Album Review: Inglorious - We Will Ride
Reviewed by Paul Hutchings
Album number four from British classic rock quintet Inglorious. It’s as slick as a buttered eel on a marble floor, thanks no doubt in part to the production skills of Cardiff based producer Romesh Dodangoda whose vast experience has polished ‘We Will Ride' to a fine buffered sheen. Having put 2018’s unseemly split with three former members to bed, We Will Ride sees the recording debut of new members guitarists Danny Dela Cruz and Dan Stevens and bassist Vinnie Colla, who join original members vocalist Nathan James and drummer Phil Beaver in the Inglorious line-up.
To be fair, if you’ve heard any of the Inglorious catalogue, this album is unlikely to shock you in the slightest. It’s high-end quality British classic rock, led by the voice of Nathan James, whose confident swagger had been the driving force since their formation in 2014. Delayed twice before finally being recorded during lockdown, We Will Ride is 11 songs that vary in style. There’s the high paced opener ‘She Won’t Let You Go’, the Chris Cornell sounding ‘Messiah’ and the Moody/Marsden era Whitesnake stomp of ‘Medusa’, where James throws his inevitable David Coverdale shapes. As is common knowledge, Coverdale is James’ main influence, and he nails the stomp and confidence of the Whitesnake frontman with a style born of a performer with a natural talent. Regardless of what else you think, James’ vocals remain mightily impressive.
The band’s three previous releases including 2019’s ‘Ride to Nowhere’ were all radio friendly, inviting Planet Rock and other classic rock stations to get involved. I see no different with ‘We Will Ride’. The songs are solidly crafted, a blend of harmonies and melody underpinned with a harder rock edge that will appeal to many.
Inglorious aren’t afraid to slow it down, but don’t drop into the melancholic often. ‘Cruel Intentions’ for example, starts slowly but is dominated by a driving riff, some delicate harmonies and that hard edge. On ‘We Will Ride’ the band have maintained a rockier sound than in previous records and focused on what they do best; crafting anthemic rock tracks that will work on a festival stage, sweaty club, or larger Academy venue. Incorporating some subtle keyboards adds to the classic late 70s rock feel whilst the guitar playing is of a high quality.
With subject matter influenced by the current climate, lockdown and copious amounts of dark documentaries consumed over the past two years, this is without a doubt the best album that Inglorious have delivered. For most of the band, working on their first album with a producer has paid dividends. It’s crisp, refined and overall a fine record which will no doubt be lapped up by fans of the band and those who are more casual participants alike.
