1.     "Big Train"       4:17
2.     "This Is Your Time"       4:32
3.     "Midnight Sun"       5:17
4.     "Confessor"       5:08
5.     "Cry Freedom"       5:09
6.     "Afterglow"       6:06
7.     "Dandelion"       4:02
8.     "The Circle"       7:01
9.     "Common Man"       5:26
10.     "The Giver"       5:23
11.     "Crawl"       5:30

Musicians:
    Glenn Hughes – vocals, bass
    Joe Bonamassa – guitars, backing vocals, co-lead vocals (track 5)
    Jason Bonham – drums, percussion
    Derek Sherinian – keyboards

Black Country Communion recorded their third album, 2012's Afterglow, in a matter of weeks, and it shows. Its songs sound by and large looser and more spontaneous than the oftentimes overwrought, Zeppelinian extravaganzas dominating 2011's still quite wonderful BCC2, thus sort of coming full circle to their template-setting eponymous 2010 debut in the process. This, in conjunction with some public sparring betwixt BCC's celebrity band members, suggests Afterglow may end up being the group's final hurrah -- which wouldn't be all that surprising, given the always mercurial dynamics of supergroups, but why wallow in anticipated misery before the fat lady sings? Better to carry on indulging, for now, in the incomparable voice of living legend (and bassist) Glenn Hughes, instead, as well as the versatile guitar licks (and lone vocal on "Cry Freedom") of Joe Bonamassa, plus the ever powerful, spot-on drumming of Jason Bonham, and even Derek Sherinian's always tasteful keyboards -- all four led as always by Svengali producer Kevin Shirley. Actually, if anyone's ego and talent have taken a backseat to the others' throughout BCC's existence, it's been Sherinian's, so it's refreshing to be able to call out his more pronounced contributions to Afterglow. His keys lend a gospel flavor to the hypnotic churn of "This Is Your Time" (before it erupts into a blistering solo from Bonamassa); on "Confessor," they pogo around the other instruments like vintage Rush; on "Cry Freedom," his Mellotron embarks on a swirling vamp…and so it goes. One must also note that, despite the less labored vibe of the material, in general, Led Zep remain crucial instigators behind the quartet's classic hard rock stylings -- as evidenced by the start-stop dramatics of "Midnight Sun," the "No Quarter"-like reverie of "The Giver," and leaden grooves-meet-sweeping strings battling evermore across the title track. However, a disappointing, second-half quality drop-off due to workmanlike sleepwalks through "The Circle," "Crawl," and others is certainly cause for concern; after all, Hughes admitted having more time than ever before to compose for BCC this time around, possibly marking this as another clue to the group's imminent dissolution. But when you're dealing with musicians of such rare talent (not to mention an exacting producer like Shirley) even the filler tracks give off an iridescent class and arresting confidence that will doubtless come to define BCC's passage through the classic rock firmament -- even if it ends here, in a trilogy capped by Afterglow's release. --- Eduardo Rivadavia, allmusic.com

Black Country Communion wydają albumy w zawrotnym jak na dzisiejsze normy tempie. W końcu jednak ma to być zespół odwołujący się do klasyki hard rocka z przełomu lat 60. i 70. ubiegłego stulecia, a wtedy taka częstotliwość była normą. Z drugiej strony gitarowy filar tej supergrupy, Joe Bonamassa, przeżywa obecnie apogeum jako solista, przez co cały ciężar kompozytorski wziął na swe barki Glenn Hughes (trudno się jednak dziwić, od początku był w formacji głównym twórcą). Podkreślić trzeba, że zdecydował się nie powtarzać pomysłów z dwóch pierwszych płyt grupy. I już nerwowy początek jest dość nietypowy, Hughes postanowił bowiem pograć pauzą. Intryguje na tym tle ładne solo gitarowe Joe Bonamassy. I nagła, stonowana koda.

Niespodzianką będzie przywołanie The Who w "Midnight Sun", w którym dużo do powiedzenia ma klawiszowiec Derek Sherinian. Zaskoczą dzikie solówki Bonamassy w "This Is Your Time" lub nietypowo funkowym "Common Man". Do tego akustyczna gitara wsparta orientalnym klimatem w zwrotkach tytułowego "Afterglow". Momentalnie pojawiają się skojarzenia z Led Zeppelin. Niejednokrotnie, bo także w ciężkim "Crawl" czy kontrastowym "Dandelion". Wpadający w ucho, bluesowy "Cry Freedom", zaśpiewany wspólnie przez Bonamassę i Hughesa, to jak dla mnie perła "Afterglow", ale już w kojarzącym się z "Free The Circle" Glenn męczy się na granicy swych możliwości. Mamy czym się radować, ale jest też do czego się przyczepić. Trzeci album Black Country Communion plasuje się więc ciut niżej od poprzednich. --- muzyka.onet.pl/

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01. Collide (4:07)
02. Over My Head (4:06)
03. The Last Song For My Resting Place (7:57)
04. Sway (5:24)
05. The Cove (7:11)
06. The Crow (6:00)
07. Wanderlust (8:18)
08. Love Remains (4:53)
09. Awake (4:42)
10. When The Morning Comes (7:56)

Glenn Hughes – Vocals, Bass
Jason Bonham - Drums
Derek Sherinian - Keyboards
Joe Bonamassa – Guitars, Vocals

BCCIV thrives on the contrasting creativity of the seasoned, soulful, 60-something Hughes and the pyrotechnic, Pageian riffery of co-songwriter Bonamassa, at 40 very much the baby of the group. The album was written in four months, and it feels like it’s still fresh from the oven, crackling with hooks and heft. This is no more evident than on opener and statement of intent Collide, which tumbles down the stairs in a manner that reminds of Led Zeppelin’s Black Dog. Over My Head is a more straight-ahead, hit-the-road affair, propelled by Morse-code-style fretboard fumes. It’s matched by the funk-tinged energy of The Crow and Awake. Bonamassa takes over on vocals for The Last Song For My Resting Place, its wistful fiddles and mandolins helping to tell the story of the violinist and band leader on the Titanic who perished while still playing, a shining example of an olde-worlde code of selflessness, then it’s back to business with Sway, a rat-a-tat funk attack with Bonamassa putting in some heavy excavation work in the mid-section.

The Cove represents another shift of mood. Hughes is a member of the Dolphin Project, set up to try to defend this endangered species from mass slaughter, particularly in Japan. It’s clearly a cause extremely close to his heart, and Bonamassa rises to the occasion with turquoise, aqueous atmospherics which elevate to match Hughes’s lyrical swell of anger and rage. Hughes also pays tribute to his departed parents on Love Remains, although its sentiments are a touch belied by the song’s somewhat pneumatic riff. Wanderlust is a further, lovely shift of gear, lifted by Sherinian’s grand piano, a touch of mobility and lightness in contrast to the heavy duty carried out elsewhere.

Finally there’s_When The Morning Comes_, which rolls like mists down a hill, in keeping with the song’s lyrical theme of returning home and the security of the ‘brotherhood’ of the four members of Black Country Communion. Certainly, in the often fractious world of heavy rock there’s a sense of chemistry and camaraderie in BCC which will ensure that they can carry on down the line for some time yet. ---David Stubbs, teamrock.com

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1. Revolution Of The Machine (Intro)
2. Black Country
3. One Last Soul
4. Crossfire
5. Save Me
6. The Battle For Hadrian’s Wall
7. Beggarman
8. Faithless
9. Song Of Yesterday
10. I Can See Your Spirit
11. Cold
12. The Ballad Of John Henry
13. The Outsider
14. The Great Divide
15. Sista Jane
16. Man In The Middle
17. Burn

Musicians:
    Glenn Hughes – bass, lead vocals, backing vocals 
    Joe Bonamassa – guitar, backing vocals, lead vocals 
    Jason Bonham – drums, backing vocals
    Derek Sherinian – keyboards

Black Country Communion release a double album called Live Over Europe on DVD and Blu-ray, featuring the remarkable bassist and vocalist Glenn Hughes from Deep Purple, Joe Bonamassa as guitarist and vocalist, former Dream Theater member Derek Sherinian on keyboards and Jason Bonham from legendary band Led Zeppelin (also son of former Led Zeppelin drummer John Bonham). The first disc includes high definition footage and surround sound of 18 tracks played through a variety of cities including Vigevano (Italy), Munich, Hamburg, Berlin (Germany), and venues across the UK. The second disc features a 20-minute video of the making of the album and a series of photo collections.

Recently the album has been released as just two audio CD’s, opening with the epic intro “Revolutions of the Machine,” giving a grand build up for the second track “Black Country” that kicks off with a brilliant bass riff from Glenn Hughes. The rock stars are as old as the music they play, but from what a lot of people can remember they have turned it into a much heavier scale almost boarding heavy metal but humoured out with the integrity of blues; mainly resonated by the talents of Joe Bonamassa on guitar. Joe is certainly capable of boarding it in reverse at times as he allows himself to get carried away with finger tapping and shredding creating a dynamic fusion. It’s obvious to say their fan base has not let them down as each city performed in has received a huge outcome of rock hungry spectators. The amount of energy ignited can easily be said that it’s sparked off from Jason Bonham drum rolls driving the performances into a crowd bouncing, fist pumping, classic rock concert. The darkness in the music undoubtedly comes from Dererk Sherinian, (being in Dream Theater is not hard to believe). Holding a dread of notes on keys gives a backdrop of seriousness in the music, though when taking the spotlight and performing his solos, a transition of relief arises as it molds back into the roots of soulful blues and melodic rock.

The double album was a good way for the band to prove what they can deliver on stage and show off their respectful feedback from the crowds. Working with producer Kevin Shirley is a definite high level of musicianship and originality as Shirley’s standards goes back to bands such as Aerosmith, Iron Maiden, Billy Joel, Bon Jovi, Metallica and many more iconic bands. Tracks such as “Man in the Middle” and “The Outsider” are a good example of heavy rock blues that helps sell out their concerts at small or large venues. All in all, it seems that going to a Black Country Communion concert is a good activity, whether it’s to hang in the back and nod from a distance or jump around at the front and let the music take you away. It’s hard to believe you would want to be doing anything else with your day. The band is ready to start recording their 3rd album later this year. ---George Podaras, bluesrockreview.com

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