Black Star Riders - All Hell Breaks Loose (Album Review)
Wednesday, 15 May 2013
Written by Daniel Lynch
Nobody needs another history lesson on Black Star Riders. We know that they are an off-shoot of the latest incarnation of Thin Lizzy, and that they’re expected to sound like Thin Lizzy.
So, let’s skip the sweeping statement about how they’ve ‘risen out of the embers’ and ‘shaken off the shackles of the old while embracing the new.’ There’ll be none of that here, thanks.
Truth is, All Hell Breaks Loose, their debut album, is damn good. There are more than a few tips of the hat to one Mr. Lynott, but the songs that sound least like the Irish rockers are those which stand out most.
Opening the album, the title track sets the tone and is a welcome surprise for anyone expecting a second rate Thin Lizzy record. It’s heavy, it’s hard-hitting and it has a collection of catchy riffs and hooks set alight by the Scott Gorham/Damon Johnson partnership, generally culminating in a classic Gorham solo. Bound for Glory, the album’s first single, also has Gorham’s stamp firmly on it. (For a full review of the single click here)
Kingdom of the Lost is a Celtic-infused rocker in the style of an edgier Horslips with Ricky Warwick’s lilting vocals complementing some intricate drumming from Jimmy DeGrasso. Bloodshot is another quick-paced, straight-up rocker driven by the rhythm section of DeGrasso and Marco Mendoza.
Oozing attitude and complete with a gritty verse vocal, Kissin’ the Ground is arguably the album’s standout track. Johnson’s guitar line is an instant attention-grabber and sets up the rhythm of the song perfectly for an explosive dual solo. Any remaining sceptics need look no further.
Hey Judas is well-trodden ground for the Warwick/Gorham partnership, more of a filler and something of a disappointment after the strength of the preceding track. Hoodoo Voodoo shows promise of a recovery before a weak chorus lowers the tone. Along with Someday Salvation the lyrics are more Nicole Sherzinger or Iggy Pop’s effort on Slash’s debut release than something you’d expect from a band of BSR’s composition. This quartet of cringe is a real downer and by the second chorus of ‘Sha Na Nas’ in Someday Salvation it seems that the album might have peaked at track five, less than half way through.
Fortunately, that’s not the case. Sandwiched in between the slump is a stomping track of a much higher standard. Valley of the Stones recovers at least some of the early momentum. The highlight here is the work of Mendoza and DeGrasso before a solo exchange reminiscent of the very best Lynyrd Skynyrd, Whitesnake or Iron Maiden.
The penultimate track, Before the War, is a darker affair as Warwick creates a deeper persona than in previous tracks, one of a man empowered by struggle. It seems almost incredible that such evocative lyrics could sit alongside those of Someday Salvation or Hoodoo Voodoo, but Before the War is one of the album’s more memorable songs.
Blues Ain’t So Bad finishes the album on a high. Driven by drums and bass, interspersed with blistering guitar work and finished off with a top quality Warwick chorus it’s not the most upbeat track on the album but it’s certainly among the strongest. Culminating in a blues jam of contrasting Gorham/Johnson solos right up to the six minute mark, this is the most experimental track on the album and a break from the traditional rock of the other tracks.
Minus a few middling efforts, All Hell Breaks Loose is a good album from a band much maligned for a history they can do nothing about. It’s encouraging to hear the influence of Damon Johnson, particularly in the writing, while Warwick’s lyrics have the same power those of the best story-telling songwriters, particularly in the verses.
On something of a transitional album, Black Star Riders might have included a few songs aimed at casting the net around the loyal Lizzy fans who remain sceptical, retaining the classic sound. Luckily they haven’t, and their new look suits them just fine.
Fri November 22nd 2013 - BOURNEMOUTH O2 Academy Bournemouth
Sat November 23rd 2013 - LONDON O2 Shepherds Bush Empire
Sun November 24th 2013 - BRISTOL O2 Academy Bristol
Tue November 26th 2013 - CAMBRIDGE The Junction
Wed November 27th 2013 - NORWICH Norwich Uea
Sat November 30th 2013 - WOLVERHAMPTON Wulfrun Hall
Sun December 1st 2013 - CARDIFF Cardiff Solus
Mon December 2nd 2013 - OXFORD O2 Academy Oxford
Thu December 5th 2013 - INVERNESS The Ironworks
Fri December 6th 2013 - EDINBURGH The Picture House
Sat December 7th 2013 - NEWCASTLE UPON TYNE O2 Academy Newcastle
Sun December 8th 2013 - LEEDS O2 Academy Leeds
Tue December 10th 2013 - LEAMINGTON SPA Leamington Assembly
Thu December 12th 2013 - NOTTINGHAM Rock City
Fri December 13th 2013 - MANCHESTER The Ritz
Sat December 14th 2013 - DUBLIN Academy
Sun December 15th 2013 - BELFAST The Limelight
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So, let’s skip the sweeping statement about how they’ve ‘risen out of the embers’ and ‘shaken off the shackles of the old while embracing the new.’ There’ll be none of that here, thanks.
