March 31
Words by Kris Peters
Music is basically always a sum of what has gone before.
Pretty much every song or album draws influence from classic (or sometimes not so classic) bands of yesteryear, but it’s how you use those influences and make them into something more your own that generally determines the levels of success.
When Last In Line formed in 2012 they didn’t have to worry about ripping off from the best – because they had already been the best.
Formed after the passing of Ronnie James Dio by drummer Vinny Appice, bassist Jimmy Bain, guitarist Vivian Campbell, and keyboardist Claude Schnell, Last In Line comprised members who had played with and beside Ronnie James and was formed with the sole purpose of reviving the music developed by themselves and the great man.
Following the addition of vocalist Andrew Freeman, Last In Line set about fulfilling their musical pledge until the sad passing of Jimmy Bain. With the introduction of Phil Soussan on bass, Last In Line continued on their own trajectory which culminates with their third studio album, Jericho, which will be released on March 31.
After already chatting with Soussan it is with excitement that I sit down to review this album, so let’s dispense with the formalities and get into it, shall we?
Opening with Not Today Satan on the back of an engaging drum roll followed by soaring guitars it’s pretty obvious this is going to be a rock album of the highest degree.
It’s hard to put into words that feeling you get when a song is on point. It makes the hairs stand all over your body as that feeling of euphoria sweeps into your ear canals and for that split moment everything is right with the world.
Well, that’s how I’m feeling now. Only two minutes into the first track on Jericho, and already I have heard majestically beautiful vocals, guitar solos and a rhythm section tight enough to choke a grizzly bear.
There is enough rock and swagger in this first track to single-handedly revive a decade of rock, but I doubt Last In Line have any intention of doing that.
They want to revive the last four decades!
Lead single Ghost Town rumbles on the back of a nice tom roll from Appice before Campbell starts strumming his guitar enticing Freeman into life, instantly controlling the tempo of the track and dictating musical terms.
You can’t buy professionalism such as this and if it sounds like I am gushing it’s probably because I am.
Last In Line draw from every ounce of experience the bands’ members have collectively spent with Def Leppard, Ozzy Osbourne, Dio and Black Sabbath and harvest the best ingredients of each into a sound that not only draws from the classic era of rock, but betters it.
Bastard Son is up next and echoes through a tempered intro piece that is quickly interrupted by a cool guitar riff that restores balance to proceedings.
This track is slightly pulled back compared to the first two, delivered with a measured, deliberate tempo that is seemingly there to give you a breather after such a frenetic opening.
The song is no less powerful because of its slower tempo, in fact, it emphatically proves early on that Last In Line aren’t simply going to rely on the obvious to get their point across.
Freeman’s vocals are given fresh life in this track as it soars and simmers throughout, threatening to scream to life on several occasions before finally giving up and reaching out with full and striking power.
A scintillating solo from Campbell just over halfway changes the point of view slightly but Bastard Son sounds like it was always meant to be a vehicle for Freeman’s vocal prowess and rightfully so.
Dark Days sounds like it could be a ballad but thankfully isn’t.
Instead, it’s a rock fuelled slice of musical precision that taps into more of a metal vibe in parts while remaining true to a dirty rock number courtesy of a damning guitar riff from Campbell that keeps things in line.
Campbell can’t hold himself back any longer towards the end of the track, unleashing with an almighty solo before Dark Days pulls back once more into a track more befitting of the title. Interesting structure, but effective.
Burning Bridges delivers the dreaded ballad, but with Freeman’s gravel-stained vocals leading the way the impact is still strong. The track kicks in inside the first minute and although still retaining the ballady feel has enough in the way of rock sensibility to stop me skipping altogether.
Do The Work is the latest single released and starts on the back of deliberate guitar picking that soon subsides as Campbell lets loose with a killer riff that forces Appice to pound his kit until Freeman joins in the party.
There’s so many classic rock influences going on here that it would be irresponsible to list only a few, but if you like your rock anywhere from Bad Company to Rush to Black Sabbath, and, of course, Dio, then you won’t be disappointed. Even modern rock outfits like The Dead Daisies spring to mind here, but these bands are all only mentioned to showcase the illustrious company Last In Line fit into.
Their music is undeniably their own and so much better for it.
I don’t even know what Hurricane Orlaugh is but judging by the ferocious guitar intro and pounding drums she was a cracker!
The pace quickens considerably and quickly and all of a sudden this Hurricane is my pick of the album.
Freeman once more controls most aspects of the track vocally, but this time Appice is given more reign to direct proceedings while Campbell and Soussan interject seemingly whenever the fuck they like.
The blessings of having a band full of superstars hey?
More solos abound before the track comes to a screeching halt, with Last In Line hitting yet another musical gear of which I somehow feel they have an endless well from which to choose.
Walls Of Jericho fires up on the back of a blistering riff before the drums invade the calamity, and we are off again.
Freeman has the ability to change the feel of a song just by singing in a different range and he does so again on this track, switching between outright aggression and controlled precision in an effortless motion that defies belief.
More solos, more drum rolls, more musical excellence. Just another track from Last In Line really…
Story Of My Life could go any number of ways but a massively quick drum roll to start things off gives a fair indication that once more rock is the victor.
Hard rock this time.
This is another up-tempo and punishing track that gains traction on the back of the incredibly precise musical interplay between Campbell, Soussan and Appice that just seems to get better the more we delve into Jericho.
Freeman is in even finer form here, using his vocals to take the track to majestic heights before dragging it back to the dirty backstreets of hard rock that many frontmen find it difficult to harness successfully.
We Don’t Run is more of a slower, blues-sounding track to begin before things take a different turn and rock once more leads the charge.
This is another measured number from the band who seem intent on covering all aspects of the rock spectrum in twelve songs.
Probably the closest to being a ballad without being a ballad, if that makes sense.
Some tough breakdowns in the second half reinforce my decision to stick around to the end, so kudos to you guys!
Something Wicked has a stuttering guitar run to open the track before soon settling into an almighty rock anthem that should see it released as one of the album singles. Very radio-friendly yet still tough, Something Wicked is the perfect crossover track that will bring fans of all forms of rock scurrying to join Last In Line at the table, which can only be a good thing for music.
More solos and more musical pedigree creep in as the track progresses and if one song is lifted from Jericho to provide an accurate depiction of the album as a whole then this should be it.
House Party At The End closes out Jericho and what a cracking rock number it is to leave us with. Fuck all of these recent albums that try to leave things on an ambient, beautiful plateau.
We want to finish an album still snarling and rocking the fuck out and this track does just that masterfully.
A true hark back to the glory days of rock, this song reminds you of just where rock music has come from and also how far it has come. It is a seething, snarling piece of music that is kept in line by a pitch-perfect vocal display from Freeman who uses his voice more as an extra instrument rather than a platform from which to launch a sonic message.
There isn’t one track on Jericho that isn’t a ripper, and that is rare in the modern age of music.
One hell of an effort!
