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Live Trucker - CLEAN
Released: Feb 28, 2006
Label: N\A

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Live Trucker
Released: Feb 28, 2006
Label: N\A

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Kid Rock - CLEAN
Released: Nov 11, 2003
Label: N\A

{$Kid Rock} gained his fame as a white-trash rapper, but he retained his fame as a white-trash rocker, using the breakthrough of 1998's {^Devil Without a Cause} to refashion himself as a modern-day... Continue[+]

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{$Kid Rock} gained his fame as a white-trash rapper, but he retained his fame as a white-trash rocker, using the breakthrough of 1998's {^Devil Without a Cause} to refashion himself as a modern-day blue-collar rocker, as comfortable with crunching bluesy riffs as he is with heartbroken {\country}. The former {$Bob Ritchie} started this transformation on 2001's {^Cocky}, an enjoyably jumbled album that didn't quite take off until {&"Picture,"} his straight {\country} duet with {$Sheryl Crow}, was embraced by {\country} radio, reviving the album and even bringing him nominations from the CMA. {$Kid} was already in the process of abandoning {\metal} and, to a lesser extent, {\hip-hop}, so he seized this opportunity to become a full-out rocker and {\outlaw country} singer with his next album, 2003's {^Kid Rock}. Many of {$Kid}'s signatures are still in place -- the bragging, the boasting, the songs about sex, fame, and {\rock & roll}, the hard riffs, the self-mythology -- but it no longer sounds like a mix of {$David Lee Roth} and {$the Beastie Boys} (even if the latter's {%Rod Carew} rhyme from {&"Sure Shot"} is lifted for {&"Intro,"} just moments after a {&"So Whatcha Want"} reference); it sounds as if {$Hank Williams, Jr.} and {$David Allan Coe} are his new role models. Both {$Hank} and {$Coe} have a similar sense of inflated ego and penchant for name-dropping that borders on self-parody, and {$Kid Rock} follows the same path here, particularly on the numerous rockers -- rockers that range from the heavy, heavy {&"Jackson, Mississippi"} to laid-back, loose-limbed boogies like {&"Rock n' Roll Pain Train."} He wisely plays up the sensitive side of {&"Picture,"} too, borrowing from {$DAC}'s soul-searching {\ballads} and {$Bob Seger}'s introspective numbers. He even revives {&"Hard Night for Sarah,"} a song {$Seger} wrote and recorded in 1979 but never released (something that likely wouldn't have happened if he hadn't switched management to {$Seger}'s longtime partner, {$Punch Andrews}), and the tune, along with the similarly effective original {&"Single Father"} (inexplicably listed as a bonus track, when there is no other release of the album without it), gives {^Kid Rock} an emotional underpinning it needs, since so much of this is nothing but good-time music. Of course, there's nothing wrong with good-time music, and {$Kid} is proud to make party music -- which he should be, since he does it well. Song for song, this is better-written and harder-rocking than {^Cocky}, and while it's easy to wish that {$Kid} was still as witty and funny as he on {^Devil Without a Cause}, there's a certain cornball charm to his unabashed silliness and how he treats every {\rock & roll} clich� as if it was a newfound truth. That's the power of {$Kid Rock}'s personality -- he may blatantly borrow from his influences, and he may recycle and celebrate shopworn clich�s, but he does it with flair, style, good hooks, and charisma that shines through on each track. It's what makes {^Kid Rock} -- both the artist and the album -- kind of irresistible. As silly, foul-mouthed, and obvious as he is, he does it so well you just can't help but like the guy. [{^Kid Rock} was also released in a clean version with the profanities omitted.] ~ Stephen Thomas Erlewine, All Music Guide

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Kid Rock
Released: Nov 11, 2003
Label: N\A

{$Kid Rock} gained his fame as a white-trash rapper, but he retained his fame as a white-trash rocker, using the breakthrough of 1998's {^Devil Without a Cause} to refashion himself as a modern-day... Continue[+]

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{$Kid Rock} gained his fame as a white-trash rapper, but he retained his fame as a white-trash rocker, using the breakthrough of 1998's {^Devil Without a Cause} to refashion himself as a modern-day blue-collar rocker, as comfortable with crunching bluesy riffs as he is with heartbroken {\country}. The former {$Bob Ritchie} started this transformation on 2001's {^Cocky}, an enjoyably jumbled album that didn't quite take off until {&"Picture,"} his straight {\country} duet with {$Sheryl Crow}, was embraced by {\country} radio, reviving the album and even bringing him nominations from the CMA. {$Kid} was already in the process of abandoning {\metal} and, to a lesser extent, {\hip-hop}, so he seized this opportunity to become a full-out rocker and {\outlaw country} singer with his next album, 2003's {^Kid Rock}. Many of {$Kid}'s signatures are still in place -- the bragging, the boasting, the songs about sex, fame, and {\rock & roll}, the hard riffs, the self-mythology -- but it no longer sounds like a mix of {$David Lee Roth} and {$the Beastie Boys} (even if the latter's {%Rod Carew} rhyme from {&"Sure Shot"} is lifted for {&"Intro,"} just moments after a {&"So Whatcha Want"} reference); it sounds as if {$Hank Williams, Jr.} and {$David Allan Coe} are his new role models. Both {$Hank} and {$Coe} have a similar sense of inflated ego and penchant for name-dropping that borders on self-parody, and {$Kid Rock} follows the same path here, particularly on the numerous rockers -- rockers that range from the heavy, heavy {&"Jackson, Mississippi"} to laid-back, loose-limbed boogies like {&"Rock n' Roll Pain Train."} He wisely plays up the sensitive side of {&"Picture,"} too, borrowing from {$DAC}'s soul-searching {\ballads} and {$Bob Seger}'s introspective numbers. He even revives {&"Hard Night for Sarah,"} a song {$Seger} wrote and recorded in 1979 but never released (something that likely wouldn't have happened if he hadn't switched management to {$Seger}'s longtime partner, {$Punch Andrews}), and the tune, along with the similarly effective original {&"Single Father"} (inexplicably listed as a bonus track, when there is no other release of the album without it), gives {^Kid Rock} an emotional underpinning it needs, since so much of this is nothing but good-time music. Of course, there's nothing wrong with good-time music, and {$Kid} is proud to make party music -- which he should be, since he does it well. Song for song, this is better-written and harder-rocking than {^Cocky}, and while it's easy to wish that {$Kid} was still as witty and funny as he on {^Devil Without a Cause}, there's a certain cornball charm to his unabashed silliness and how he treats every {\rock & roll} clich� as if it was a newfound truth. That's the power of {$Kid Rock}'s personality -- he may blatantly borrow from his influences, and he may recycle and celebrate shopworn clich�s, but he does it with flair, style, good hooks, and charisma that shines through on each track. It's what makes {^Kid Rock} -- both the artist and the album -- kind of irresistible. As silly, foul-mouthed, and obvious as he is, he does it so well you just can't help but like the guy. ~ Stephen Thomas Erlewine, All Music Guide

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Feel Like Makin' Love
Released: Nov 11, 2003
Label: N\A

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Picture
Released: Nov 12, 2002
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You Never Met a Motherfucker Quite Like Me
Released: Oct 29, 2002
Label: N\A

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Forever/Lonely Road of Faith
Released: Apr 16, 2002
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Cocky - CLEAN
Released: Nov 20, 2001
Label: N\A

Great title. Pretty good album. Perhaps it shouldn't be a surprise that {$Kid Rock} decided to follow his {^Devil Without a Cause} blueprint for its follow-up, since that was the record where he... Continue[+]

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Great title. Pretty good album. Perhaps it shouldn't be a surprise that {$Kid Rock} decided to follow his {^Devil Without a Cause} blueprint for its follow-up, since that was the record where he figured out how to mix "the {\hard rock}/{\Southern rock} with the {\hip-hop}," creating a towering, powerful, original blend of {\country}-fried {\metal}, {\heartland rock}, knowing {\arena rock} posturing, {\old-school rap}, and classic {\American hard rock}. It was what he planned to do from the outset, so why should he give it up now that he could finally do what he always wanted? Still, there's no denying that a sequel simply does not pack the punch or the surprise of the original, no matter how well it's constructed, and that's why it initially is easy to view {^Cocky} as a bit of a disappointment; it not only offers nothing new, it seems considerably tamer than its predecessor. How could it not? Not only does the {$Kid} have nothing to prove this time around -- he not only went platinum, he did it ten times plus and then landed {$Sheryl Crow} and {$Pam Anderson} -- he no longer has his midget sidekick, {$Joe C.}, around to enhance the Midwestern carnival atmosphere of his entourage. That wild, white-trash {$Fellini}-esque vibe is missed, as is the overwhelmingly great songwriting of {^Devil}, but if not viewed as direct competition with its predecessor -- which is, after all, <i>the</i> great {\hard rock} album of the late '90s, filled with great sounds and songwriting -- {^Cocky} is a pretty good sequel. One that roots itself deeper in {\classic rock} than in {\hip-hop}; one that isn't as gonzo or as funny, but is still much, much funnier and looser than any of its competitors, while rocking much harder. If the songs aren't classics or if it tends to drift instead of staying focused like {^Devil}, it still is better than anything else in {$Kid}'s catalog and anything else from his {\rap-metal} competitors (he makes all of them sound like rank amateurs), and it has better riffs and earthier rhythms than any {\hard rock} artist since {$38 Special}, while retaining a true Michigan flavor. That might not make it the equal of {^Devil Without a Cause}, but unpretentious, blue-collar {\hard rock} hasn't sounded this good in nearly 20 years, and that's reason enough to celebrate. [A "clean" version of {^Cocky} was also released, lacking -- to paraphrase the great {$Lowell George} -- the eloquent profanity that rolls right off the {$Kid}'s tongue, the very thing that distinguishes {$Kid Rock}'s work. It also lacks the endearingly vulgar duet with {$Snoop Dogg}. Word of warning: While this will protect your kid from the explicitness of {$Kid Rock}, the general message still gets through, so if you've decided that your kid is mature enough for {$Kid Rock}, spring for the uncensored version -- the end result won't be any different.] ~ Stephen Thomas Erlewine, All Music Guide

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Cocky
Released: Nov 20, 2001
Label: N\A

Great title. Pretty good album. Perhaps it shouldn't be a surprise that {$Kid Rock} decided to follow his {^Devil Without a Cause} blueprint for its follow-up, since that was the record where he... Continue[+]

View Tracks (14)

Album Name	Required
Album Cover
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Album Description

Great title. Pretty good album. Perhaps it shouldn't be a surprise that {$Kid Rock} decided to follow his {^Devil Without a Cause} blueprint for its follow-up, since that was the record where he figured out how to mix "the {\hard rock}/{\Southern rock} with the {\hip-hop}," creating a towering, powerful original blend of {\country}-fried {\metal}, {\heartland rock}, knowing {\arena rock} posturing, {\old-school rap}, and classic {\American hard rock}. It was what he planned to do from the outset, so why should he give it up now that he could finally do what he always wanted? Still, there's no denying that a sequel simply does not pack the punch and the surprise of the original, no matter how well it's constructed, and that's why it initially is easy to view {^Cocky} as a bit of a disappointment, since it not only offers nothing new, it seems considerably tamer than its predecessor. How could it not? Not only does {$Kid} have nothing to prove this time around -- he not only went platinum, he did it ten times-plus and then landed {$Sheryl Crow} and {$Pam Anderson} -- he no longer has his midget sidekick, {$Joe C.}, around to enhance the Midwestern carnival atmosphere of his entourage. That wild, white-trash {$Fellini}-esque vibe is missed, as is the overwhelmingly great songwriting of {^Devil}, but if not viewed as direct competition with its predecessor -- which is, after all, <i>the</i> great {\hard rock} album of the late '90s, filled with great sounds and songwriting -- {^Cocky} is a pretty good sequel. One that roots itself deeper in {\classic rock} than in {\hip-hop} and one that isn't as gonzo or as funny, but is still much, much funnier and looser than any of its competitors, while rocking much harder. If the songs aren't classics or if it tends to drift instead of staying focused like {^Devil}, it still is better than anything else in {$Kid}'s catalog and anything else from his {\rap-metal} competitors (he makes all of them sound like rank amateurs), and it has better riffs and earthier rhythms than any {\hard rock} artist since {$38 Special}, while retaining a true Michigan flavor. That might not make it the equal of {^Devil Without a Cause}, but unpretentious, blue-collar {\hard rock} hasn't sounded this good in nearly 20 years, and that's reason enough to celebrate. ~ Stephen Thomas Erlewine, All Music Guide

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