Cold – Superfiction (2011, Eleven Seven Music)
1. Wicked World … 3:36
2. What Happens Now … 3:42
3. American Dream … 3:38
4. The Break … 3:45
5. Welcome 2 My World … 3:30
6. Emily … 3:36
7. The Crossroads … 4:18
8. Delivering the Saint … 4:24
9. So Long June … 4:41
10. The Park … 3:40
11. Flight of the Superstar … 3:30
12. The Ballad of the Nameless … 3:29
Scooter Ward – Lead Vocals, Guitar
Zac Gilbert – Guitar
Jeremy Marshall – Bass, Backing Vocals
Sam McCandless – Drums
Producer: Jeremy Parker & Kato Khandwala
Apparently at some point Cold broke up after their last album (2005′s A Different Kind of Pain). After being disappointed with the average Year of the Spider (2003), which came after the great 13 Ways to Bleed on Stage (2000), I decided to sit out A Different Kind of Pain. From most accounts, I didn’t miss much. Oh, and for the record, their self-titled debut is terrible.
Now it’s 2011 and Cold has reformed and released brand new album that sometimes sounds like what I’ve come to expect from Cold and sometimes not. Even Scooter Ward’s vocals change from song to song. Listening to the debut single and opener “Wicked World” (which sounds like a song that could’ve been on 13 Ways…) it’s the Scooter we all know but then “What Happens Now” and “Welcome2MyWorld” are so different I’m questioning whether it’s even Scooter singing. Not to mention neither song particularly sounds very much like the Cold of old and “What Happens Now” kind of reminds me of 30 Seconds to Mars. Unfortunately, there are no band credits for some reason anywhere in the booklet other than “All Songs Performed by Cold”.
The third song on the album (and second single) is yet another departure in sound with Scooter’s vocals on “American Dream” falling somewhere in between those he did on the two previous tracks, fitting a much more generic “let’s get this on radio” post-grunge vocal style. The song itself reminds me of a band like Daughtry and is the most commercial track on the album.
By the way, I need to point out one really annoying thing on this album — the drums. It sounds like a drum machine was used for some of these songs and it really bugs me as it just seems to loop the same exact repetitive beats on a number of the songs. It just sounds so lame and limp. If in fact a machine was not used, maybe it’s time for a new drummer.
Though certainly not an uplifting or hopeful album, Superfiction is not as dark, angry or aggressive as previous releases. It shows the band moving more towards the typical post-grunge hard rock sound that radio deems permissible. Ward’s vocals are much more melodic and he does not scream or sound as angry as he has in the past. Even when he says “fuck you” on “The Crossroads” there doesn’t seem to be much conviction behind it though I think musically this is one of the few songs that somewhat reminds me of what I’ve come to expect from the band.
I gave this album a shot out of nostalgia and because it could be picked up at a low price. It’s not a bad album at all. The band is still in emo mode but they are a bit slower, softer, more melancholy and more in line with current hard rock trends than I would have liked. I don’t think the album will gain any new fans (“American Dream” didn’t even chart) but longtime Cold fans like myself will find enjoyable moments on this album even if it those moments aren’t worth getting excited over.
Highlights: “Wicked World”, “What Happens Now”, “American Dream”, “The Crossroads”, “So Long June”, “The Park”
Saving Abel – Miss America (2010, Virgin Records)
1. “Tap Out” … 4:07
2. “Stupid Girl (Only in Hollywood)” … 4:19
3. “Contagious” … 3:37
4. “The Sex Is Good” … 3:31
5. “Bloody Sunday” … 3:47
6. “I’m Still Alive” … 3:48
7. “Mississippi Moonshine” … 3:13
8. “Angel Without Wings” … 4:16
9. “Miss America” … 3:40
10. “I Need You” … 3:47
11. “Hell of a Ride” … 3:44
Jared Weeks – Lead Vocals
Jason Null – Guitar, Backing Vocals
Scott Bartlett – Guitar, Backing Vocals
Eric Taylor – Bass, Backing Vocals
Blake Dixon – Drums
Producer: Skidd Mills, Marti Frederiksen
Even if you are only vaguely aware of the current hard rock scene, it’s hard not to know who Saving Abel is. Their 2008 self-titled debut featured that ‘girl-in-tight-denim-with-a-tramp-stamp’ album cover which helped to get them noticed (which I know caused me to physically pick up the album and look). It was hits “18 Days”, “Drowning (Face Down)” and the platinum-selling single “Addicted” (which my ex-girlfriend had as her ringtone) that pushed that album to 500,000 copies sold.
While I have never listened to that self-titled debut in full, I did catch the band in concert once (as openers on a bill that included Buckcherry, Avenged Sevenfold and Papa Roach) and Miss America seems like more of the same: melodic post-grunge with a touch of southern rock. It’s all easily digestible for mainstream rock radio, not necessarily bad but not necessarily noteworthy either. It’s All-American Nightmare-era Hinder but without the hooks, aggression or attitude. While “Addicted” ending up wearing out its welcome (at least to my ears) it was at least catchy for a good while and I don’t hear anything on Miss America that grabs you like that song did.
I do happen to like “Tap Out”, seems like it would be a good choice to open a live show. It’s actually the intro to the song that holds the most promise though, as if it was a sign of something heavier coming but no such luck. “Contagious” rocks a tad bit harder and “The Sex Is Good” is a cool acoustic-based rocker that at least thematically continues on with the tradition of “Addicted” (Nickelback would be proud!). “I’m Still Alive” is the type of up-lifting anthem that is ready-made for radio. “I Need You” is another feel-good anthem, the better of the two I have mentioned and probably my favorite track on the album.
When it’s all said and done, Saving Abel is maybe playing it a bit too safe on their sophomore effort but it’s still well within the confines of what will please any fans that the band amassed with their debut. For myself, as I said before the entire album is easily digestible but perhaps it’s also easily disposable.
Highlights: ”Tap Out”, “Contagious”, “The Sex Is Good”, “I’m Still Alive”, “I Need You”
Sick Puppies – Tri-Polar (Deluxe) (2011, Virgin Records)
1. “War” … 3:13
2. “I Hate You” … 3:28
3. “Riptide” … 3:11
4. “You’re Going Down” … 3:07
5. “Odd One” … 3:47
6. “So What I Lied” … 3:42
7. “Survive” … 3:12
8. “Should’ve Known Better” … 3:52
9. “Maybe” … 3:29
10. “Don’t Walk Away” … 3:48
11. “Master of the Universe” … 3:33
12. “In It for Life” … 4:05
13. “White Balloons” … 3:39
1. “You’re Going Down” [Unplugged] … 4:09
2. “Riptide” [Unplugged] … 3:21
3. “Maybe” [Unplugged] … 3:30
4. “Odd One” [Unplugged] … 3:44
5. “Don’t Walk Away” [Unplugged] … 3:42
6. “All the Same” [Unplugged] … 4:16
7. “White Balloons” [Unplugged] … 3:24
8. “Dead Space” … 3:12
9. “The Pretender” … 3:08
10. “Til Something Breaks” … 2:47
11. “Monsters” … 4:08
Shimon Moore – Lead Vocals, Guitar
Emma Anzai – Bass, Backing Vocals
Mark Goodwin – Drums, Backing Vocals
Producer: Rock Mafia, Ross Hogarth
Tri-Polar (Deluxe) is a two-disc reissue of the band’s 2009 album Tri-Polar on Disc 1 with Disc 2 holding 2011′s Polar Opposite unplugged EP and a handful of B-sides.
I wasn’t too familiar with Australia’s Sick Puppies before listening to this album. I really one remember them from a blurb in UK’s Classic Rock magazine awhile back. In regards to the current hard rock scene, I know the praise about them has generally been positive and they’ve had a number of U.S. rock radio hits but the only song that rang a bell with me was “You’re Going Down”. “You’re Going Down” is a decent radio-ready tune but didn’t knock my socks off and I was expecting more of the same from this album. Rock radio is full of that generic post grunge guitar crunch and I was thinking that was going to be the case here.
When I finally had the chance to sit down and listen to this album, I was very happy to hear there is a much softer, melodic and introspective side than a song like “You’re Going Down” would have you believe. Not that this isn’t a hard rock album — it is! It’s just that there are so many catchy moments throughout the album with lyrics that I find easy to relate to.
“Odd One”, “Riptide” and “Maybe” were great choices as follow-up singles from the original album but “I Hate You”, “So What I Lied” and “Should’ve Known Better” also had hit potential to my ears. Based on Disc 1 alone, I am now a Sick Puppies fan.
Onto Disc 2, the Polar Opposite portion is acoustic-based with some orchestrations thrown in on a song such as “White Balloons”. These stripped down numbers only further show that Sick Puppies have more to give than angry hard rock tailor-made for radio. It’s a deeper, more thoughtful side that I hope they continue to explore. All of the Polar Opposite tracks come off just as well as their Tri-Polar counterparts (“All the Same” comes from 2006′s Dressed Up as Life) and it’s interesting to hear a different take on them.
As far as the B Sides go, those are fairly enjoyable as well with “The Pretender” really standing out as something that should’ve been on the album itself. The bonus track “Monsters” is a moody rocker that I also enjoy.
While comparing Sick Puppies to bands such as Hinder and Avenged Sevenfold is like comparing apples to oranges to pineapples, this group really shows a lot of promise for a long and fruitful career. Like those bands I am glad they have more to offer when it comes to their albums and they seem like they are not afraid to grow and offer up something different. Tri-Polar (Deluxe) shows a band that rocks hard, writes songs that can stand on their own when stripped down and they can also produce thoughtful tracks such as “Odd One” and “White Balloons”.
What a great young band.
Highlights: “I Hate You”, “Riptide”, “You’re Going Down”, “Odd One”, “So What I Lied”, “Maybe”, “Don’t Walk Away”, “Master of the Universe”, “The Pretender”, “Monsters”
George Lynch – Kill All Control (2011, Rocket Science, Inc.)
1. “Kill All Control”
3. “Fly On The Wall”
4. “Brand New Day”
5. “Wicked Witch”
6. “Voices In My Head”
7. “Resurrect Your Soul”
10. “Man On Fire”
11. “My Own Enemy”
12. “Son Of Scary”
13. “Go It Alone”
George Lynch – Guitar, Bass, Backing Vocals
London LeGrand – Vocals (Track 5, 11, 13), Backing Vocals
Marq Torien – Vocals (Tracks 1, 3, 9), Backing Vocals
Will Martin – Vocals (Tracks 1-4, 6, 9), Backing Vocals
Keith St. John – Vocals (Tracks 7, 8, 10), Backing Vocals
Nic Speck – Bass
Adrian Ost – Drums
Fred Coury – Drums (Track 12)
Just like Michael Schenker, George Lynch is a guy that stays so active and releases so much music in any given year that it’s easy to lose track of what exactly his current project is and if any of those projects are worth listening to. Despite being a guitar hero it seems like a lot of his music goes unnoticed (although the Lynch Mob reunion album Smoke & Mirrors was well-received). Hopefully with the buzz the Lynch Mob reunion started more people will pay attention to this solo effort because it’s definitely worth listening to.
George has never really been one to live in the past. While I can applaud some acts for sticking to or going back to their “classic” sound in order to appease the hardcore fans, as long as the music is good I see no problem with catching up to modern times and that’s exactly what Lynch is doing here. This is modern hard rock/metal featuring elements of alternative and more classic sounding hard rock. These are songs that would probably find their way to radio if only they were done by someone half George’s age. Some of the music at times it reminds me of SIXX:A.M. (though certainly not as dark) but all of it sounds current.
It’s worth noting that the music does not sound forced. A lot of people gave Lynch a hard time (rightfully so) when he took Lynch Mob in a rap-metal direction in the late ’90s but Kill All Control sounds much more natural. It’s hard rock but it’s up-to-date, not trend-jumping. I doubt at this point in his career George believes he’ll get any radio play anyway (no matter what the style of his music is), so this is probably just where his head is at right now when it comes to solo material.
Admittedly, the album was originally intended to be a follow-up to 2008′s Let The Truth Be Known from Souls of We (George’s side-project with former Brides of Destruction singer London LeGrand) and drummer Adrian Ost. During the process of writing the album, the decision was made to make it a solo effort instead due to the direction that the songs were taking. As such, a number of vocalists were called in to lend their talents in addition to LeGrand. Marq Torien (Bullet Boys), Will Martin (Earshot) and Keith St. John (Montrose) all make appearances while Cinderella’s Fred Coury plays drums on the “Son Of Scary” instrumental. By the way, I did my best in listing who sang on what song, I couldn’t find a complete list of album credits.
For those hoping for something similar to Dokken or Lynch Mob leftovers, you’re out of luck. But, Kill All Control displays the great riffs and solos George is known for and a fantastic collection of vocalists along with tons of groove and hooks. Definitely worth checking out.
Highlights: “Kill All Control”, “Done”, “Brand New Day”, “Wicked Witch”, “Voices In My Head”, “Resurrect Your Soul”, “My Own Enemy”
Duff McKagan’s Loaded – The Taking (2011, Armoury Records)
1. “Lords of Abaddon” … 3:25
2. “Executioner’s Song” … 3:36
3. “Dead Skin” … 3:20
4. “We Win” … 4:04
5. “Easier Lying” … 4:05
6. “She’s An Anchor” … 3:22
7. “Indian Summer” … 4:22
8. “Wrecking Ball” … 3:27
9. “King of the World” … 3:24
10. “Cocaine” … 4:14
11. “Your Name” … 3:18
12. “Follow Me to Hell” … 3:39
Duff McKagan – Lead Vocals, Guitar
Mike Squires – Guitar, Backing Vocals
Jeff Rouse – Bass, Backing Vocals
Isaac Carpenter – Drums, Percussion
Producer: Terry Date
The follow up to 2009′s Sick is an improvement in my book although it is the same mix of radio rock, metal, alternative rock, punk and rock/pop. I wasn’t extremely impressed by Sick but I guess I’m at the point where I’ll support any of the core GNR members just as long as they physically get their music out there (sorry, Izzy, not messing with iTunes).
A number of songs on the album remind me of the Foo Fighters. “We Win” is certainly an anthem that could’ve been written by Grohl & Co. and it’s done well being licensed out for use by MLB and ESPN. “Indian Summer” sounds like one of FF’s more easy going moments. There are also some true metal moments like “Executioner’s Song” (something I could imagine from Death Magnetic), But of course with Duff’s roots being in punk, those influences shine through on a songs like “Follow Me to Hell” and “King of the World”.
I’ve found myself really enjoying this album the more I’ve listened to it but personally I would love for Duff to go back to a Believe In Me/Guns ‘N Roses sound. The closest he comes to doing that is on the swaggering “Cocaine” (original song, not a cover) .
All told, The Taking is a pretty good album and in the absence of working together in some fashion I’m perfectly fine with Duff & Slash release solo material.
Highlights: “Lords of Abaddon”, “Dead Skin”, “We Win”, “Easier Lying”, “She’s An Anchor”, “Indian Summer”, “King of the World”, “Cocaine”
Sixx:A.M. – This Is Gonna Hurt (2011, Eleven Seven Music)
1. “This Is Gonna Hurt”
2. “Lies Of The Beautiful People”
3. “Are You With Me”
4. “Live Forever”
5. “Sure Feels Right”
8. “Help Is On The Way”
9. “Oh My God”
10. “Goodbye My Friends”
James Michael – Vocals, Keyboards, Drums, Strings, Guitar
DJ Ashba – Guitar
Nikki Sixx – Bass
Producer: James Michael
Nikki’s side-project is at it again and, no surprise, he’s doing the dual promotion thing by releasing a collection of photos and personal stories called “This Is Gonna Hurt: Music, Photography And Life Through The Distorted Lens of Nikki Sixx” at the same time. I haven’t picked the book up yet but I’m hearing good things about it so I plan on doing it soon. The difference this time is that The Heroin Diaries served as a soundtrack to the book of the same name where as there is only a loose theme connecting the album and book. Basically, the theme is that beauty can be found in anything and anyone and not necessarily in what society deems to be “beautiful”. “Lies Of The Beautiful People” and “Skin” deal with this idea explicitly.
Given this looser connection to Nikki’s latest book, This Is Gonna Hurt is certainly the more commercial sounding of the two albums they’ve released. It’s freed from the shackles of trying to tell a story and reflect chapters in a book so what they’ve delivered is a hooky and haunting collection of modern alternative hard rock that is radio-ready and melodic yet with lyrics still dark and emo enough for people who like to shop at Hot Topic and wear black fingernail polish. Though Sixx:A.M. has no intentions to tour, I could see them doing well as an opening act for a band like Avenged Sevenfold.
So, seeing as how this album seems to have been written with airplay in mind some of the songs don’t necessarily come across as anything special. While there are no bad songs on this album, a few come across as exactly what they are — attempts at commercialism. Though I suppose it has worked since the album sold 30k copies in the first week and debuted at #10 on the Billboard charts.
This album seems to run the gamut. There are hard rockin’ anthems like the excellent “This Is Gonna Hurt” and the lead single “Lies Of The Beautiful People”, the rock/pop of “Are You With Me” (think Daughtry or David Cook) and then there are tender moments like the album’s low-key closing number “Skin” or the laid back country pop of “Feels So Right”. “Live Forever” is another album high point and along with “Smile” it really helps to point out the album’s more positive and upbeat nature in comparison to The Heroin Diaries.
But don’t worry, there are darker moments like the emo-tastic “Deadlihood” and “Goodbye My Friends while “Help Is On The Way” has lyrics that go: “Sometimes I wish you were dead and I’m not even joking/I’d put a gun to your head/And when your world crashes down, you’ll see it’s not so funny/What will you say to the press”.
For my money, this is one of the year’s best albums and I hope this isn’t the end for Sixx:A.M. (though I doubt it is). Nikki says he’s already working on Book #3 so I’m sure we can expect a new album at that time! If you were into The Heroin Diaries, you’ll be into This Is Gonna Hurt.
Highlights: “This Is Gonna Hurt”, “Lies Of The Beautiful People”, “Live Forever”, “Sure Feels Right”, “Help Is On The Way”, “Skin”
Foo Fighters – Wasting Light (2011, RCA Records/Roswell Records)
1. “Bridge Burning” … 4:47
2. “Rope” … 4:19
3. “Dear Rosemary” … 4:26
4. “White Limo” … 3:22
5. “Arlandria” … 4:28
6. “These Days” … 4:58
7. “Back & Forth” … 3:52
8. “A Matter of Time” … 4:36
9. “Miss the Misery” … 4:33
10. “I Should Have Known” … 4:16
11. “Walk” … 4:16
Dave Grohl – Lead Vocals, Guitar
Pat Smear – Guitar
Chris Shiflett – Guitar, Backing Vocals
Nate Mendel – Bass
Taylor Hawkins – Drums, Percussion, Backing Vocals
Bob Mould – Guitar, Backing vocals (“Dear Rosemary”)
Krist Novoselic – Bass, Accordion (“I Should Have Known”)
Rami Jaffee – Keyboards, Mellotron, Organ (“Bridge Burning”, “Rope”, “I Should Have Known”, “Walk”)
Producer: Butch Vig & Foo Fighters
Dave Grohl has got to be one of the hardest working guys in music. If he isn’t recording or touring with Foo Fighters, he’s got some other side project going on. I’ve always felt Foo Fighters were a good band. One of the best to spring out the ’90s in fact, but alternative rock isn’t even close to being a much-loved genre of mine so despite owning There Is Nothing Left to Lose (1999), One By One (2002) and the exhausting double disc In Your Honor (2005) I was never a HUGE fan. Though they weren’t bad albums, I began to lose my interest with the two albums following There Is Nothing Left to Lose so I didn’t even bother to pick up 2007′s Echoes, Silence, Patience & Grace.
So why did I pick up Wasting Light? Purely by chance I caught the music video (YES — music video) on VH1 (YES — VH1) for “Rope” the Monday before the album’s release. I’ve always felt FF did a really good job at writing quirky yet catchy hard rock songs and “Rope” was no exception. I couldn’t get it out of my head so I ran to the computer to check out some reviews where I ran across one of my usual review sites and they said it was their best and most focused album yet. High praise considering their first three albums were all very well received.
While there are a few songs that fall flat with me (“Dear Rosemary”, “White Limo”) for the most part this is the catchy alternative hard rock that the Foo Fighters are known for. “Rope” is classic Foo, “Back & Forth” is one of the band’s better commercial sounding songs and “Arlandria” is near and dear to my own heart since I am a Virginia boy just like Grohl and “I Should Have Known” is a ballad that has got to be one of the band’s better songs.
If you’ve never been impressed by the Foo Fighters, this album won’t win you over. But for the already converted? This is a much welcome return to form, so to speak. It certainly has reaffirmed my faith in the band and has got to be one of 2011′s best releases.
Highlights: “Rope”, “Arlandria”, “Back & Forth”, “Miss The Misery”, “I Should Have Known”, “Walk”
CellOut – Superstar Prototype (2010, Nuerra Records)
1. “Dark Days” … 4:30
2. “All My Demons Inside” … 3:20
3. “The Gift” … 3:50
4. “Flooded” … 5:12
5. “Set Things Straight” … 3:45
6. “Blow” … 3:58
7. “Breathe” … 3:33
8. “As I Fall” … 3:31
9. “Fake” … 3:52
10. “In My Arms” … 4:06
11. “The Tragedy In You” … 3:55
Percy Mejhagen – Vocals, Guitar
Robert Monegrim – Guitar, Backing Vocals
Anders Sevebo – Bass, Backing Vocals
Martin Karlsson – Drums
Producer: Cellout & Michael Phelan
Sweden’s CellOut is a band that I think could really achieve some success in the United States if given half the chance. The band finds a great balance between being melodic and being heavy. That’s a product of vocalist Percy Mejhagen’s early influences such as Korn, Pantera & Sepultura and guitarist Robert Monegrim’s melodic rock influences. The album was mixed by Ulrich Wild (who has worked with Pantera, Deftones & Static-X). So CellOut are most certainly a band for modern times (I would place them under the broad “alternative rock/metal” category) which is why I think they tons of potential stateside.
While songs like “Dark Days” and “Flooded” have plenty of radio appeal, “Set Things Straight”, “Breathe” and “Fake” are heavy and brutal enough to please those they might be jaded by such commercialism. Personally, it’s the albums more melodica moments that I like best. And for my money, the band puts their best foot forward at the beginning of the album. “Dark Days”, “All My Demons Inside”, “The Gift” and “Flooded” are prime examples of GOOD catchy modern rock/metal tunes. See, this is the kind of stuff that would happily keep me listening to the radio.
You know how I know I’m really liking an album? I check out the lyrics. That is, if they are provided and luckily they are (lyrics should be a standard part of album packaging, get it together people): “I never wanted you to say ‘I’m sorry’/Hell no, dark days are far from gone/I never wanted you to say ‘I’m sorry’/Hell no, it’s all around/You can’t escape it”. Perhaps a bit emo if coming from one of Hot Topic’s favorite bands but when it’s coming from the pummeling and hooky opener “Dark Days”, I found yourself energized and singing along.
Superstar Protoype is a “must listen” for fans of Disturbed, Linkin Park, Korn, Static-X, etc.
Highlights: “Dark Days”, “All My Demons Inside”, “The Gift”, “Flooded”, “As I Fall”
Saliva – Under Your Skin (2011, Island Records)
1. “Badass” … 3:05
2. “Better Days” … 3:40
3. “Nothing” … 3:07
4. “Hate Me” … 4:02
5. “Never Should’ve Let You Go” … 3:33
6. “Prove Me Wrong” … 3:30
7. “Burn It Up” … 2:57
8. “Toxic Suicide” … 2:45
9. “Turn the Lights On” … 3:49
10. “Spotlight” … 3:11
Josey Scott – Lead Vocals
Wayne Swinny – Guitar, Backing Vocals
Dave Novotny – Bass, Backing Vocals
Paul Crosby – Drums
Producer: Howard Benson
With the band seemingly topping themselves with each new release, when I found out a new Saliva album was underway, I took notice. Cinco Diablo was easily the best of the band’s catalog so I was pretty interested in hearing this one. I first got into the band when most people did — with Every Six Seconds. Though I don’t think the band has ever delivered a knockout album, everything they *have* released has at least qualified as good.
I was kind of disappointed when I read some statements from Josey Scott where he talked about going back to the rap metal that the band originally was so fond of. Sure, it was fine for the time but it just seemed like an unnecessary step back as I don’t think the nostalgia factor has kicked in yet for that subgenre. Hopefully it never will and luckily this album isn’t really to relive 1999 or 2001. “Badass” and “Burn It Up” are really the only two songs that retread Saliva’s earlier sound and they are fine for what they are. They sound like Saliva.
As much as I liked Cinco Diablo, I like Under My Skin that much more. This is the band’s finest moment. For my money, the band has turned in their best effort yet. 10 songs and very little filler here. Whether it’s the bravado chest-thumping “Badass”, rock radio ready songs like “Nothing”, “Better Days” & “Spotlight” or the ballads “Never Should’ve Let You Go” & “Turn The Lights On” (Saliva has always done very well with their ballads), the album has stuck me and I can’t get it out of my head. “Toxic Suicide” is another favorite of mine, it has a slightly darker edge to it than the rest of the songs.
I bought this album to the day it came out and I must have listened to it nearly 10 times all the way through in that short amount of time. Some albums I listen to and even though I enjoy them I’m ready to move on to the next album but Under My Skin has stayed in my player for the majority of the week. I’m not getting tired of it and there’s no reason this album should not be a big hit. Well, other than the fact that the music industry has screwed itself to oblivion. So far, “Badass” and “Nothing” have been released as singles. I’m surprised neither has charted but I definitely think “Better Days”, “Turn The Lights On” and/or “Never Should’ve Let You Go” all deserve to get released to radio as well. Really, most of this album is radio ready though. The hooks, catchy choruses and melodies are all over the place.
Anyone who likes Saliva will like this album as well, I think. I guess Saliva is one of the more mainstream sounding rock bands that I listen to but they are so much more catchier than most of what makes it onto radio so that’s why I keep coming back for more.
Highly recommended, strong contender to make my Top 10 list for 2011.
Highlights: “Better Days”, “Nothing”, “Never Should’ve Let You Go”, “Toxic Suicide”, “Turn The Lights On”
Press Release: SALIVA returns from Memphis with ‘Under Your Skin’, new album to be released March 22nd
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