Year Of Metal #028: Sir Lord Baltimore - Kingdom Come

While this isn’t quite the oldest record on the list, 1971’s Kingdom Come can apparently make a claim for the first documented use of the phrase “heavy metal” in a Creem review. It’s a mighty fine recipient of that accolade - this is a sheer blast, a thick, gooey, massively fun record that still packs a punch. There’s nothing remotely subtle going on here, but it’s a blast to listen to and sounds like it was a joy to record. 

Opener “Master Heartache” gets things off on the front foot with its grinding bass and sharp guitars. Louis Dambra seems to have a free role here, chiselling away at a pretty sweet bluesy riff but wandering up the fretboard to rip whenever he fancies. Even better are the drums, uncommonly loose and swinging for a metal album. Percussionist John Garner is also the vocalist, and he has a whale of a time leading the song from his kit. Repeatedly the song comes to a quiet moment before lurching back into life. It ends on a fade out, with Dambra screeching away at a solo. It’s like the engineer just decided to leave them to it and went home. 

“Pumped Up” is another cracker, a relentless, frenetic cut with everything played a bit too loud and a bit too fast. In the best way, Sir Lord Baltimore sound like a sloppier Led Zep. Everyone’s playing is great, but the band don’t come across like classically trained or session-worn pros. They’re just doing whatever they want, and the energy is infectious. As a trio, there’s no fear of anyone treading on another member’s toes. Get the key and the tempo down and you can all basically do as you see fit. 

The odd track shows its age. "Lake Isle of Innersfree" is the Led Zep III track, with creepy harpsichord and theatrical vocals that aren’t Garner’s strong suit. It’s certainly not without its charm and gives the record some useful texture, but it doesn’t showcase the band at their very best. 

But then you’ve got the title track, which sets the template for doom and stoner metal every bit as much as Sabbath’s contemporaneous work. The scuzzy, fuzzed out riff is colossal and Garner’s drums are once again a class apart. He doesn’t seem to feel the need to whack lumps out of the kit, and his syncopated, upbeat style adds a level of intrigue to a track like this, with its otherwise simple, repetitive guitar parts. 

I’d never heard of Sir Lord Baltimore before starting this project; I’m sure the true metalheads are across them, but they’re well worthy of wider public attention. To be this influential but still sound this cool and fresh is no mean feat.