Black Star Riders "All Hell Breaks Loose" Album Review - To Be Thin Lizzy, Or To Not Be Th
When does emulation become parody? It really is the dilemma that faces you when you take a listen to Black Star Riders "All Hell Breaks Loose" album.
But it is a dilemma that takes on a completely different aspect when you consider that the band is also the 'current' incarnation of Thin Lizzy.
Confused? Well, let me explain.
Thin Lizzy, classic rock masters of the 70's and early 80's ended to all intents and purposes with the death of leader Phil Lynott in 1986.
Technically, it ended before then as the band had disbanded and Lynott was undertaking a solo career.
The primary elements that gave Thin Lizzy its unique take on classic rock were very much rooted in the vocal style, storytelling and presence of Lynott.
And, its twin guitar harmony lines.
So much so that it is very valid to question whether there can be a Thin Lizzy without Phil Lynott.
Well, that question was put to the test in 2010 when guitarist Scott Gorham, former Lizzy band member, formed a Thin Lizzy reunion with original drummer Brian Downey, keyboardist Darren Wharton, bassist Marco Mendoza (is there a band Mendoza has not played in?) and vocalist Ricky Warwick.
The lineup was joined by Vivian Campbell on guitar, and variously from that period Richard Fortus and finally Damon Johnson.
The reformed Thin Lizzy toured and performed the classic material to great reception, however at some point Gorham decided that the band should record original material directly influenced by the Thin Lizzy legacy.
It has variously been reported that the Lynott estate was uneasy with the band using the name on new material, and that the actual members themselves were reticent, however the band name on the new material soon emerged as something new ('Black Star Riders') and minus Downey and Wharton who were weary of a long tour.
Jimmy De Grasso came in on drums.
Got that? With that background, this statement will not really surprise you.
This record sounds like Thin Lizzy.
Well, let me correct that statement, it sounds like an imitation of Thin Lizzy.
Because as I intimated above, no one can quite turn a phrase in that syncopated rhythmic way like Lynott could.
The songs are neat, tidy rock songs with a tight classic rock sound.
The harmony lead guitars are there, and they sound very Lizzy-esque.
The story telling element of the lyrics is there too, though the effect is not the same journey as the classic material.
The sound is courtesy of Kevin Shirley in the production chair, though it is fair to say that the album does not really sound too produced.
Which, given the way Kevin Shirley likes to manage his projects I am sure he would take as a compliment.
However it is missing a little bit of punch that he managed to get on, say, Black Country Communion records.
But, it does come back to a simple fact for this listener.
If you took the classic Thin Lizzy albums like "Jailbreak", "Live and Dangerous" or "Bad Reputation" and took Phil Lynott out of the equation, what do you have left? Well, a decent band.
But the element that made them special would be absent.
And, for all that I like the story of this album, that is what you really get when you listen to it.
A decent band, but without that extra 'something' to make them special.
Still, listening to it does harken back to a bygone era of rock.
And that is no bad thing.
But it is a dilemma that takes on a completely different aspect when you consider that the band is also the 'current' incarnation of Thin Lizzy.
Confused? Well, let me explain.
Thin Lizzy, classic rock masters of the 70's and early 80's ended to all intents and purposes with the death of leader Phil Lynott in 1986.
Technically, it ended before then as the band had disbanded and Lynott was undertaking a solo career.
The primary elements that gave Thin Lizzy its unique take on classic rock were very much rooted in the vocal style, storytelling and presence of Lynott.
And, its twin guitar harmony lines.
So much so that it is very valid to question whether there can be a Thin Lizzy without Phil Lynott.
Well, that question was put to the test in 2010 when guitarist Scott Gorham, former Lizzy band member, formed a Thin Lizzy reunion with original drummer Brian Downey, keyboardist Darren Wharton, bassist Marco Mendoza (is there a band Mendoza has not played in?) and vocalist Ricky Warwick.
The lineup was joined by Vivian Campbell on guitar, and variously from that period Richard Fortus and finally Damon Johnson.
The reformed Thin Lizzy toured and performed the classic material to great reception, however at some point Gorham decided that the band should record original material directly influenced by the Thin Lizzy legacy.
It has variously been reported that the Lynott estate was uneasy with the band using the name on new material, and that the actual members themselves were reticent, however the band name on the new material soon emerged as something new ('Black Star Riders') and minus Downey and Wharton who were weary of a long tour.
Jimmy De Grasso came in on drums.
Got that? With that background, this statement will not really surprise you.
This record sounds like Thin Lizzy.
Well, let me correct that statement, it sounds like an imitation of Thin Lizzy.
Because as I intimated above, no one can quite turn a phrase in that syncopated rhythmic way like Lynott could.
The songs are neat, tidy rock songs with a tight classic rock sound.
The harmony lead guitars are there, and they sound very Lizzy-esque.
The story telling element of the lyrics is there too, though the effect is not the same journey as the classic material.
The sound is courtesy of Kevin Shirley in the production chair, though it is fair to say that the album does not really sound too produced.
Which, given the way Kevin Shirley likes to manage his projects I am sure he would take as a compliment.
However it is missing a little bit of punch that he managed to get on, say, Black Country Communion records.
But, it does come back to a simple fact for this listener.
If you took the classic Thin Lizzy albums like "Jailbreak", "Live and Dangerous" or "Bad Reputation" and took Phil Lynott out of the equation, what do you have left? Well, a decent band.
But the element that made them special would be absent.
And, for all that I like the story of this album, that is what you really get when you listen to it.
A decent band, but without that extra 'something' to make them special.
Still, listening to it does harken back to a bygone era of rock.
And that is no bad thing.