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BLACK STAR RIDERS
All Hell Breaks Loose

Nuclear Blast (2013)
Rating: 7.5/10

Black Star Riders formed in 2012 from the ashes of the modern, touring incarnation of Thin Lizzy. The material here was considered for use under the Lizzy moniker but the band members decided against it and so formed Black Star Riders, a five-piece featuring Ricky Warwick (vocals; The Almighty), Scott Gorham (guitar; Thin Lizzy), Damon Johnson (guitar; formerly of Alice Cooper and Brother Cane), Marco Mendoza (bass; ex-Blue Murder) and journeyman Jimmy DeGrasso (drums; formerly of Y&T, Alice Cooper, Suicidal Tendencies and Megadeth amongst others).

Much of the music on Black Star Riders debut album, All Hell Breaks Loose, was written by Johnson, with lyrical input from Warwick, and what a fine little rocker of a record this is.

Considering how disappointed I was by Voodoo Six’s Songs To Invade Countries To (2013), I’ve been literally gagging for a hard-edged rock ’n’ roll album with British influence for a long time. All Hell Breaks Loose has quenched my thirst.

Opening with the infectious title track, one thing is clear; Black Star Riders are far better as a separate entity to the Thin Lizzy dynasty. These guys know full well how to go straight for the jugular with a brand of metal that doesn’t buckle to trend, but instead keep things simple yet effective.

Sure, it’s a little clichéd at times, but hell, AC/DC have been playing the same notes for several decades and are still one of rock’s greatest bands. In Black Star Riders we have an earthy, British-sounding equivalent to all those current American acts claiming to know what rock ’n’ roll is all about, but give me this style of streetwise metal over Hardcore Superstar any day.

The guitars here are driving, the vocals soulful yet gritty and the percussion is tough and in your face, as one would expect from a bunch of musicians who’ve been around the block.

‘Bound for Glory’ is admittedly Thin Lizzy-esque in that guitar sound and drum strut, with Warwick intent on aping the great Phil Lynott, and if anything, despite its attitude, I’d have rather this cut been left off the opus as it does stand more as a Lizzy tribute.

Elsewhere, we have the Gaelic sway of ‘Kingdom Of The Lost’ with its catchy riff, evoking images of mountain mists and drunken sing-a-longs, but it’s probably the weakest track on offer. ‘Bloodshot’ is far more pumped up, featuring a sturdy Mendoza bass, while ‘Kissin’ the Ground’ features a killer riff and the album’s most accessible, pop-tinged chorus.

There are times on All Hell Breaks Loose where Warwick’s vocals do become slightly irritating, and I can see why these songs were considered for a modern Thin Lizzy record, and at times I wish the vocals were re-done to sound less Lynott-sounding, but for the most part the album works. ‘Hoodoo Voodoo’ is a real groover, as is the galloping ‘Valley Of The Stones’ and the moody ‘Blues Ain’t So Bad’.

Black Star Riders are a good old fashioned rock ’n’ roll outfit, and if they can escape the fact they’ve previously been touring as Thin Lizzy, then a follow-up album bodes well for the band.

Neil Arnold

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