On 29th December 2010, I took my seat to watch what was, in my opinion, the best hard rock band in the world at the time play its first show.
On the 2nd January 2018, I was in the same place, Wolverhampton Civic Hall, to watch them play one of their last.
In my review that night, I wrote: “They are the messengers. This is their prophecy. And tonight, they were back where they belong. In the Black Country.”
You see, in those eight years, Black Country Communion had released four of the best albums of the decade. Indeed, you could argue that they had possibly the best run of albums that any hard rock band had ever produced.
All of this meant that when they announced their return, the anticipation was higher than it usually is.
And, as I have established my fan credentials, I am acutely aware that it might seem like bias when I say this, but here we go: “V” is utterly sensational.
Everything that has ever been great about them is right there on the intro of “Enlighten,” and that’s before the vocals kick in. Does anyone doubt that the chorus wouldn’t explode? Oh, come on. Bombast is embraced here, not shied away from.
The drums on “Stay Free” thunder, though the song is as funky as they’ve ever been. If you stay free, you can do what you like, I guess? That’s the vibe here.
Another of the tasters from the album, “Red Sun,” has as dark a texture as BCC has found, as if to prove this is no blind copy (sorry!) of the past.
Then they do blues in a very Zeppelin-esque way (the Black Country bands sticking together?) and if I’ve very deliberately not mentioned “the band” here, you have to.
You all know who they are, but four of the finest players of the era, all together, man, sparks are going to fly.
There’s a real energy to “Letting Go.” No one sings like Glenn Hughes anyway, but he sounds so invigorated here.
Joe Bonamassa, who always relishes testing himself it seems, is evidently Having so much fun on “Skyway” and the likes it should be illegal, and it is absolutely striking how muscular this is. If it goes without saying, almost, that it’s going to soar, then “You’re Not Alone” is more or less stratospheric.
When the pace does slow, just a touch, on “Love And Faith,” then Derek Sherinian’s keys change the dynamic. And if you’ve got a Bonham on drums, then you attempt this level of “Kashmir”-like grandiosity.
If that one is epic-sounding, then “Too Far Gone” doesn’t have excess fat. It sounds big, but that’s only natural. None of these men do sparse.
What they have, though, is an innate ability to craft class. Premier League performances abound throughout, but the intricacies of “The Open Road” underline that one last time.
As any sports fan knows, a great squad doesn’t always make for great results. It does here.
This first album in seven years could have been one of those things that was better left alone. A sort of “Don’t jeopardise the legacy” thing.
That’s not the case here. Black Country Communion still had plenty to say. Maybe the rather abrupt ending meant some unfinished business? Only the quartet truly know.
Whatever “V” is, it’s a fantastic addition to an already incredible canon.
Rating: 9.5/10
REVIEW: BLACK COUNTRY COMMUNION- V (2024)
Published:
