Mascot Records

In recent times the term ‘Supergroup’ has become commonplace again. Bands such as Chickenfoot and Them Crooked Vultures have emerged and added a credible touch, to what was once regarded as a ‘bloated’, ‘ego stroking’ and ‘self indulgent’ play-thing for those musicians blessed with far too much musical talent and self importance. 

Black County Communion are very much the brainchild of producer Kevin Shirley. It was when he witnessed  Joe Bonamassa and Glenn Hughes (Trapeze, Deep Purple, Black Sabbath) performing on stage in Los Angeles in late 2009, that the seed of an idea was planted.

He then went on to recruit drummer Jason Bonham (son of  Led Zeppelin drummer John) and keyboardist Derek Sherinian (Dream Theater, Alice Cooper and Billy Idol to name a few).

So with the four musicians assembled, a name was decided; Black Country Communion. Named after the region of the Midlands where both Hughes and Bonham were raised.

The project wasn’t without its ‘teething problems’ and the press picked up on various rumours of ‘in fighting’, rampant egos, management and record label problems and greed. Thankfully the problems were discussed and ironed out and the band finally got to do what they initially wanted, write and record an album of quality songs.

So to the album, has all the persistence and patience paid off? Well the opening track ‘Black Country’ starts with immediate intent. Glenn Hughes’ ominous rumbling bass starts proceedings impressively. Instantly we are treated to his soaring vocals, he is not the proclaimed ‘Voice Of Rock’ for nothing. He bellows out the lines “I am the messenger - this is my prophecy” like the leader of some new worldly ‘second coming‘. . Hughes’ vision was for the opening track to “come bursting out…in your face”, well with it certainly does. To hear Joe Bonamassa freed from his blues constraint is a joy indeed, and his playing is expressive, powerful and steeped both in the 60’s and the 70s. Drummer Jason Bonham echoes his father’s every move behind the kit, literally battering the life out of it but still being his own man. An impressive start.

The following track ‘One Last Soul’ is instantly infectious. A smooth mid paced track that shows a real group dynamic. Hughes’ vocals are soulful in the main, yet soar to the skies with ease when required. Bonamassa’s guitar remains reigned in and his work is in context with the songs framework, he clearly realises he is part of a unit - and as such is comfortable to play his role, rather than self indulge. Once again Bonham impresses behind the kit with some subtle and clever touches.

‘The Great Divide’ is a track Hughes and Bonamassa ‘conjured up’ between themselves, as Hughes himself states in his liner notes; “…within a few minutes the magic just happened”.

A beautiful Bonamassa lick introduces this ‘smooth’ soulful number. The tone of his guitar has such warmth it also has a mournful quality that takes the soaring vocals of Hughes to a new level. The word epic is often over used, but in this case it fits perfectly. Derek Sherinian’s subtle keyboard tapestries add to a wonderful all round musical sonic delights, simply a beautifully crafted piece of work.

In contrast ‘Down Again’, is a gritty , stomping blues rock track. It is very much in the vein of Hughes era Deep Purple. His vocals are full of angst and frustration - he spits out the lyrics like a latter day Shaman. Sherinian’s keyboards bring to mind the majesty of a certain Led Zeppelin. Whilst Bonamassa’s ethereal guitar work is once again steeped in the 70s, full of expression and improvisation.

The heavily flanged swirling guitar of Bonamassa introduces ‘Beggar Man’. As if possessed by Jimi Hendrix, he adds an achingly cool vibe to what is a joyous bluesy soul-funk workout. This is after all what Hughes does best. In fact this was a riff he had going round in his head so he proceeded to record it on his Dictaphone in his bedroom - he wasn’t going to let a gem like that get away. The song is so infectious it stays with you long after its finished. This time, Bonamassa is given free reign to express himself and as such gives a master class in how to add the spirit of a guitarist to proceedings - yet still retaining his own trademark style.

‘Song Of Yesterday’ is a beautifully crafted song that opens with Bonamassa’s simple stripped down guitar and the single hi-hat of Bonham. Bonamassa starts the vocal proceedings with some vulnerable delivery - very much in the vein of his latest recordings, more soulful than bluesy. A Celtic orchestral backdrop adds a real majestic flavour to the pot. Hughes stronger soaring vocals dove-tail perfectly with Bonamassa’s. This is very much the guitarist’s baby and it once again shows the band as one complete unifying force. A joy to behold.

The presence of  John ‘Bonzo’ Bonham can be felt in the next track ‘No Time’. Jason’s frantic drum pounding brings this heavy funk driven track hurtling in like a freight train running off the rails. It was stated by Hughes that; “Jason’s dad was in the room that night when this was recorded”.  The ‘Bonzo’ element leads to further Zep comparisons - namely in the time changes that echo Kashmir’s Eastern tapestries in parts, courtesy of Sherianian’s keyboard stabbings. Its very much the meeting of minds between Bonham and Hughes. If you imagine Hughes singing and playing bass for Led Zeppelin then you’re pretty much ‘on the money’.

Hughes past is re-visited with a song from his early 70s back-catalogue, ‘Medusa’, is a song from his band Trapeze and lifted from the album of the same name. 

Here it is brought up to date via Messers Bonamassa, Bonham and Sherinian. Hughes’ 1970 vision is respectfully adhered to and his assembled band mates simply add a bit of modern day polish to what has always been a strong track. In fact Bonamassa’s style is perfectly suited to tunes of this type, majestic, yet sprinkled with soul and feeling. And I’d go as far to say it wouldn’t sit out of place in his solo live set. 

The funk of Hughes returns with ‘Revolution In Me’. This straight ahead stomp sees Bonamassa again on vocal duties. Again this is very much akin to the guitarist’s latter day out-put - it has its feet more in the soul camp than the blues. Bonamassa’s soloing is exquisite and the subtle time changes courtesy of Bonham are the sign of a band happy enough in their own skins to experiment a little. As such it has the feel of a jam session but without out-staying its welcome.

‘Stand (At The Burning Tree)’ was musically conceived by Hughes and Bonamassa and it highlights the formers ability to cross genres with ease. Playing the cool soul man one minute, the chest beating rock god the next. Musically the keyboards of Sherinian tip the hat to John Lord and consequently we are reminded of Hughes’ tenure in Deep Purple. In fact if he were still in the band - they may indeed sound very much like this now?

The vibe of AC/DC is evident in the intro to ‘Sista Jane’. Meaty power chords from Bonamassa herald the songs entry into your ears. Hughes’ haunting pulsing bass lead into a vocal partnership with Bonamassa. This is probably as close as Black Country Communion get to straight ahead ‘Rock n Roll’. It’s a joyous affair that brings to mind the classic swaggering song writing of the 70s - where it was more about fun and attitude than musical expertise. The band clearly had fun recording this, each vying to be heard in the mix.

The album closes with ‘Too Late For The Sun’ and again Hughes and Bonamassa vocally dove-tail each other perfectly. If you imagine driving down long, never ending dusty roads in the Nevada Desert in the early hours - then this would be the song that accompanies your journey. It’s lazy feel and Sherinian’s Hammond organ washes over you and give the impression of a band getting into their musical groove. As a closing song it eases you into the night and gives you time to digest what you have just experienced throughout the album.

So, the verdict. Well I gave the album three spins, and by that time it was like an old friend. The songs are cleverly crafted and it goes without saying the vocals and musicianship is of the highest order. For a project that has had its problems - you wouldn’t know it from the band’s chemistry. BCC play as a unit and each individual knows his place. Musically it is dominated by messers Hughes and Bonamassa, the former’s 70s heyday is written all over the album, whereas Bonamassa feels happy to be un-shackled and is respectful of his elder’s legacy. 

Sherinian and Bonham respectively add depth and power to the album, and the latter’s DNA helps add a true rock majesty to the proceedings. I sincerely hope that we see more from Black Country Communion - any wrangles permitting - they are a class act that already sound like they’ve been around for ever.

The Black Country are indeed proud !!

Track-listing ; Black Country / One Last Soul /  The Great Divide  /  Down Again  /  Beggarman / Song Of Yesterday / No Time / Medusa / The Revolution In Me / Stand (At The Burning Tree) / Sista Jane / Too Late For The Sun.