Most Helpful Customer Reviews
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12 of 14 people found the following review helpful:
4.0 out of 5 stars
Better than most of the reviews..., October 25, 2006
Before I picked up this disc I must've read a half dozen negative reviews about it, so I went in thinking this thing is going to be weak. Not true, in my opinion. It's very different than anything Bach-era, and even a step in a different direction than ThickSkin, but it still sounds like Skid Row to me. It's just Skid Row 2006.
The pros:
1. Catchy songs (even the 2 country-ish sounding ones that most people seem to hate).
2. There's more cohesion here than on ThickSkin, which seemed to jump back & forth style-wise from Slave to the Grind-ish rock to Matchbox 20 pop.
3. Johnny Solinger can sing. Bach was good, but I like this dude, too.
The cons:
1. Recording quality isn't as good on here. Sounds like they didn't spend a lot of $$ on the recording, especially the drum sound. ThickSkin sounded better.
2. The album's back cover looks like some piece of $%@* I'd make on PhotoShop. Not a big deal, but it looks cheap.
3. I agree with the other reviewers who can't tell the difference between the 2 versions of "You Lie" on here. They sound just about the same. What's the point? I do actually like the song, though.
Bottom line, if you're looking for 18 & Life 2006 it's not on here. I'm sure I'm in the minority here but I actually prefer ThickSkin & Revolutions Per Minute to the Bach-era stuff.
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17 of 23 people found the following review helpful:
3.0 out of 5 stars
Not sure what to think, October 24, 2006
Let me say at the start that I don't hold the opinion that 'Bas IS Skid Row'. I'm more of the opinion that 'Rachal Bolan IS Skid Row' being that he's been the primary songwriter from the start, as well as a dominating guitar presence on the metal scene since the late 80's. I love Bas, but Johnny Solinger is a worthy successor and Bolan continues to write incredibly memorable songs with big riffs and metal sensibilities - as aptly demonstrated on 'Thickskin'- Skid Row's initial post-Bas offering.
Which is what makes it difficult to rate this album. It has the classic Bolan writing, Sollinger's vocals are solid, and the songs are memorable, but it's probably the least 'Skid Row' sounding album of the bands career. It doesn't compare by far to "Slave to the Grind" or "Thickskin." It's only comparable to "Subhuman Race" - Bas's final effort with the band - in that it has both the classic Skid Row sound, but several nasty suprises. The nasty suprises being two country/metal songs ('When God Can't Wait' and 'Lie') that would sound more at home on a Flogging Molly or Dropkick Murphy CD than on a Skid Row record. Further, the 'bonus track' is the 'corn-fed' mix of 'Lies' that for all intents and purposes sounds exactly the same as the original. Being the weakest song on the album - why make us listen to it twice?
I'm all in favor of bands growing and allowing their influences flow into their writing, but these two songs along with 'White Trash,' and 'Shut Up Baby I Love You' are so far off the beaten track, that it's hard to reconcile them with anything else in the Skid Row catalog. Sometimes this can be a good thing, but here it's just...odd. Additionally, the lyrics are a bit silly in places - reminding of Blink 182 or even Green Day - than the typical top notch lyrics Bolan and Snake have produced over the years. No doubt Sollinger will be blamed for this, but check the writing credits for each track - all Bolan and Snake (excepting the excellent Alarm cover 'Strength'). Since "Slave to the Grind," Skid Row lyrics have taken on pretty weighty issues and dealt with relationships in more mature prose than most any other metal band. This album seems to miss that angle in favor of flippancy and out of place profanity. Possibly to attract a younger fan base?
At first listen, this seems to be a transitional album. The guys are trying a few new things - which is not all bad. They retain their killer musicianship and production, as well as growing a bit sonically from the Thickskin album. If you like Skid Row, it's worth the price, but sadly, I'd say this is their weakest offering next to their hair-metalish self-titled debut. To the band I say - we want to hear you grow and change, but not radically, and not all at once. Skid Row's new line up is obviously a work in progress and I don't want to judge too harshly too soon. We'll see what the future brings.
Make sure to catch these guys on the road with King's X this fall and winter.
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4 of 6 people found the following review helpful:
4.0 out of 5 stars
Almost there..., November 27, 2006
I've been a fan of these guys for years - as I'm sure most people reading this are - so, if you're wondering what to expect from this album... here's my take.
This is a good album. Very good. In fact, if you were to combine the best tracks from RPM with the best from Thickskin - dare I say you would have a great album? The problem is, both albums have their fair share of "blahhh" and it's this element that keeps each album from shining on its own. When I read they were putting this album together with the same producer that helped them on Slave to the Grind, I had high hopes this effort would greatly elevate the band's success. I guess hoping wasn't enough. For one thing, the album is all over the place - hard, axe-grinding rock to a punked-out Irish jig - and it just doesn't play well from start to finish. It feels like you have be in the mood for each song on it's own, which isn't horrible, but it's what keeps this from being great. The same was true on Thickskin - no continuity whatsoever. That said, there still is a lot to enjoy here and I really like a bunch of the songs. "Let it Ride" and "Nothing" are probably my favorites from RPM, but I got a kick out of "God can't Wait" and even the much hated "You Lie" (if you let it play through, it picks up a punk punch in the second half that I kinda dig).
I saw the guys perform at the Starland Ballroom back in June and was really impressed by their level of energy and overall morale - they love what they do and it really shows on stage. Johnny is every bit as good a front-man as Bach, if not more. After watching Bach's dismal display on VH-1 and his self-destructing inward opinion of how great he is, there is no mystery as to why the other guys chucked him to the curb - they are just too "normal" to deal with a diva. Don't get me wrong, I think Bach had/has serious talent - Slave to the Grind is one of my all-time favorite albums and there's no question that his vocals and overall presence are irreplaceable, but he's gotten so full of himself over time, it makes it difficult to enjoy his work (hopefully "Angel Down" will prove me wrong). Solinger's vocal abilities don't rival Bach's, but his attitude more than makes up for it. If these guys could just get the right production going, a whole new generation of fans are waiting to jump on it (which was evident at the Starland - half the crowd was under 25 and they L O V E D it!).
Keep up the good work guys - and for God's sake, get someone to design a real web page for you. jeeesh!!
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