GALLERY: HRH XI shots Part Two

Our second gallery from HRH XI, this time from Darren McVeigh:

ALBUM REVIEW: Maturity achieved by Black Star Riders on release number three, Heavy Fire

THE third album for newish acts is when the heady air of being in a new band has faded and its time to see whether you've gotten over the 'difficult' second album. But what about if you are an experienced group of musos, with a lengthy track record. What does LP #3 mean then?

With a festival tour under the banner of Thin Lizzy last year album number three couldn't have come soon enough for Black Star Riders as an entity in its own right, and 'Heavy Fire' is the release them from the shadows of Lizzy, The Almighty et al.

There is still a vague hint of Lizzy's legacy in places here, but this - as great as 'All Hell Breaks Loose' and 'The Killer Instinct were - is when any tags, any wondering at the band's longevity can be cast aside and Black Star Riders mount their steeds and the hoof beats thunder.

In songwriting terms this a complete set of 10-songs that are true and walk through your speakers with a confidence, and a sure swagger that establishes itself from the off with the title track 'Heavy Fire', which with its slowed down mid-section takes a listen or two before it clicks.

'When The Night Comes In' is perhaps the track with the most similarity to Lizzy, but the rest of the album is BSR through and through. Any shackles that may have held them back in other people's perception are thorn off and this is a band that kicks you firmly in the aural tract.

Scott Gorham adds the licks and Damon Johnson and Ricky Warwick serious amount of riffage. One senses that after Warwick and Johnson toured with a couple of acoustics and Warwick played on hi Fighting Hearts tour there were a collection of songs to bring to the collective BSR stable for completion. Something Warwick seems to confirm in the blurb accompanying the album.

“I had the album title almost a year before we started recording,” he aid, “and it refers to the fact that there’s so much going on in the world right now, and we’re bombarded constantly with information and technology designed to make our lives better and easier, but yet we don’t really have a clue where we’re going as a species. It’s kinda asking about how we deal with all that, how we negotiate our own paths in these sometimes dark and dangerous times.”

However they arrived at the songs they surge from your speakers. There are huge choruses, interesting arrangements and a wee surprise in the shape of the wonderfully balanced, laid back 'Cold War Love'.

Warwick's gift of the gab in weaving tales is on display, whether they are deceptive tracks about romance and lust ('Dancing With The Wrong Girl'), disgust at the lack of gun control in the USA ('Who Rides The Tiger') or warning relatives about their path ('Ticket To Rise) the storytelling matches each musical arrangement.

What makes this the band's strongest outing is the breathing space within each track. When  producer Nick Raskulinecz sat the band down in the studio in Franklin, Tennessee his ear and the band's collective experiene melded, with Robbie Crane and Jimmy DeGrasso making sure that the rhythm section doesn't allow itself to run away no matter how fasrt-paced the tracks.

When the album closes with the up-tempo 'Letting Go Of Me' such is the strength of the 10-tracks that clicking 'repeat' comes naturally.

Black Star Riders have produced a superb album, but as Johnson says it will be the fans who will decide if it matches their previous outings.#

“I think it’s the most solid piece of work that we’ve done,” he said. “Do we have songs on this album better than 'Blindsided', better than 'The Killer Instinct', better than 'Finest Hour'? I think so, but beyond that I think that our audience is going to recognise this as a complete work from top to bottom. We’ve grown as songwriters, we’ve grown as musicians, and I think you can hear that in the record we’ve made.”

That growth is apparent, mature measured and ready to take on the rock world. And, with an increasing collection of Black Star Rider's songs perhaps live there won't be such a reliance on Thin Lizzy tracks...

Review by Jonathan Traynor

Heavy Fire is out Nuclear Blast on February 7th

NEWS: Black Star Riders new album and tour including Belfast March slot

BLACK Star Riders play Belfast on March 5^th as part of a full UK tour in support of their new album ‘Heavy Fire’, set for release in early 2017.

After a full year off the road, Black Star Riders  (Ricky Warwick, Scott Gorham, Damon Johnson, Robert Crane and Jimmy DeGrasso) will play a 16-date UK & Ireland run, joined by Gun and The Amorettes.

Ricky Warwick said: “It seems like ages since we did the Leppard / Whitesnake tour so we are all really looking forward to be back out on the road with BSR.

“Our third album will be out just prior to the dates so it’s going to be great to play tracks from that along with favorites from the first two records also.  Having my old friends from Gun and The Amorettes out with us too is just icing on the cake to make a great tour!”

The band are currently in the studio in Nashville, once again with producer Nick Raskulinecz putting the finishing touches to ‘Heavy Fire’. Scott Gorham said: “It’s great to be back with Nick, after such a great job on The Killer Instinct it was a no brainer to continue the relationship and this album is going to blow everyone away”.

Following on from their critically acclaimed albums ‘All Hell Breaks Loose’ and ‘The Killer Instinct’ which have paved the way for Black Star Riders to be recognized as a power force in the modern day of rock n’ roll, ‘Heavy Fire’ will be once again released by Nuclear Blast Entertainment.  The band have also brought in Pledgemusic, one of the most innovative and successful platforms of the modern music world, to give fans extra special product and experiences to go along with the album’s release.

The tour lands in Ireland on Saturday, March 4th, with a slot at the Academy, Dublin before playing the Limelight on Sunday, March 5^th.

ALBUM REVIEW: Black Star Riders beginning to establish their own identity on The Killer Instinct

THE Black Star Riders are to many an enigma. Emerging from the ashes of Thin Lizzy's dying embers, their last album 'All Hell Breaks Loose' there was a definite whiff of compromise between the Lizzy template and Ricky Warwick's powerful influence.

Certainly some hardcore Lizzy devotees (including our contributor Baal) found the whole thing distasteful, but it was, if nothing else, a bridge between the past and the present.

The latest album, 'The Killer Instinct' sees Black Star Riders move on from that 'bridging' period; and while Scott Gorham's guitar work still harkens back to Lizzy, Warwick can now be see to be influencing the way forward.

Album opener and title track 'The Killer Instinct' has a Lizzy cover version feel, only salvaged by the lyrics, but 'Bullet Blues' sees the band adopt a contemporary hard rock sound.

Certainly  evident is that Warwick and Damon Johnson are taking on the bulk of song writing chores.

A defining moment on the album is the fourth track, 'Soldierstown', which sees Warwick's personal observations of Belfast married with a Celtic vibe that simply portrays a vision of despair.

But, there are flaws on this release. 'Charlie I Gotta Go' at times seems lazy, only redeemed by the pre-chorus and the solos.

However, following that is the six-minute 'Blindsided'. Balladic, with bathos and pathos in equal measure. One word - beautiful.

The flawed but enjoyable 'Through the Motions' opens with a riff that seems to be going...well through the motions, but the tune develops and grows, especially at the concluding bridges.

And, in terms of bridges, 'Turn in Your Arms' muscular riffs and solos showcase the transition between an ex-Lizzy sound and hard rock as it sounds in the 21st Century.

Closer is a seven minute plus semi-epic in the shape of 'You Little Liar', which to be honest seems to be a song that will only evolve in the live environment.

Stepping back to take an objective approach - as opposed to the subjective fan of Lizzy and The Almighty - what Black Star Riders have accomplished is a significant step towards their own identity.

With the evident growing writing influence of Warwick and Johnson one can only hope that with this and subsequent releases they will have less need to cover Lizzy on stage and can be recognised for their achievement rather than rely on legacy.

The Killer Instinct is available now on Nuclear Blast.

Review by Jonny

Rock Royalty raise the roof as Black Star Riders shine

THERE are sometimes when past glories can overshadow individuals and bands, but there are other instances when those past glories are synthesised by a rare alchemy into a heady mixture of fine rock and finer still stage performances.

Black Star Riders and Dead Daisies proved on Sunday, December 15th at Belfast's Limelight1 that nothing can stop rockers when they show up with great tunes and a great attitude.

Faced with opening for a galaxy of star rockers many bands would be intimidated, but Hampshire's Western Sand took the stage with a swagger and style that shone through in songs rooted in straightforward, heads down rockin' out.

Despite being hampered by having drummer Nathan being isolated from the rest of the band the honest professionalism and energy evoked a positive response from the gradually filling venue.

Findlay on bass was a bundle of energy, while Jimmy and Tyler led from the front; solid stylish vocals and a twin guitar attack to flay. Western Sand showed not only potential but a clear intent to develop and grow as a band.

Dead Daisies are on paper the archetypal rock supergroup, with a collective CV that includes INXS, the Rolling Stones and Guns 'n' Roses and Disney....

With an impressive album [review here] under their belts it would have been an easy task to turn up and just ride the wave of that album's critical acclaim - but not Dead Daisies; they came to Belfast intent on raising the roof.

Jon Stevens has a helluva set of pipes and they were deployed to good use. And a killer combination of being a strong frontman and appearing relaxed in the role won the crowd over from the off.

With Dizzy Reed adding keyboard flourishes his Gunners colleague Richard Fortus delivered stunning solo after stunning solo; a truly par excellence performance.

Tracks like Washington and Miles in Front of Me emerging from the album invigorated in the live environment, the band also - in the words of Stevens - road tested new songs; all of which resonated with solid rock credentials firmly established by the time each chorus arrived.

Bassist Darryl Jones (unusually using a music stand and notation for each song) and David Lowry on rhythm guitarist were locked in tight with Charlie Drayton on drums; this trio forming a solid basis for other band members to allow each song to grow stage legs.

Concluding with a stormer cover of The Beatles Helter Skelter Dead Daisies have all the elements that both win a crowd's backing and also to have that same crowd baying for more.

The Black Star Riders have emerged phoenix like from the remnants of a post-Lynott Thin Lizzy. An album, originally intended to be released under the Lizzy monicker, balanced the heritage of Thin Lizzy and a new intent to produced songs that have a unique identity. [Review here]

But on stage is the real test. Can a fine line be trod that links the past and the present? Achieving that Black Star Riders have an ace in the pack - singer Ricky Warwick. Appearing as part punk-cowboy desperado and part hellbound rocker Warwick dominates the stage, oozing charisma and performing with well-executed stage routines. Whether with mic stand held aloft or with guitar strapped on his frame Warwick proved why he is becoming one of the top frontmen in hard rock.

With a setlist drawing on BSR material and well-executed Lizzy tracks Scott Gorham and Damon Johnson delivered harmony pieces and solos that were note perfect when required and fluid when they took on adventurous six-string work.

BSR songs Bound for Glory and the excellent Kingdom of the Lost shone through, with new breath on stage and an energy  most acts would struggle to match.

Bassist Marco Mendoza laid down a solid performance, while at the same time showing himself as a performer for the audience - while all the time locked into Jimmy DeGrasso's drum lines.

Classic Lizzy tracks were delivered faithfully, and at times new twits were introduced such as in the Cowboy Song intro. Southbound, Don't Believe A Word, The Boys Are Back in Town, Emerald and Jailbreak delivered the crowd into the hands of the band members.

All Hell Breaks Loose and Hey Judas were also notable moments, but to try and analyse each track and each performance would be a disservice to BSR. The sum of the parts are a tsunami of rock; a masterclass for aspiring hard rock acts.

Rock royalty is sometimes perceived as a lazy bunch, re-treading the past. Such perceptions were blown aside in the Limelight1 on Sunday as aspirants Western Sand showed swagger need not be about arrogance when you deliver; Dead Daisies showcased how rock can meld together Antipodean power and US-style; while Black Star Riders just laid down sheer rock 'n' roll joy. Joy through hard rock - you just can't beat it!

Has the ghost of Thin Lizzy been laid to rest by the Black Star Riders?

WHEN the Sex Pistols released a compilation of songs they'd already released it came under the title of Flogging a Dead Horse. To a certain extent, when Thin Lizzy were touring last time there was a feeling that it was a tribute show rather than the real thing - the songs were there, the feeling was there, but the creativity was straining at the leash - it was time to stop flogging the horse...

With long term fans and those closest to the Lizzy legacy uncomfortable with 'new' material being released under the Thin Lizzy monicker it was a wise choice to adopt a new name and strike out in their own direction.

With only Scott Gorham from the 'original' line-up remaining - following the amicable departure of Brian Downey and Darren Wharton - all members of the band had to settle on what direction they would take under their new name, Black Star Riders.

The band will play Belfast on Sunday, December 15th. With those dark nights distant in the hazy sunshine it is time to reflect on the debut release, All Hell Breaks Loose.

The promised Lizzy vibe is there, as promised by Gorham, especially on Bound for Glory - which has an echo of Southbound - and Kingdom of the Lost.

However, the band seem to be stretching beyond the past glories and the high bar set by the late, great Phil Lynott, no less than on tracks such as Kissing the Ground, which has an FM radio sensibility, but the twin harmony guitar breaks that keep their roots firmly in place.

Equally Hey Judas has Ricky Warwick echoing Lynottt without trying to copy him. This mid-paced song has hooks a plenty and a tasty solo leading into the twin harmony.

The appeal of Lizzy was the strong songwriting, matched by both serious lyrics and occasional whimsy of heartbreak and romance such as Dancing in the Moonlight, On Someday Salvation that light touch is evident and it lodges in the brain...

With Gorham and Damon Johnson taking on the majority of the song craft Warwick produced a set of lyrics surprisingly well balanced, a deft touch on the songs suited for radio, and more insightful such as on the Blues Ain't So Bad, with even an echo of his beloved Stiff Little Fingers in some of the passionate words.

Overall All Hell Breaks Loose at times seems like the band is trying to firm up its own identity, and Kevin Shirley's production, while excellent as usual, could have boosted some elements and been more watchful of some of Warwick's word structuring to avoid unfair comparisons with Lynott.

This is not a Lizzy album, but Black Star Riders are beginning a journey which it can be hoped more will come. The songs are ripe for the live setting. It is by no means a perfect album and the shout refrain in Hoodoo Voodoo is simply inappropriate, ruining a great song.

It is also an album that bears repeated listens - with several tracks just simply exquisite such as the previously mentioned Someday Salvation.

What is more the promise within is that Black Star Riders can evade the shackles of comparison's with the past as they develop on the stage and their next release. This is a a seven out of 10 album on first listen, with more listens making it an 8.5 out of ten.

Has this laid the ghost of Thin Lizzy to rest peacefully? Probably not yet, but it can rest as long as the Black Star Riders carve out their identity in the future.

Roll on the Belfast show in Limelight1 in December.

Footnote for Northern Ireland readers: Ricky Warwick is known as a passionate Glentoran fan, yet he titled a song 'The Blues Ain't So Bad'. Is this a reference to Glentoran's arch rivals Linfield, known throughout Belfast as the 'Blues'? Somehow we think not!

Is it Lizzy or not?

THIS coming Friday 'Thin Lizzy' tickets for a Waterfront Hall performance on 16th February.

That they will be fronted by Ricky Warwick has caused much consternation on a variety of bulletin boards and numerous social media sites.

But is it Thin Lizzy in anything bar name?

Warwick is among the first to acknowledge that no-one could ever replace Phil Lynott, and only Scott Gorham and Brian Downey could realistically claim to have been 'proper' members of Lizzy (okay Darren Wharton was on a couple of tours).

Is this a semi-legit tribute to Lizzy's glory days, with some 'old hands' like Vivian Campbell and Marco Mendoza along for the ride?

Or is it a cynical attempt to cash in on the Lizzy legend?

Or is it a legitimate attempt to keep the memory of Lizzy alive for a new generation of fans and conjure up memories for those longer in the tooth?

I honestly don't know.

Ricky Warwick is a hard-working musician (check out his acoustic set at the Spring & Airbrake on 2nd October to hear more of what he can do!), and much as I find Campbell's attempt to distance himself from his metal roots distasteful he is still a damn fine axeman, I am still in a quandry as to whether there should even be a reference to the February 16th set as a Lizzy gig.

Answers on a postcard....