Post by classic rock revival on May 15, 2011 7:14:35 GMT -6
Black Country Communion
"I am a messenger, this is my prophecy..." A bold statement of intent if ever there was one, and a lyric from the opening track on the new self-titled album by supergroup Black Country Communion. The album, Black Country Communion, due out September 20th in the UK and September 21st in the US, is definitely bold--in fact, it's the strongest new album release I've heard in two years. But when your band consists of the legendary Glenn Hughes (bass & vocals), blues/rock prodigy Joe Bonamassa (guitar and vocals), Led Zeppelin legacy Jason Bonham (drums), and Dream Theater, Kiss, and Alice Cooper alumni Derek Sherinian (keyboards), a strong, bold new album is almost certainly assured.
Produced by none other than Kevin "Caveman" Shirley (Iron Maiden, Led Zeppelin, and Black Crowes among others), the album sounds as it should... a raw, live-in-the-studio sound that hasn't been heard since the mid-seventies. And while this album certainly harkens back to those wonderful classic days of yore, make no mistake, Black Country Communion is a breath of fresh air! It's not overly-polished, it allows room for light and dark, and it's not afraid to let its musicians stretch out and jam, and in today's world of over-produced, bland, soulless fare, this album pulls way ahead of the pack.
Performances are tight but loose, often driving and forceful, powered along by Bonham's steam hammer drumming and Hughes' heavy yet fluid bass lines. Bonamassa, as in his solo material, continues to amaze, pulling out massive riffs, soulful blues licks, and incredible guitar solos that will blister the paint on the walls. Sherinian works his magic in a somewhat understated way, providing textures and moods, but occasionally taking the spotlight while Hughes' world-renowned vocals soar above it all. The band is tight and fit together just as smoothly as whiskey and soda, sounding as if they've been playing together for years, and although the performances are tight, the songs sound loose and comfortable, as if they were done live in the studio in one or two takes.
Black Country Communion starts off strong with the title track, forceful rock and roll with a locomotive bass line, loose and dirty blues licks, and blazing guitar solos, and never lets up from there. "One Last Soul" is the first single from the album, already the most requested song on the UK's premier Classic Rock radio station, Planet Rock, and is catchy enough to have you tapping your foot and digging the funky, soulful chorus. By way of contrast, "Down Again" is a heavy, riff-based rhythm machine powered by Joe Bonamassa's grinding guitar and the 16-ton weight of the Bonham and Hughes rhythm machine working to nail the song to the floor. Derek Sherinian shines on this one, employing organ-based keys to provide a hypnotic outro that absolutely mesmerizes. "Beggarman" is another straight rocker, a hard blues guitar intro leading into a riff as the organ and bass join in to drive the song. Jason Bonham shines here, beating and kicking the drums like an animal.
But while the band certainly rocks hard, they are equally adept at playing with light and shade. "Sista Jane" starts with a kick-in-the-head opening, but changes to a light, quiet verse with acoustic guitar, which then builds in intensity into a chorus that will have you banging your head old-school style! "No Time" boogies right along as if there really is no time before it breaks into a moody "Kashmir-esque," eastern-flavored keyboard melody, allowing for a change of mood and pace before building once again into its kick-ass chorus. The band's cover of the Trapeze classic, "Medusa," gives the band some breathing room as well, opening as it does with slow acoustic guitar and restrained vocals before they crank it up to 11 and the song becomes heavier than the stone into which Medusa's gaze can render you. Bonamassa rips into the rhythm with obvious relish, a strong monster groove that is held down by a massive bass and drum combo while Glenn's vocals soar like an eagle over this majestic track. The raw, blistering guitar solo affirms Joe Bonamassa's reputation as a living-legend guitar god, his guitar tearing away with whirlwind speed, echoing like a lonely cry in the wilderness. This song not only affirms the band's Black Country roots, but it sounds right at home on this album.
Two songs especially give the band room to move around and jam a bit; the eight minute, thirty-three second "Song of Yesterday," and the eleven minute, nineteen second "Too Late for the Sun." There aren't many bands these days confident enough to put long-running tracks on an album that allow the musicians to stretch out a bit, improvise, and jam, but Black Country Communion gives us two long-runners and they prove to be worth the risk. "Too Late for the Sun" is a remarkable piece, Sherinian's organ providing a nice sonic texture, and the band jamming along like so many bands are afraid to do these days.
Black Country Communion showcases the talents of four amazing artists, and the combination of these four talents makes for one hell of a great album! Glenn Hughes rolls out huge, thumping bass lines and turns in a vocal performance that proves why the man is a rock legend. Joe Bonamassa, young though he may be, plays guitar with the passion of an old soul and shines like few other guitarists on the scene today. Jason Bonham is an absolute drum powerhouse, playing with a ferocity that blazes, and along with Glenn's bass, is the unstoppable engine for this band. Derek Sherinian is artful in the textures and moods he creates--he shows tasteful restraint, but steps forward when needed. Delivering twelve solid tracks of bold, old-school rock and roll, Black Country Communion stands out as a masterpiece and an instant classic!
Review by: Brent Soileau
"I am a messenger, this is my prophecy..." A bold statement of intent if ever there was one, and a lyric from the opening track on the new self-titled album by supergroup Black Country Communion. The album, Black Country Communion, due out September 20th in the UK and September 21st in the US, is definitely bold--in fact, it's the strongest new album release I've heard in two years. But when your band consists of the legendary Glenn Hughes (bass & vocals), blues/rock prodigy Joe Bonamassa (guitar and vocals), Led Zeppelin legacy Jason Bonham (drums), and Dream Theater, Kiss, and Alice Cooper alumni Derek Sherinian (keyboards), a strong, bold new album is almost certainly assured.
Produced by none other than Kevin "Caveman" Shirley (Iron Maiden, Led Zeppelin, and Black Crowes among others), the album sounds as it should... a raw, live-in-the-studio sound that hasn't been heard since the mid-seventies. And while this album certainly harkens back to those wonderful classic days of yore, make no mistake, Black Country Communion is a breath of fresh air! It's not overly-polished, it allows room for light and dark, and it's not afraid to let its musicians stretch out and jam, and in today's world of over-produced, bland, soulless fare, this album pulls way ahead of the pack.
Performances are tight but loose, often driving and forceful, powered along by Bonham's steam hammer drumming and Hughes' heavy yet fluid bass lines. Bonamassa, as in his solo material, continues to amaze, pulling out massive riffs, soulful blues licks, and incredible guitar solos that will blister the paint on the walls. Sherinian works his magic in a somewhat understated way, providing textures and moods, but occasionally taking the spotlight while Hughes' world-renowned vocals soar above it all. The band is tight and fit together just as smoothly as whiskey and soda, sounding as if they've been playing together for years, and although the performances are tight, the songs sound loose and comfortable, as if they were done live in the studio in one or two takes.
Black Country Communion starts off strong with the title track, forceful rock and roll with a locomotive bass line, loose and dirty blues licks, and blazing guitar solos, and never lets up from there. "One Last Soul" is the first single from the album, already the most requested song on the UK's premier Classic Rock radio station, Planet Rock, and is catchy enough to have you tapping your foot and digging the funky, soulful chorus. By way of contrast, "Down Again" is a heavy, riff-based rhythm machine powered by Joe Bonamassa's grinding guitar and the 16-ton weight of the Bonham and Hughes rhythm machine working to nail the song to the floor. Derek Sherinian shines on this one, employing organ-based keys to provide a hypnotic outro that absolutely mesmerizes. "Beggarman" is another straight rocker, a hard blues guitar intro leading into a riff as the organ and bass join in to drive the song. Jason Bonham shines here, beating and kicking the drums like an animal.
But while the band certainly rocks hard, they are equally adept at playing with light and shade. "Sista Jane" starts with a kick-in-the-head opening, but changes to a light, quiet verse with acoustic guitar, which then builds in intensity into a chorus that will have you banging your head old-school style! "No Time" boogies right along as if there really is no time before it breaks into a moody "Kashmir-esque," eastern-flavored keyboard melody, allowing for a change of mood and pace before building once again into its kick-ass chorus. The band's cover of the Trapeze classic, "Medusa," gives the band some breathing room as well, opening as it does with slow acoustic guitar and restrained vocals before they crank it up to 11 and the song becomes heavier than the stone into which Medusa's gaze can render you. Bonamassa rips into the rhythm with obvious relish, a strong monster groove that is held down by a massive bass and drum combo while Glenn's vocals soar like an eagle over this majestic track. The raw, blistering guitar solo affirms Joe Bonamassa's reputation as a living-legend guitar god, his guitar tearing away with whirlwind speed, echoing like a lonely cry in the wilderness. This song not only affirms the band's Black Country roots, but it sounds right at home on this album.
Two songs especially give the band room to move around and jam a bit; the eight minute, thirty-three second "Song of Yesterday," and the eleven minute, nineteen second "Too Late for the Sun." There aren't many bands these days confident enough to put long-running tracks on an album that allow the musicians to stretch out a bit, improvise, and jam, but Black Country Communion gives us two long-runners and they prove to be worth the risk. "Too Late for the Sun" is a remarkable piece, Sherinian's organ providing a nice sonic texture, and the band jamming along like so many bands are afraid to do these days.
Black Country Communion showcases the talents of four amazing artists, and the combination of these four talents makes for one hell of a great album! Glenn Hughes rolls out huge, thumping bass lines and turns in a vocal performance that proves why the man is a rock legend. Joe Bonamassa, young though he may be, plays guitar with the passion of an old soul and shines like few other guitarists on the scene today. Jason Bonham is an absolute drum powerhouse, playing with a ferocity that blazes, and along with Glenn's bass, is the unstoppable engine for this band. Derek Sherinian is artful in the textures and moods he creates--he shows tasteful restraint, but steps forward when needed. Delivering twelve solid tracks of bold, old-school rock and roll, Black Country Communion stands out as a masterpiece and an instant classic!
Review by: Brent Soileau
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