Ricky Warwick's 'When Life Was Hard and Fast' - Album Review

Despite having been on the scene now for over three decades, I think it is fair to say that Ricky Warwick's stock has never been higher than it is now. I first became aware of Warwick when he was invited by Scott Gorham to join Thin Lizzy. I had seen the John Sykes-led Thin Lizzy put on a very enjoyable show in 2007, but when I saw Warwick fronting the band in Leicester in 2011 I was blown away. Those of us who were born in the 1990s missed out on Thin Lizzy the first time around, but seeing Warwick lead the six-piece Thin Lizzy, which at the time included three classic-era members of the band, was a special experience. That show made me a Warwick fan, and since then I have been slowly amassing his back catalogue - as well as following his current exploits carefully. I was really pleased when Thin Lizzy morphed into Black Star Riders in 2012, and I have followed the band ever since. I have seen them on every album touring cycle - most recently in 2019 in Bristol, when the band kicked off their tour supporting fourth album Another State of Grace (which I reviewed here). With The Almighty, the band with which Warwick first rose to fame back in the early 1990s, now seemingly well and truly in the past, Black Star Riders is clearly Warwick's focus - and you will certainly not hear any complaints from me about this. It is my understanding that the band are currently working on their fifth album, something which I am certainly looking forward to, but, being the prolific songwriter that he is, it seemed that Warwick did not want to wait to put out some new music. Alongside Black Star Riders, and The Almighty before it, Warwick has undertaken a solo career. His solo acoustic shows have become much-anticipated from within his fanbase, but his solo albums are also very popular. His early solo albums were much more folk/acoustic based than any of his main bands, but over the years, with the exception of 2014's Hearts on Trees, they have become much rockier. When Life Was Hard and Fast, which was released last month, is Warwick's sixth solo album of original material - and his first solo release since the 2014 double bill of When Patsy Cline Was Crazy (and Guy Mitchell Sang the Blues) and the aforementioned Hearts of Trees. Being more of a hard rock album, When Life Was Hard and Fast picks up where When Patsy Cline Was Crazy left off seven years ago. Built around a core band of Warwick, guitarist Keith Nelson (Buckcherry); bassist Robbie Crane (Ratt; Lynch Mob; Black Star Riders), and drummer Xavier Muriel (Buckcherry), When Life Was Hard and Fast's 11 songs are largely hard-hitting affairs. A couple of ballads help to offer a change of pace, but this is largely an album for the rockers. In fact, those who enjoyed Another State of Grace will love this, as there are lots of songs here that could have easily found a home on Black Star Riders' fourth album. It goes to show how much of Black Star Riders comes from Warwick these days, especially following the departure of Damon Johnson, and Warwick's new album is the perfect companion piece to his day job's fourth release.

In fairness, any album that is largely co-written by Warwick and Nelson is likely to be a hard rocking affair, and When Life Was Hard and Fast shows its hand early in this regard. The opening title track, with backing vocals courtesy of Warwick's good friend Joe Elliott (Def Leppard; Down 'n' Outz), is one of the tracks here that could have easily been written for Black Star Riders. Subtle twin lead guitar harmonies, a hard driving rhythm, and a folky lyricisms all come together to create a sound that Warwick is very familiar with these days - but the familiarity does not in any way hinder the quality. Warwick has really found his place in the scene in recent years. Part Phil Lynott, part Joe Strummer, and part Bruce Springsteen, Warwick can rock out with the best while also telling a great story. When Life Was Hard and Fast's title track is a perfect representation of this sound - with a rousing chorus and plenty of tasty guitar playing from Nelson, including a playful harmonised solo section. It is a great way to open the album, and the song is sure to become a highlight of Warwick's upcoming full band solo tour. You Don't Love Me is similar, but with a somewhat more mournful vibe throughout. The harmony guitar leads are still present during the song's opening moments, but the verses take on a bit more of a laid back feel with a subtle chugging guitar rhythm and the occasional spacey lead. There is less of Warwick's pent-up punk energy this time around, but there is still plenty of weight to be found. The chorus has something of a modern Springsteen feel, with a dense wall of sound approach, and there is a great guitar solo provided by Luke Morley (Terraplane; Thunder; The Union) which adds some spice. I'd Rather Be Hit continues the slightly more mournful approach of the previous song, but builds on it with more of an overall hard rock sheen - which is helped by a strong Crane bass presence. The song is a lot more energetic than the previous number, with lots of lead guitar utilised throughout - and a punchy chorus that is backed by Muriel's staccato drum pattern. Another guest guitar soloist in the form of Andy Taylor (Duran Duran; The Power Station) furthers the song's cause. It is quite short, but it is a powerful flurry of notes that really cuts through the mix nicely. A cover of Mink DeVille's punky Gunslinger injects a bit of pace and urgency back into the album after a couple of more mournful pieces, and Warwick spits out the furious track with ease - while his manager Adam Parsons bashes away on the drums. The song is very simple, with a big gang vocal chorus and fairly rudimentary riffing, but it is the sort of track that really revels in its energy rather than anything technical. As a result the song is over in a blink of an eye, but it provides a great kick up the backside.

Not wanting to be outdone by a cover, and to show off his own punk credentials, Never Corner a Rat shows Warwick really upping the energy and attitude of the album. The song is a fast-paced old-school punk anthem with a driving Muriel drum groove and some thrashy guitar chords from both Warwick and Nelson. This is another song that is extremely uncomplicated, but it is certain to go down well live because of the energy that it is sure to create. Nelson's fast guitar solo builds on the atmosphere created throughout the track; and things only get more chaotic as the song progresses - with a loud crescendo at the end that is built around repeating the simple chorus with more and more emphasis on Muriel crashing around his kit. Time Don't Seem to Matter is a real about-face, and is essentially an acoustic ballad with a dense string backing - and some haunting backing vocals from Warwick's daughter Pepper. Much of Warwick's solo work has taken a more acoustic guise, but this song has a much lusher production than most of his old solo albums possess. The strings give the song real depth, and they transform the song from what would otherwise be a very basic acoustic number into a heartfelt and atmospheric piece packed full of emotion. The very occasional, simple guitar leads and Pepper's vocals add to this emotional depth - but the star here of course is Warwick, his lyrics and raw vocal performance shining as always. Fighting Heart, named after Warwick's solo backing band, is another about-face, and returns to the Black Star Riders-esque sound of the album's title track. Harmony guitar leads are featured throughout, and the song's chorus is one of the catchiest moments here - showcasing Warwick's love of an accessible, folk-based melody. Songs like this really sum up where Warwick is in 2021. He still loves to rock out hard with songs like Never Corner a Rat, but Fighting Heart and songs like it are really what his fans have come to expect from him over the past decade or so. It is is another song that could have easily sat on the last Black Star Riders album, its anthemic hard rock sound perfect for the stage. I Don't Feel at Home is a slower, more Springsteen-esque piece with an organic sound - which is helped by a subtle keyboard presence added by Dizzy Reed (Guns N' Roses; The Dead Daisies). In fact the song reminds me of some of the slower-paced, more deliberate tracks on Springsteen's most recent album Letter To You (which I reviewed here), but with a bit more of a folk tinge due to Warwick's vocal approach. While it is not my favourite song here, it is the sort of track that really grows on you after a few listens. The slower pace and dense production means that the song's melodies to not hit as hard as those found elsewhere, but when appreciated in more of a singer-songwriter context it really shines.

Reed's keyboards are also a big part of the harder rocking Still Alive, his grinding organ forming some of the main hooks early on as the song builds throughout the verse - before a heavy chorus and some simple slide guitar licks steal his thunder. It is another song that showcases Warwick's punk strain, but this time in more of an old-school hard rock context. There is a lot of energy and groove found throughout the track, but the organ and slide guitar stop the punky attitude really taking over. As a result, the song is real mix of sounds that manages to really hang together in the moment - despite the fact that some of the ingredients are not necessarily natural bedfellows. Clown of Misery is the album's final ballad, and it is a very low-fi recording that, according to one interview, was recorded on Warwick's phone. It has a demo quality to it, but it works well and helps to provide a little light relief towards the end of what is otherwise a fairly hard rocking album. I imagine the song was meant to be a demo, but Warwick liked how the song came out so much that he included it on the album how it was. It has the feel of a one-take recording without any post-production to it - with Warwick singing warts and all for his fans. After that short respite, it is left to You're My Rock 'n' Roll to bring the album to close. Opening with a Muriel drum groove and a simple guitar riff, the song is a powerful hard rocker from the AC/DC school of simplicity. This is no bad thing however, and it is another high energy number that is certain to go down well live. As a result, the song works perfectly as an album closer. The driving riff is present throughout, which keeps the energy up, while a catchy chorus incorporates some subtle gang vocals and tight hooks. There is a bit more of Warwick's love of punk to be found during parts of the song too, particularly a rather raunchy-sounding bridge section with some raw-sounding vocals. It ends the album on a bang following the delicate Clown of Misery, and anyone who is familiar with the paths that Warwick followed with The Almighty will automatically be drawn to it. Overall, while When Life Was Hard and Fast finds Warwick on familiar territory, there is a lot to enjoy here, and fans of Warwick's will instantly latch onto many of the tracks here. While the line between Black Star Riders and Warwick's solo work may be blurring a little too much for some, I am just happy to have more quality music to enjoy from a songwriter who has been churning out strong material since the late 1980s. When Life Was Hard and Fast is the latest in a long line of excellent Warwick-related releases, and I can see it getting quite a few spins here over the coming months.

The album was released on 19th February 2021 via Nuclear Blast Records. Below is Warwick's promotional video for Fighting Heart.