Rock N Roll Jesus [Clean] [Edited] [PA]

Performer: Kid Rock
Engineer: Kid Rock; Rob Cavallo; Al Sutton; Mike E. Clark
Producer: Kid Rock; Rob Cavallo; Mike E. Clark; Kid Rock; Rob Cavallo
Distributor: WEA (Distributor)

Notes: Personnel: Kid Rock (guitar, acoustic guitar, lap steel guitar, banjo, piano, Moog synthesizer, talk box, drums, percussion, programming); Marlon Young (vocals, guitar, acoustic guitar, 12-string guitar, lap steel guitar, mandolin); Al Sutton (vocals); Kenny Tudrick (guitar, drums); Jason Krause, Bobby East (guitar); Jimmie Bones (harp, piano, keyboards, background vocals); Connie Ellisor, Karen Winkelmann, Eberhard Ramm, Bettie Ross, Jim Grosjean, Anthony LaMarchina, Carl Gorodetzky, Pamela Sixfin, Alan Umstead, Catherine Umstead, Gary VanOsdale, Carole Rabinowitz-Neuen (strings); Rayse Biggs (trumpet, horns); Tim Akers (piano); Lawrence Fratangelo (drums, congas, timbales); Stefanie Eulinberg (drums, background vocals); Aaron Julison, Andre N. Jones, Barbara Payton, Karen Newman, Laura Creamer, Sylver Logan Sharp, Thornetta Davis (background vocals). Audio Mixers: Kid Rock; Rob Cavallo; Al Sutton. Recording information: The Allen Roadhouse. Author: Kid Rock. Photographer: Clay Patrick McBride. Unknown Contributor Roles: Paul T. Kwami; Wesley Trigg. Once the straight country-rock of his single "Cocky" struck a chord with the public, Kid Rock seemed more interested in filling the shoes of Southern rock pioneers Lynyrd Skynyrd than upholding his throne as hip-hop's white trash punk. His 2007 album ROCK N ROLL JESUS completes that transition. A big album that bowls straight up the middle, ROCK N ROLL JESUS is Kid's homage to the grits and gravy of classic rock, a 21st-century update of FM radio fare from the 1970s. Gone for most part is his hip-hop posturing and in-your-face putdowns; in their place are invocations of Skynyrd, Bob Seger, Steve Miller, and the like. "All Summer Long," a bouncy, sunny tune that bears a striking resemblance to "Sweet Home Alabama," is a case in point; while "Roll On" has the smooth-rolling feel of the Eagles' early work. Rock cuts loose, to be sure, as on the head-banging "So Hott," but even these tracks are injected with a retro feel, summoning classic AC/DC more than anything from the '00's. Longtime Rock fans might miss the bad attitude, but fans of classic '70s rock should feel right at home. When it comes right down to it, what Kid Rock attempts is kind of tricky: he's trying to create new classic rock, songs to compete with Skynyrd and Seger as the soundtrack of choice for jukeboxes and pickup trucks across the country. This is the sound of the white-trash, downriver rocker in him coming through, triumphing over the jive rapper who brought him his fame. It was there even when he was aping the Beastie Boys and yodeling in the canyon, but once the country-rock of "Picture" revived the sales of the flagging Cocky, he put all his chips on classic rock, beginning with 2004's eponymous platter, a good record without a single hit single. That lack of a hit was enough to scare Kid, to strip anyway his few lingering subtleties and turn out an album as big, bold, and brainless as 2007's Rock N Roll Jesus. Apart from a drum loop here and a chanted bridge there, this is classic white-trash rock through and through, but where his heroes were creating a blueprint, Kid Rock is doggedly following their path, and he won't ever let you forget it, either. He name-drops relentlessly, steals songs titles from both Alabama and Billy Squier, cribs rhyme schemes from Seger and melodies from Elton John ("Blue Jeans and a Rosary" is straight out of "Levon"), adopts John Fogerty's fake mushmouth Southern accent for his obligatory Big Easy salute, "New Orleans," and pays homage to Back in Black with his cover art. He works hard to evoke the ghosts of the past, hoping that all his allusions will give him classic rock cred by association, when it only winds up underscoring the distance between him and his heroes. Nowhere is this truer than on "All Summer Long," a spin on "Night Moves" built entirely upon the chords from "Werewolves of London" with a slight lift from "Sweet Home Alabama" on the chorus, which only brings to mind how much better those three songs are than this mash-up. Kid Rock's problem on Rock N Roll Jesus is two-fold: his music is so cluttered with comforting clich�s, it plays like music for a theme restaurant, and his words fall flat. Of the two problems, the music isn't as serious: splashy and silly though it may be, at least it gets the basic sound right, even if it's way too polished and precise. Kid chases after shopworn riffs without ever reworking them or infusing them with enough spirit to make them his own; they just lie there, crushed beneath the weight of classic rock history. Nor does he goose his conventional chords with his signature ribald humor, which perhaps is the most shocking and notable thing about Rock N Roll Jesus: he's lost all of his verbal facility, to the point where he can no longer tell a dirty joke. It's as if by leaving rap behind, he's also discarded any claims at being clever. The man who once saluted all his heroes in the methadone clinics now just lazily spits out profanities and rhymes "things" with "things," telling lowlife tales so generic they feel invented. It's not that his topics are tired -- easy sex is as timeless a topic for rock & roll as true love -- but he's no longer inhabiting a role, he's acting it, which makes his tawdry tales not only cheap, but disposable. There's one exception to this rule and that's his nasty, clumsy David Allan Coe-styled kiss-off to ex-wife Pamela Anderson, "Half Your Age," the one song that is truly steeped in the dirty grit of real life. It may ring true, but it's so mean-spirited, it strips him of any residual roguish charm -- and when a rogue loses his charm, he just comes across as a prick, as Kid Rock does on Rock N Roll Jesus. [A clean edition with profanity removed was also released.] ~ Stephen Thomas Erlewine When it comes right down to it, what Kid Rock attempts is kind of tricky: he's trying to create new classic rock, songs to compete with Skynyrd and Seger as the soundtrack of choice for jukeboxes and pickup trucks across the country. This is the sound of the white-trash, downriver rocker in him coming through, triumphing over the jive rapper who brought him his fame. It was there even when he was aping the Beastie Boys and yodeling in the canyon, but once the country-rock of "Picture" revived the sales of the flagging Cocky, he put all his chips on classic rock, beginning with 2004's eponymous platter, a good record without a single hit single. That lack of a hit was enough to scare Kid, to strip away his few lingering subtleties and turn out an album like 2007's Rock N Roll Jesus. Apart from a drum loop here and a chanted bridge there, this is classic white-trash rock through and through, withKid Rock doggedly following the path of his heroes: not only Bob Seger but John Fogerty, Alabama, Billy Squier, and evenElton John ("Blue Jeans and a Rosary" is straight out of "Levon"). He also pays homage to Back in Black with his cover art. Kid Rock works hard to evoke the ghosts of the past, hoping that all his allusions will give him classic rock cred by association. And while his words fall flat, the problems with the music aren't as serious: splashy and silly though it may be, at least the music gets the basic sound right, even if it's too polished and precise. [A clean edition with profanity removed was also released.] ~ Stephen Thomas Erlewine

Rolling Stone (p.720) - 4 stars out of 5 -- "[H]is good-hearted faith in rock & roll delivers a powerful kick....[With] roaring guitars, truckloads of attitude and an unquenchable lust for life..." Entertainment Weekly (p.73) - "The title track is a nondenominational, AC/DC-style tribute to Rock's rockingness." -- Grade: B Uncut (p.98) - 3 stars out of 5 -- "[T]he reflective moments are best, notably the infectious 'All Summer Long', which melds Warren Zevon's 'Werewolves Of London' with 'Sweet Home Alabama'..." Mojo (Publisher) (p.98) - 3 stars out of 5 -- "Rock once again draws on his Michigan roots but this time crosses the tracks and tips his Fedora to Bob Seger and Motown..."

Self-proclaimed "King of White Trash" (and proud of it), Kid Rock took his rap-meets-rock-meets-country hybrid to the top of the charts. After opening as a bratty hip-hop artist in the Beastie Boys mode in the early-'90s, Kid came back with a vengeance, diminutive rapper Joe C by his side, on the 1998 smash DEVIL WITHOUT A CAUSE. With a pimp/stud schtick worked to the hilt, he's an outspoken rock & roll spotlight-grabber the likes of which hasn't been seen since the glory days of David Lee Roth. He even betrayed his mellower side on the trail ballad and 2002 hit duet with Sheryl Crow, "Picture."

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