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.