Tag: house of lords (Page 1 of 2)

Bearing little resemblance to the band that recorded their first three albums from ’88 to ’92, this incarnation of House of Lords may just have released their strongest album since the awesome Demons Down. This album sees the introduction of one Mark Mangold of Touch fame on keys and songwriting to beef up the line up.

Jimi Bell on guitar is this band’s secret weapon, however. As a killer riffmeister and soloist, he really drives the band along and it’s the songs where he features most that are my favourites. In fact, the title track is my favourite song on the whole record. A ripping opening riff and groove drive this beast of a tune along and that main hook and chorus are just superb.

Of course, with this being a Frontiers release we have the obligatory issues with the pressing. Last track on Side 1, Cry Of The Wicked, skips like a CD when knocked so we know that this pressing is from a digital source. Plus, the surface noise on Side 4 is so loud it spoils the listening experience.

Musically it’s a 9/10 but the pressing quality is 4/10 from The Grooveman.

This is album number seven for House of Lords, since their comeback in 2004. It goes like most of their modern releases: huge, fat, crunchy guitar, lots of keys, and plenty of melody in the choruses. Jimi Bell is the secret weapon here as he can throw out some serious heavy riffs seemingly at will, with the added bonus of being a top drawer shredder.

Killer opening with Go To Hell. It’s got maximum riffage and groove, with a kickass hook and chorus. The title track is up next and this may be my favourite. A nice chugga riff with a great swing to the groove, and I really love the hook and chorus. Third track in and it’s power ballad number one with Pillar Of Salt. The solo is killer though. Maximum riffing and groove returns at 100mph and it’s not a cover of the Vardis tune. I love this one! Call My Bluff closes out Side 1 and it’s an AOR fans wet dream. Lots of keys, and plenty of melody.

We Will Always Be One opens up Side 2 with a whimper as it’s ballad time again. Superb eerie intro to Die To Tell, which gives way to a huge rifforama with a superb melody over the top. Great tune! Another Dream follows and if this was 1984 I would release this as a single. Everything about this song oozes class. Eye Of The Storm is up next and this is the song that I like the least. It feels like a demo compared to the rest. Ain’t Suicidal verges on Prog metal territory in the verse with a great four to the floor groove. The album closes out with Stand And Deliver, and we are going out with a bang. It has a great uptempo driving riff and groove.

Another solid release that they seem to do with ease.

8.5/10 from The Grooveman.

This is album number twelve from these veteran melodic pomp rockers, released in 2020. The only surviving early member is vocalist James Christian, and he is joined here with killer guitarist Jimi Bell, bassist Chris Tristram, and BJ Zampa on the pots and pans.

The title track opens up Side 1 and it is a slick, well produced, killer tune. Great vocal and melody, and as usual Jimi Bell brings the rock. Changes sounds epic right from the get go with the orchestral keyboard intro and we are dipping our toe here in progressive waters. Melodic Prog indeed! One More is up next and this a straight up kick ass rocker. Mr. Bell provides the right amount of riffage, and I love the swing of this one. Ballad number one is next with Perfectly (You And I) and as usual with ballads, the solo is the high point for me. Side 1 closes out with The Both Of Us. Nice riff and a four to the floor groove.

Chemical Rush opens up Side 2 in fine rockin’ style at the intro with a nice fat riff, and I have to say this song feels so familiar. We’re All That We Got follows and is a slick aor melodic monster, with a great hook and chorus. Better Off Broken starts with the usual killer riff and the hook and chorus are really cool, plus it’s my favourite track. $ Bucks Of Gasoline follows and is the only track to have Tommy Denander on guitar. A nice busy riff and groove, with an added earworm chorus. The Chase feels like Aerosmith at the intro and the verse for sure. The album closes out with The Summit and gets the award for most rockin’ track on the record.  

A good album that has been spoiled somewhat by a very noisy pressing.

8/10 from The Grooveman.

This is the second album from these keyboard-led melodic rockers, and it was released back in 1990. The only member that survives today from this line up is vocalist James Christian. Produced by Andy Johns, this album has a killer crisp sound, and your stereo will love you for playing this album.

The album kicks off with Shool and a big keys intro that drops into a great melodic rocker. Chains Of Love has a big hook and chorus with a short snappy solo. The list of guests on this album is huge, and exactly what they do other than bv’s I’m not sure. Steve Winwood’s Can’t Find My Home, the song he wrote for Blind Faith, is next and I think this was released as a single. It’s nearly the same take as the original, at least until the band explodes in. Heart On The Line is up next and is my favourite track on the album. Written by Rick Neilson, it has a huge Cheap Trick vibe and really pounds along. Laydown Staydown closes out Side 1. It’s a classic melodic rock stomper that reminds me a tad of Foreigner.

Pounding drums announce the arrival of Side 2 opener and the title track, Sahara. It has a massive grandiose intro that leads into a classic hair metal anthem. It Ain’t Love is next and it’s super power balladarama, and that is closely followed by soft balladarama Remember My Name, and don’t forget to get those lighters fuelled up. American Babylon is a return to normal service, a kick ass rocker with a big fat riff, just how we like em’. The album closes out with Kiss Of Fire, an over the top rocker, by far the heaviest tune on the album. An improvement on its predecessor but it loses some appreciation for the extra some ballad.

8.5/10 from The Grooveman.