remarkable voice, still a marvel of quaveriness and bluster and sinew after all these years."

Personnel