It has been a long way down from the top for Kid Rock – after he exploded onto the mainstream in 1998 with Devil Without a Cause, his two follow-up albums have not even come close to matching Devil’s quality or album sales. Yet all is not lost, as Kid Rock’s latest, Rock and Roll Jesus, is as good, if not even better, than Devil.
In the spirit of returns, it is fitting Kid Rock copies the album cover of AC/DC’s ultimate comeback album, Back In Black, for Rock and Roll Jesus. But the most impressive aspect of Rock and Roll Jesus is the way it seamlessly slides between all of the genres Kid Rock fits into – rap, rock and country – and succeeds at all of them. He screams, he sings and he croons, and does all three with style.
On this album, Kid Rock has dropped his rap-style habit of inserting references to himself or his own name into songs. This small change has produced great results, and keeps the album’s tracks from turning into silly tributes to the man himself (you bought the album, you know who made the music).
Though Kid Rock was unable to use producer extraordinaire Rick Rubin for this album – while he consulted with Rubin before making the album, the producer didn’t officially work on Rock and Roll Jesus – Rubin’s influence is definitely felt. The producer’s trademark strategy of stripping an artist to his roots must have rubbed off on Kid Rock in those consultations, as the production on Rock and Roll Jesus is sparse, instead putting the focus on Kid Rock’s lyrics.
In fact, the album lacks any throwaway filler tracks. “New Orleans,” like the title indicates, is a ballad to the city, complete with the requisite jazz horns and references to gumbo, among other things. The track feels like a live song, and the sounds of the band’s laughter punctuate the final notes, letting the listener in on just how much fun Kid Rock and Co. had while recording the song.
Another winner is “All Summer Long,” a track that pays homage to (or blatantly rips off, depending on your point of view) Warren Zevon’s “Werewolves of London” with a twist on the classic “Sweet Home Alabama” guitar riff. Shockingly, though, it works. And although “All Summer Long” is a little late to take advantage of during the summer weather it would be perfect for, it will provide a perfect remedy to your winter blues in a month or two.
“Half Your Age” could find a home in the honky-tonkiest of honky-tonk bars, with lyrical refrains such as, “I’ve got someone new/ Who treats me better/ She don’t bitch about things we ain’t got/ When I sing this tune, it don’t upset her/ She’s half your age/ And twice as hot.” The song is an obvious shot at the 40-year-old Pamela Anderson and references Kid Rock’s rebound girl, the 25-year-old model May Andersen. The guitar work in the song is prototypical country twang, and Kid Rock hams it up behind the microphone, clearly having a great time while letting his country side hang out with this revenge tune.
Rock and Roll Jesus is without a doubt Kid Rock’s best work since Devil, as it shows off the vocal range and ability he has developed over the years. Kid Rock has clearly grown, moving away from his rap background and allowing a much wider circle of influences to infiltrate his music. Lucky for him, it’s a formula that works, and Rock and Roll Jesus is the best collective work Kid Rock has produced yet.
tripp@umd.edu
