2015 CD re-released on Lumpy Gravy Records with the original track list.
Sir Lord Baltimore, a groundbreaking band from Brooklyn, NY, released their debut album Kingdom Come in 1970. The album was mixed by Eddie Kramer, renowned for his work with Jimi Hendrix, at Electric Lady Studios. A review in Creem magazine famously marked the first documented use of the term "heavy metal" to describe a musical style, in reference to the band. Sir Lord Baltimore went on to open for heavyweights like Black Sabbath and Humble Pie.
For their second album, the band expanded to a quartet with the addition of Louis Dambra’s brother, Joey Dambra, on guitar. Despite their early influence, commercial success eluded them, and after their second album, Mercury Records dropped the band. Although they began recording a third album, the project was left unfinished when the band disbanded.
In 1994, Polygram reissued their two albums together on CD, followed by another re-release in 2003 by Red Fox. After leaving music, Louis Dambra became a pastor in Los Angeles, Gary Justin pursued a career on Wall Street, and John Garner worked for New York's Department of Sanitation, while also managing wedding bands and working with acts like Envy and Other Sins and country artist Royal Wade Kimes.
Garner and Louis Dambra later reunited to self-release Sir Lord Baltimore III: Raw, featuring material from their unfinished third album. Plans for a 2008 reunion performance at a European festival fell through, and sadly, in December 2015, John Garner passed away from liver failure.
The sophomore self-titled effort from Sir Lord Baltimore may not have achieved the same thunderous reception as their debut, but it offers plenty for fans who dig deep into the history of heavy music. While the album takes some bold turns, it's these very risks that make it a unique entry in their catalog, with moments of brilliance that continue to resonate with listeners of vintage heavy rock.
Opening with the ambitious "Man from Manhattan," the album dives into proggy territory, which might leave some scratching their heads. The song's complex structure and eclectic mix of harmonies, acoustic interludes, and dramatic shifts display a band unafraid to experiment. Although it may not land perfectly for everyone, the track reflects Sir Lord Baltimore's willingness to push boundaries. It’s a testament to their artistry, even if the results feel somewhat fragmented.
However, once you flip to the B-side, the album takes off with the raw energy that fans of the debut will immediately recognize. Tracks like “Chicago Lives” and “Lo and Behold” channel that signature heavy, gritty style, driven by powerful riffs and tight rhythms. The addition of Joey Dambra on guitar only amplifies the sonic heft, creating a twin-guitar attack that feels ahead of its time, laying groundwork for later heavy metal duos.
The real gem on the album is “Woman Tamer,” a track that harks back to the intensity of their debut but with a maturity and precision that elevates it. Garner's vocals shine here, full of raw power and command, while the band locks into a relentless groove that defines the essence of heavy rock.
The album closes with “Caesar LXXI,” a standout moment of colossal riffing and dark, ominous atmospheres. Its massive production and thunderous guitar chords feel like a precursor to the doomier, heavier sound that would influence countless bands in the years to come. In fact, it's easy to imagine that this track planted seeds for a new wave of American heavy metal acts, blending epic storytelling with crushing music.
Though uneven at times, Sir Lord Baltimore remains a crucial listen for fans of early heavy rock. It may not have the instant impact of their debut, but its daring shifts in style and powerful moments make it an essential part of their legacy, especially for those looking to explore the roots of heavy metal’s evolution.
