Black Country Communion "Afterglow"

Eu que não meto minha pata peluda nesse assunto.

É óbvio que uma banda dessas tem tudo pra dar certo ou quase tudo, e "quase" sempre vem dos mesmos, sempre vem dos descontentes e etc e tal.

Se o GH se junta ao Bonamassa  tudo bem, mas se eles não viram o Joe no palco, se nunca assistiram à um show do cara pisaram na bola feio.

Postei uma época aqui um dele que dá até raiva de assistir prq tudo é ele; câmeras rodando nele, canta, toca, brinca com os pais e amigos na platéia, mas tudo é e gira em torno dele.

Joe Bonamassa é um outside, um offroad, ele não se encaixa com ng mesmo, é dele isso é de seu temperamento e pronto.

Puta blueseiro, mas muito estrela pro meu gosto.

Quer bater frente com o Glenn Hughes, faça metade do que ele fez de carreira e tente, se gostam ou não aqui não vem ao caso é questão de carreira mesmo, com quem tocou, qto tocou e onde chegou, pra baixo e pra cima.

Jason infelizmente foi queimado pela própria covardia do Zep em voltar, mas é sim um batera a altura do pai e eles que não estavam com saco de fazer som com ele, foram lançando trabalhos aqui e ali como se não tivessem compromissos, assim não precisariam chamar John P Jones e nem o Jason, mas era tudo do Zep.

Puta de um baterista, talvez um dos melhores da atualidade.

Derek é uma incógnita pra mim, não vejo nada demais, mas tb não vejo de menos, não é um gênio mas não deixa a desejar, então deixa quieto.

O som desses caras é duca, e se aprenderem a se respeitar nós ganhamos senão, novos caminhos pra todos e pronto.

Valeu Poucosiso, belo post que faz tempo era pra ter trazido, chegou a vez, gracias.



Os rumores estão ai.

Parece que este será o último trabalho do BCC.

Quem acompanha de perto, pode acompanhar o desentendimento e troca de alfinetadas entre GH e JB, pelo twitter.

- Glenn, o Bonamassa quer cantar tbm :)

Confesso que não acreditava quando ouvia aqui e ali, no lançamento da banda, que seria uma banda de vida curta... espero que não.

Mas estamos ai lendo e parece que já acabou.

E como não vi ainda em blogs este disco, to postando a ripagem em mp3.

Espero que eles se entendam e nos tragam mais alegrias e shows para o Brasil.

Vida longa ao Black Country Communion!

Poucosiso

Afterglow is the hard/blues rock supergroup’s 3rd outing together in as many years since the group’s debut in 2010, but despite their swift song writing the group’s previous efforts received a positive reception, and Afterglow proves to be no exception. The Anglo-American group’s well established style of hard and blues rock is expanded upon as the record delves into slightly darker tones and lyrics to mix in with the Deep Purple and Zeppelin influenced infectious riffs and bluesy feel. The album overall shows an advancement of style, but the introduction of metal-inspired aspects may divide opinions. However, if reports of the band’s feuding and imminent break-up do turn out to be true, the aptly named Afterglow will allow the band’s existence to end with prowess and true rock ’n’ roll style.

The album opens blistering with rapid drums supporting matching chords and bass in typical BCC style, ‘Big Train’ with Glenn Hughes’ unique voice completing the sound as expected, but the album only progresses and grows from there. The album eases through the stomping riff of ‘This Is Your Time’ and the Who-esque ‘Midnight Sun’ into the album’s lead single ‘Confessor’. This ballsy, upbeat number – while sitting in an album bathed in variation – sits very firmly in hard rock, but still manages to be one of the stronger tracks, boasting impressive guitar and keyboard solos and a style that makes you want to move, whether you choose tap your feet or throw yourself around in a crowd. The song is ideal as the album’s lead single, while not being the pick of the album it is a strong advert for the band’s style, inspiring memories of the days rock dominated popular music and the uninspiring drone of modern ‘pop’ couldn’t even have been imagined.

The album’s greatest virtue is its variety. Vocals, tone, style and everything in between gets mixed up between or even in songs. Packed with riffs aplenty, virtuoso solos and strong vocals, it could be every inch the typical rock record. But it is not afraid to add in the mellow guitars, gentle tones and sensitivity that many groups would be ashamed to even consider including, whilst mixing in darker lyrics and a stronger sound in other places. The title track ‘Afterglow’ is a perfect example of this, managing to transform between verse and chorus moving from a haunting, almost depressive sound to the heavy riff and shrieking vocals of the chorus. The longest song of the collection ‘The Circle’ also shows a very dark side of Hughes’ lyrical and songwriting style that manages to stay with you even when changing between the contrasting sections of this meaningful number. More blues-influenced sounds are present too, with the only song featuring Bonamassa’s vocals ‘Cry Freedom’, which is graced with duelling vocals from Hughes and Bonamassa which provide yet more diversity to the record.

The effort (whilst sadly making less use of guitarist Joe Bonamassa’s bluesy voice), is more collective than the group’s first two albums, with the drums of Jason (son of Zeppelin drummer John) Bonham and the keys of Derek Sherinian take a more prominent role. This is most evident in the instrumentally focused ‘Common Man’, where the rhythm of the drums provides the backbone for the entire song, while the keyboards also take a step forward linking in with the main riff and having a strong solo. This greater togetherness on the album helps to flush out the sound and bring out a more distinctive impact.

Afterglow is definitely a different experience to the previous two albums Black Country Communion has put together, and this development of style is a welcome one and adds to the sonic repertoire the group is capable of using. The album is short of perfection and not all the songs can quite deliver the same effect as highlights such as ‘Confessor’ and ‘The Circle’, but the record undoubtedly is a strong addition to the catalogue of BCC. Despite the mystery surrounding the future of the band, the record sounds like an effort that looks forward and shows willingness to grow and change. The album is a strong piece, dragging the rapidly ageing style of blues and hard rock into relevance in the 21st century, and hopefully if the group remains together, there is more to come.

Enjoy!!!!!!!!!!!!