Album review: Skid Row – The Gang’s All Here

By PAUL SOUTHWELL

SKID Row are rejuvenated, and a good chunk of that credit goes to infusing new vocalist, Erik Grönwall, into the fold.

The former H.E.A.T vocalist may well have a striking sonic resemblance to original, volatile vocalist Sebastian Bach, but the music has enough breathing space to let Grönwall shine with his own strengths. Throughout the album, the twin guitar attack of Scotti Hill and Dave ‘The Snake’ Sabo is suitably aggressive but with a certain melodic sensibility that separates Skid Row from other bands of the glam and hard rock genre. The rhythm section of bassist Rachel Bolan and drummer Rob Hammersmith is, put simply, tight and loud. The album is mixed to push the volume levels, but it doesn’t distort, with a sonic clarity that makes the album neighbour rattling, whilst using the sonic spectrum to full effect.

It’s been a good decade since the twin United World Rebellion EPs, fronted by the late Johnny Solinger. Both those EPs were solid releases, produced well by Bolan and Sabo. By contrast, The Gang’s All Here was recorded fairly recently at WireWorld Studio, in Nashville, Tennessee, produced by Nick Raskulinecz. The results are exceptionally good, capturing great performances from all band members, and doing so with a crisp delivery that is easily on par with any of their classic material from an audio perspective.

Opening proceedings with the thumping ‘Hell or High Water’, elements of the fast-paced verse rhythm figures from that classic track ‘Money Business’ are present, as well as aspects of ‘Livin’ on a Chain Gang’. Slicing guitar power chords complement Grönwall’s powering vocal vibrato, with a plentiful amount of cymbal work to fill out the mix. Following a breakdown section, a quick, high climbing guitar soloing trade off section ensues with unbridled aggression, signing off with a swift, growling whammy dive.

The title track follows the well-trodden path of kicking off with a walking guitar line, as the percussive riff synchronises with the rhythm section. The levels are loud as a wide vibrato and unison bends filled guitar solo barges into a harmony section to then offer a chorus reprise. The drums are smashed with seriously hard-hitting technique throughout the track, closing off with a wail from Grönwall.

A good dose of snotty punk rock attitude carries the quick fire ‘Not Dead Yet’ that milks a big chorus, and the driving rhythm guitars bolster another fast, angry guitar solo during a sudden key change. Again, Grönwall unleashes strong vocal vibrato with a dash of ear-piercing falsetto. At this point, the first three tracks of the album are top quality hard rock and make the album a rallying cry for die-hard Skid Row fans who’ve long ago moved on from the Sebastian Bach comparisons soap opera.

Cranking single ‘Time Bomb’ offers more of a sing-along chorus track, in a hard rock track guise, assuming any fans can actually sing along with Grönwall. The track use spatial dynamics very well to build up to the chorus, has great melodicism and a simple, repetitive vocal line that will engage a live audience. That trade off twin guitar soloing of old is in fine form in this track, with double stops, slinky passages, fluid tapping runs, and a second solo that includes piercing high notes of the era, before the chorus return.

Delving into a funkier hard rock vibe, ‘Resurrected’ is quickly executed, with chords ringing out against a swift snare crack and hi-hat shuffle feel. ‘Nowhere Fast’, combines the heavier introduction riff with barked vocals, floor toms and solid arrangements that makes the pre-chorus build into a soaring chorus with Grönwall yet again, screaming out his pipes, combined with gang style back-up vocals. The guitar solos have good use of tremolo picking and speed runs.

The swagger vibe is in full effect on ‘When the Lights Come On’, led by a thumping bassline, circular guitar rhythm lines and a peppering of artificial harmonics. A raw, blues rock solo takes the track to familiar territory for the bridge and chorus. By contrast, the rhythm section driven ‘Tear It Down’ provides space for Grönwall to soar, alternating with backing vocals, which then lead the chorus melody line, backed by a succinct, muted guitar figure. It’s another song that would suit a melodic sing-along in a live situation, plus the solos here are expressive, and delve into harmony lines of old, demonstrating some tasteful guitar skills.

An arpeggiated, clean guitar line ushers in power ballad ‘October’s Song’, which soon enough has the pre-requisite big, distorted power chords for Grönwall to belt out his vocals over. The vocal performance here is nuanced in parts, as Grönwall shows off his timbre, depth of melodic sense, and a strong chorus vocal presence. Layers of guitar tracks increase for the solo section which dodges the formulaic expectations with purring harmonics and an Eastern scale note choice run before the opening guitar figure is reprised, feeding flawlessly into the chorus, followed by semi-harmonised guitar parts. In another age, this track would have been all over commercial radio.

Closing out the album, ‘World on Fire’ has a distinct metal feel to it, with a pedalled rhythm line allowing brittle high end guitar chords to pop out of the mix. Edging into the chorus, Grönwall raises his pitch before nailing his delivery with socially conscious lyrics. It’s a tight, punchy track, completed with the cherry on top guitar solo, initially over a reversed rhythm figure for a different texture. After the rapid soloing, a huge pull up note to more fast guitar runs returns the song to the chorus, rounded off with shimmering cymbals and a rousing final vocal from Grönwall to close out the track.

Skid Row’s latest album is hard to beat and delivers the goods in spades. Grönwall is a fantastic choice to carry the band, looking to be firmly planted with Skid Row for the foreseeable future, and that’s good news for all hard rock fans. This album is trimmed of fat, goes for the throat and hits the target with musical precision.