New Music Review: Black Label Society – Unblackened

                My only real complaint about seeing Black Label Society this summer was the fact that the set was so short that we weren’t able to delve deeper into the BLS catalog, particularly the acoustic and more “southern rock” type of songs that popped up every once in awhile on a new release, but were really the bread and butter of Zakk’s two solo albums and the understated BLS classic Hangover Music Volume VI.  Much to my surprise, Zakk was apparently saving all of that for September as the new Black Label Society album was released highlighting most of those softer songs.  Now don’t get me wrong, softer doesn’t mean it’s any lesser in quality than what has come before it, it’s just different. 

                The double concert album Unblackened is not an unplugged-style album like you would expect from mid-90s bands trying to gain a shred of legitimacy.  It is a full concert album that just focuses on some of the songs that you don’t generally hear at a Black Label Society show, or on a Black Label Society concert CD/DVD.  Zakk even throws in some of his staples but generally plays them at a softer level than the Black Label Society that we know and love.  This is complete with a rendition of “Stillborn” that is as haunting as it is expertly executed.  What Zakk and the boys remove from their songs in terms of the “punch in the mouth” that you usually associate with the band, they replace with a haunting creepiness that fits so well. 

                The album is not all concert though as halfway through disc two we are treated to some acoustic covers (“Ain’t No Sunshine When She’s Gone” and “Song for You”) as well as acoustic reimaginings of some of his classics like “Won’t Find it Here” and “Queen of Sorrow”.  This features more work on the piano than many of the originals may have possessed as well as some new guitar solos that aren’t present in the original versions.  Zakk has always been great at picking the right songs to cover (“Whiter Shade of Pale” and “Heart of Gold” being two of the many standouts) and this album is no exception.  He retains the spirit of the originals while making them his own with his voice as well as his guitar-work. 

There’s one thing about this album that is a little different than many Black Label albums in the past.  The guitars are not as in your face as they usually are.  Sure, you will get the requisite Zakk-solo, and BLS stalwart Nick Catanese is ever present with his rhythm guitar undertones, but by playing up the piano and the vocals a bit and letting the guitars be more in the background, Black Label Society has adapted their style for a wider audience.  You could very easily give this album to anyone that likes rock music and have them find it palatable, which cannot be said for every other album in the BLS catalog.  Black Label Society in general based on their very nature, has created legions of fans throughout the world, and the accessibility of this album will just help to reinforce that bond.

If you like Black Label Society, or just good music in general, you owe it to yourself to pick up this album.  It’s a perfect representation of the versatility of the greatest guitarist of his generation.