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Bawitdaba/Krack Rocks
Released: Apr 24, 2001
Label: N\A

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Bawitdaba/I Am the Bullgod
Released: Apr 24, 2001
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Bawitdaba/Cowboy
Released: Apr 24, 2001
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The History of Rock - JAPAN
Released: Sep 19, 2000
Label: N\A

{^Devil Without a Cause} was so good it caused everybody to re-evaluate {$Kid Rock}, including {$Rock} himself. As he prepped a follow-up, he unleashed {^The History of Rock}, a hodgepodge of new... Continue[+]

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{^Devil Without a Cause} was so good it caused everybody to re-evaluate {$Kid Rock}, including {$Rock} himself. As he prepped a follow-up, he unleashed {^The History of Rock}, a hodgepodge of new songs, unreleased tunes, demos, old cuts, and re-recordings. This not only bought {$the Kid} time, it gave him a chance to revamp a past that was bordering on the seriously lame. According to {^The History}, {$Rock} always knew what he was doing. Anyone that's heard {^The Polyfuze Method} knows that's not the case, but that's the beauty of {^The History}, since the early stuff now sounds of piece with {^Devil}. It isn't nearly as good, but it has some of the same thrills since his band hits harder and funkier than any of its rap-rock peers and {$Rock} now has a fully cultivated persona. Still, the songs just aren't here. Apart from the {&"Get out of Denver"} rewrite {&"Born 2 B a Hick,"} {&"Early Mornin' Stoned Pimp,"} {&"3 Sheets to the Wind"} and maybe the {$Skynyrd}-aping {&"Prodigal Son,"} the older recordings are still clumsy, something the new song {&"American Bad Ass"} is not. A shameless slab of self-mythology where the former {$Bob Ritchie} calls out tag-lines from {^Devil} and places himself in the company of {$Seger}, {$the Beasties}, and {$No-Show Jones}, all to a sample of {$Metallica}'s {&"Sad But True,"} it's cool, more or less, but not as monumental as {&"Bawitdaba,"} which had true wit, original riffs, and a sense of purpose. But, once you've worn out {^Devil} and you need a new fix, you're not going to find it on the older {$Kid Rock} albums -- you're going to find it here. It's not a great listen, but its swagger and white-trash style make it the second-best record in his catalog. [The Japanese release adds a live recording of {&"3 Sheets to the Wind (What's My Name)."}] ~ Stephen Thomas Erlewine, All Music Guide

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Kid Rock: The Devil Knows My Name - Unauthorized
Released: Jul 18, 2000
Label: N\A

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The History of Rock - CLEAN
Released: May 30, 2000
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Despite his assertions that he was "going platinum" throughout the title track of {^Devil Without a Cause}, nobody expected {$Kid Rock} to sell 7,000 copies of his fourth record, let alone... Continue[+]

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Despite his assertions that he was "going platinum" throughout the title track of {^Devil Without a Cause}, nobody expected {$Kid Rock} to sell 7,000 copies of his fourth record, let alone 7,000,000. This was a guy who was pretty much considered a joke (if he was considered at all) ever since the 1990 release of his sub-{$Beasties} debut, {^Grits Sandwiches for Breakfast}. College radio veterans tell tales of being inundated with copies of the CD, receiving so many free copies that they eventually ran out of ways to destroy the promos. So, when {$the Kid} returned with {^Devil Without a Cause} in 1998, nobody outside of his hardcore Detroit partisans expected him to make much of an impact. 
As it turns out -- and doesn't it always turn out this way -- the intelligentsia really didn't have a clue about {$Kid Rock}, since they hadn't been paying attention. Despite a near-universal lack of support, he did not give up; he just kept plugging away, eventually developing a rather unique blend of white-boy rap, Detroit rock & roll, and metal posturing. It was as if {$David Lee Roth} was raised a white-trash rapper and had a dirtier, funkier band than {$Van Halen}. It was totally unpredictable, especially at the tail end of a decade dominated by humorless grunge and doom metal. It was a blast of raw, fun, and very, very hard rock, topped off with a surprisingly witty sense of humor.
{^Devil Without a Cause} was so good it caused everybody to re-evaluate {$Kid Rock}, including {$Rock} himself. As he was prepping a follow-up, he decided to buy time with a compilation of his older recordings, many of which were unknown and out of print. That album became {^The History of Rock}, a hodgepodge of new songs, unreleased tunes, demos, old cuts, and re-recordings of his decade-long journey to stardom. Releasing an odds and sods collection as a sequel to a career-making blockbuster may look like a scam; it's sort of an ingenious move, since it not only buys {$the Kid} time, but it also gives him a chance to revamp a past that was bordering on the seriously lame. According to {^The History}, {$Rock} always knew what he was doing. As anybody who heard {^The Polyfuze Method} knows, that's not the case, but that's the beauty of {^The History}; here, he makes his unfocused early stuff of a piece with {^Devil Without a Cause}. That doesn't necessarily mean that it's just as good. It isn't nearly as good, but that's sort of an unfair comparison, since this is flotsam and jetsam, and {^Devil} wasn't just the best of {$Rock}, it was the best hard rock album of the last quarter of the '90s. This delivers some of the same thrills -- mainly because the band hits harder and funkier than any of its rap-rock peers, and {$Rock} now has a fully cultivated persona that really is worthy of stardom -- but it just doesn't compare because the songs aren't there. Consider this: the best song is {&"American Bad Ass,"} a shameless slab of self-mythology where the former {$Bob Ritchie} calls out tag-lines from {^Devil} and places himself in the company of {$Seger}, {$the Beasties}, and {$No-Show Jones}, all to a sample of {$Metallica}'s {&"Sad but True."} Cool, more or less, but not as monumental as {&"Bawitdaba,"} which had true wit, original riffs, and a sense of purpose. In other words, {&"American Bad Ass"} has the sound but not the substance. But, once you've worn out {^Devil} and you need a new fix, you're not going to find it on the older {$Kid Rock} albums -- you're going to find it here. That may be enough for some listeners, even if the songs themselves -- apart from the {&"Get Out of Denver"} rewrite {&"Born 2 B a Hick,"} {&"Early Mornin' Stoned Pimp,"} the funky {&"3 Sheets to the Wind"} and maybe the {$Skynyrd}-aping {&"Prodigal Son"} -- never really make much of an impact. Most importantly, perhaps, {^The History of Rock} accomplishes everything {$Rock} set out to do -- it buys him time while enhancing his persona. It might not make for a great listen, but its swagger and white-trash style make it the second-best record in his catalog. Mild praise, of course, considering that everything besides {^Devil Without a Cause} just isn't very good, but at least with {^History} there's another platter in his catalog that's worth a spin. [{^The History of Rock} was also released in a "clean" version, containing no profanities or vulgarities.] ~ Stephen Thomas Erlewine, All Music Guide

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The History of Rock
Released: May 30, 2000
Label: N\A

{^Devil Without a Cause} was so good it caused everybody to re-evaluate {$Kid Rock}, including {$Rock} himself. As he prepped a follow-up, he unleashed {^The History of Rock}, a hodgepodge of new... Continue[+]

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{^Devil Without a Cause} was so good it caused everybody to re-evaluate {$Kid Rock}, including {$Rock} himself. As he prepped a follow-up, he unleashed {^The History of Rock}, a hodgepodge of new songs, unreleased tunes, demos, old cuts, and re-recordings. This not only bought {$the Kid} time, it gave him a chance to revamp a past that was bordering on the seriously lame. According to {^The History}, {$Rock} always knew what he was doing. Anyone that's heard {^The Polyfuze Method} knows that's not the case, but that's the beauty of {^The History}, since the early stuff now sounds of a piece with {^Devil}. It isn't nearly as good, but it has some of the same thrills since his band hits harder and funkier than any of its {\rap-rock} peers and {$Rock} now has a fully cultivated persona. Still, the songs just aren't here. Apart from the {&"Get Out of Denver"} rewrite {&"Born 2 B a Hick,"} {&"Early Mornin' Stoned Pimp,"} {&"3 Sheets to the Wind,"} and maybe the {$Skynyrd}-aping {&"Prodigal Son,"} the older recordings are still clumsy, something the new song {&"American Bad Ass"} is not. A shameless slab of self-mythology where the former {$Bob Ritchie} calls out tag lines from {^Devil} and places himself in the company of {$Seger}, {$the Beasties}, and {$No-Show Jones}, all to a sample of {$Metallica}'s {&"Sad but True,"} it's cool, more or less, but not as monumental as {&"Bawitdaba,"} which had true wit, original riffs, and a sense of purpose. But, once you've worn out {^Devil} and you need a new fix, you're not going to find it on the older {$Kid Rock} albums -- you're going to find it here. It's not a great listen, but its swagger and white-trash style make it the second-best record in his catalog to date. ~ Stephen Thomas Erlewine, All Music Guide

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I Am the Bullgod/Cowboy
Released: May 23, 2000
Label: N\A

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Audio Biography CD
Released: Apr 25, 2000
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I Am the Bullgod
Released: Apr 4, 2000
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