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4.6 out of 5 stars62
4.6 out of 5 stars
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Showing 1-10 of 46 reviews(5 star). Show all reviews
I took wasn't overly impressed when i reviewed BCC'S debut(i stand by every word),it was overated and rushed,overlong with some tracks probably in need of some more work,however this is the business,Hughes has reigned in some of his over elaborate singing and puts in a consumate performance here,as do all the band members,its great to hear Sherinian get a more prominent role.

As a disc this is head and shoulders above the debut(which was ok in parts), this rocks from start to finish and will be in your CD player for months,standout tracks 'Outsider' and 'Save Me'.

A superb release which can justifiably be looked upon as an album of the year contender,well done lads,cant wait for the gigs.
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TOP 100 REVIEWERon 14 June 2011
... because listening to this album is like falling through one back to the 1970s. It is like rummaging through your old music collection and finding an album you bought back then, and then put away and never played, until now. If you were fortunate enough to grow up during the 70s and 80s and loved rock, then my god you are going to love this. Just when you thought that you'd heard all the great rock from your youth that there was to be heard, this comes along. I don't mean this is in any way dated - far from it. It is fresh and vibrant, but it is also just SO of that era. I am 16 again.

Glenn Hughes will be 60 this year. I hope I'm in as good shape when I get there. The power and range in his voice is incredible, no hint whatsoever of it beginning to fade.

Joe on guitar is, as usual, stunning. The whole band is.

I won't bore you with more track by track analysis. This is just spine tingling, ear splitting rock. You need to listen to it. A very worthy second album. Fantastic.
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on 13 June 2011
Producer Kevin Shirley and Black Country Communion have returned with a brilliant follow-up album to 2010's eponymous debut album. The new album "2" kicks off with vintage classic rock will balls in "The Outsider" - an epic tour de force that touches on just about every rock genre you can think of, including prog rock keyboards, circa Yes and Deep Purple, courtesy of former Dream Theater keyboardist, Derek Sherinian.

Track 2 "Man in the Middle" is a gut crunching rock guitar riff with a low bass end threatm which doesn't let up for a single minute. The album flows with non-stop classic riffs and superb musicianship.

Stand out tracks include the Zepplinesque "Save Me", which originally started off as a riff that Jason Bonham came up with after the he played drums at the Led Zeppelin reunion at the London o2 Arena in 2007.

Joe Bonamassa's guitar playing is impeccable throughout, however, the shining star of the album is Glenn Hughes, former Deep Purple "Burn" singer and bassist, who evokes some of the best rock vocals so far this decade. He sings in leaps and bounds, displays real emotional gusto and makes you believe that rock and roll will live forever.

But it's the closer on the album "Cold" that really hits home with it's emotional and heartfield golden rock gods moment.

If there's one classic rock album to own this year, Black Country Communion's "2" has to be the one.
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on 16 June 2011
Okay, now we're getting there! The first BCC album was good but there was a lot of songs that could have been on a Glenn Hughes solo album and others that were a bit too "jamming" and hurried up.
With BCC 2, we get a BAND ALBUM. Songs that neither belong more exclusevily to Hughes or Bonamassa or Bonham but to A BAND, and where we can certainly hear more of the great Sherinian (he was barely there on the debut album). Although the general feel leans more towards a Zep style (apparently that's what Shirley was aiming for while recording the drums), it also features brilliant Deep Purple touches (The Outsider is Burn's little cousin) and bluesy feelings.
Glenn singing is more in control (he can sometimes overdue on his solo albums), Bonamassa's playing and singing is great (even if he always sounds to me as a bit of a poor man's Hughes-not so much on this album!), Bonham is heavy and but very groovy.
The songs are mostly darker and mid-tempo, the band is tight, the playing precise and intense;
the keyboards solos and arrangements are incredibly tasteful.
This album comfirms to me that the debut BCC was only a blueprint and that the best was yet to come...Well here it is!
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on 14 July 2011
The most frequently played CD in my collection has just been replaced, but by its follow-up. I loved BCC 1, but BCC 2 (being very careful not to type "BBC")completely blows it away. While the former had some great songs interspersed with some so-so ones, every one of the songs on the new album is a belter.

Much was made in the interviews about how much they enjoyed rushing the first album, how things sounded live and spontaneous as a result, but that never rang true. The production, musicianship and, most importantly, songs on this one have stepped up several notches.

There is, again, a distinct 1970s feel to the album, which is no bad thing in my eyes. Cynics, of which I count myself as one, could call it a little bit derivative and unoriginal, but if it ain't broke, don't fix it. That sound was great, so roll with it. Besides, if anyone has the right to chuck out Deep Purple and Led Zep style music, a former DP member and the son of a Led Zep one certainly can stake that claim. On only two songs is that really obvious - the opener The Outsider, whose guitar/Hammond call and response interplay could have been taken from any DP album, although the riff is not particularly Blackmore style, and Save Me, an unquestionable and unashamed tip of the hat to Jason Bonham's dad's band, but a great song in its own right. The rest of the songs have their own BCC style, perhaps similar in style to a mix of Hughes' Soul Mover album and, to a lesser degree, Bonamassa's You And Me, but heavier than both.

Significantly, keyboard wiz Derek Sherinian is no longer an also-ran in the production. Buried in the mix on almost all songs on the first album, he is brought much more to the fore on several songs, and they benefit from it. The overall sound of this album is rounder, more complete.

Summing it all up, and I mean this with no exaggeration whatsoever, this is the best album I have bought in the last 30 years.
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on 22 June 2011
From the opening riff of 'the outsider' to the deeply emotional lyrics of 'cold', 2 is a unique album, capturing the sound of 4 of the greatest musicians in the world, in one room. Glenn's vocal work is proof of his right to be called 'the voice of rock' but his lyrics are equally as profound. Bass playing is impeccable as per usual...
Joe doesnt need a description, he is joe bonamassa, the greatest rock guitarist in the world today..'not to mention his voice sounds amazing on Hadrians wall and An ordinary son.
Bonham's drumming however, blew me away the first time i heard his - he is the Led Zeppelin of the group, the fast and furious, hard-hitting monster behind the heavy and occasionally groovy rhythms on this record. Great fun just to close your eyes and focus in on some of his work
And with Derek's keys adding an extra dimension to an already incredible sound, BCC continues to grow from its debut with this hard-hitting, screaming tribute to Classic Rock!
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on 22 June 2011
I just got this album and it blows me away entirely. Did not expect such an explosive follow-up. I've heard it 3 times now and ... I am speechless. Sounds still better than the (excellent) first one. Definite chemistry here between these guys, and Glenn must have some youth elixir (maybe it's this band ...). Anyway, don't read this. BUY ASAP - MUST HAVE.
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on 3 November 2011
Before starting to make a general analysis of the disk, I have to say I can not be impartial in any way. The tremendous voice of Glenn Hughes, the frequency wonder that reaches even impossible (for age), it makes me into ecstasy, and that make you levitate just like that, of course, always, like it or not, raises many integers all it touches (with his wand) when we checked a few days ago realized that performance-cameo with Rata Blanca. It is a voice that captivates. That's why law anticipate that the true star of this album is that voice, the voice (the Rock), I would say: a voice that Glenn has been educating and filing for well done, full of passion, of shades: is a whole. Of course, if that voice was not well dressed for musical composition, appropriate rhythmic bases and some complexity that the rock was abandoned (in favor of other virtues less lucid) in the 80's, single drive product would become a medium . Not so.

Black Country Communion 2 has all the earmarks of a classic from start to finish: a record that seems from another era, when rock was in its best products, in those years long for 70. Not everything is Hughes, in any case, Bonamasa masterly hand has also been noticeable and for me is welcome, as well as the unique and singular Sherinian on keyboards or Bonham on drums and cymbals. Anyway. So those who are lucky enough to attend this Azkena be in luck. The thing looks promising and more than good.

The album starts very powerful, with a crescendo that leads to Hughes, a very fast-paced riffs and keyboards Purple (thank you Lord for being so Sherinian, who has taught you?). "Outsider" is a good choice, in my opinion, to open this DiscAZ.

The disc continues to rotate and enveloping this time with a second theme entitled "Man In The Middle" more Rainbow in certain passages. To say that the guitars are cracking is to use the obvious because it will be a constant in all the work. To say that the complexity in the composition, so varied, and that production, sound and others are outstanding is also undeniable attend. Without being one of the topics that filled me, is heard considerably.

The acoustic guitar is the leading voice in the third song, "The Battle For Hadrian's Wall", a lyrical ballad of broken cry sometimes timely changes of pace. Coral tones to background Isaak guitar, something Desire also if you like, and very Purple-as always-last stage, very Zeppelin (as desired) tend to the sublimity and started to sing, so that when it rings The next topic we are several inches from the ground.

"Save me" begins very liquid notes of piano, with a tone of epic-lyrical tendency, by which one drifts away. The melody and the voice pleasantly welcome us, to the gentle taps to help the end and, above all, that touch of Moorish (Arabic) on keyboards that are what give the issue a personal touch. Again interference Purple, Zep and Sabbath are appreciated. It is certainly one of the best tracks on the album. I think we'll soon see receiving deserved praise.

"Somekestack Woman" is the typical song provides little filler (not by that I mean that I do not like), but the transition to believe that, in my opinion is one of the major themes of the album, "Faithless" . The blues-rock touch is ideal for those notes full of feeling that Hughes's throat emerge in spurts, imbuing the soul with melancholy. Some might say that this is just rhetoric, but flatly wrong: it is that from the air, from up here where we can use one vocabulary appreciative and bombastic. New Purple touches on keyboards tend to arabesque, to create gardens, floral motifs and scrolls indefinable smoke. This topic is altogether lovely. So I'm sorry.

"An Ordinary Son" is soothing and melodious. Zep contains sequences (that is where lies, in my opinion, the most debt, with the permission of the experts). But as in all such songs included on the disc, tearful tones are destroyed by changes of rhythm, timbre and volume, and are such moves which outline its uniqueness.

"I Can See Your Spirit" is another issue that is not apparent from the influences Sanal, but it's presented as something inflated or hollow, except for the plucking and those keyboards so recognizable.

Listening to "Little Secret" you think you could not leave without Bonamasa make its mark heavily blues at one of the issues. But the thing is, in its generous travel, goes occasionally in rock fronds, a sad counterpoint to the voice of the great Hughes boasts over this splendid album full of nuances here advise , and deserves some listening before launching any type of lawsuit too hasty.

The album ends with "Crossfire" (which, without going into details, it's only a matter more Marillion resonance (¿homage? And the song "Cold" which was a preview of what the album would contain a more than decent ballad that ends up being the icing on this splendid disc, a disc may not be sublime without interruption and certainly not a groundbreaking album, but a hard work (teacher) in which some groups would look devoid of personality today . Looking back to that good old rock we serve as a reference, sometimes (not always, you know that there are current examples that blur this assertion) can yield substantial benefits. And the music world thanks you. I so do.
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Black Country Communion's second studio album, simply entitled `2,' is a very strong album from a band that are getting better and more confident, gelling together as a group well and hammering home their sound.

At first I was skeptical of how good the album could be, as when big names collaborate the results aren't always as good as the sum of their parts and often when any band constantly get described as sounding like bands they have some vague connection with, they usually fail to measure up.

The album features all the blazing keyboard solos and big, roomy drum sounds you'd expect from a band who gladly state their fondness for Deep Purple and Led Zeppelin in their linear notes. The overall style that the band were aiming for has been achieved perfectly, but that isn't enough if the songwriting isn't up to standard.

Thankfully, Black Country Communion have delivered in this department with `2.' The album starts very strong, and opens up with the hard rocking `The Outsider,' and follows up with the heavy yet groove laden single `Man In The Middle,' which serves as just about as strong a one-two opening punch as any fan could hope for.

The album thankfully concentrates on straight up rock, but also mixes a few variations into the formula, a little folky section on one track, a blues track and a few more dynamic tracks with eastern influences keep things interesting.

All the musicians are on top form, Glen Hughes sings with gusto and plays just as well, Jason Bonham nails the drumming in both power and feel and Joe Bonamassa's excellent playing fits into the band more naturally than on the band's debut. A special mention is deserved for Derek Sherinian, who absolutely shines on this record.

With this second album, Black Country Communion fulfill their potential and deliver a very enjoyable slab of driving classic rock music, proving to be more than just a cash in on nostalgia, but a strong musical force to be genuinely appreciated.
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on 23 June 2011
`2' continues to prove Hughes' legendary hard rock and soulful flair is a surprisingly good foil for Bonamassa's more bluesy approach. This time though the chemistry extends to the whole band, with Bonham in particular playing an absolute blinder, really driving and shaping the songs (Kevin Shirley's production does him good justice). On the last outing, Bonamassa's playing had more than a few nods to Clapton but this time around the influence is more Jimmy Page, Jeff Beck and Peter Green - but still unequivocally JB. A bonus is that we hear a bit more input from Derek Sherinian while Hughes is, quite simply, on fire; untouchable even: a bit less shouty and a bit more soul this time. Just listen to `Little Secret' and `Cold' - the feeling and skill involved in singing this stuff is mind-blowing. Of course, with nigh on sixty years of living his resource to emote should outstrip younger singers, but whereas most people his age (or younger - I'm thinking Chris Cornell) lose it somewhat, Hughes still has the pipes to back it up. I don't think there's a duff song on here and I've listened to it at least a dozen times already. Lyrically, `Smokestack Woman' is a bit of a let-down (think cheese of David Coverdale proportions) but thankfully the music is good enough to pull it through. Again, Bonamassa is principle songwriter on a few tunes and these are not filler - they stand out in fact, particularly `Ordinary Son' for its uplifting dynamics and chorus. Some people will argue this album revels in clichés and has no place today; I completely disagree - it's entirely relevant today! No frills, big thrills, balls-out rock played with grit and conviction is largely missing these days. Granted, it's not ground-breaking but who says only ground-breaking music is good and traditional forms aren't? A lot of ground-breaking music today is utter gash. This though, is not. Long live BCC!
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