CODE | EAC extraction logfile from 16. October 2007, 11:39 for CD Kid Rock / Rock N Roll Jesus
Used drive : PIONEER DVD RW DVR-108 Adapter: 0 ID: 0 Read mode : Secure with NO C2, accurate stream, disable cache Read offset correction : 48 Overread into Lead-In and Lead-Out : No
Used output format : Internal WAV Routines 44.100 Hz; 16 Bit; Stereo Use compression offset : 0
Other options : Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Installed external ASPI interface
Range status and errors Selected range Filename H:\Toasten 2\Kid Rock - Rock n Roll Jesus.wav
Peak level 100.0 % Range quality 100.0 % CRC 0E342265 Copy OK
No errors occured
End of status report |
Review (AMG)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. ...full review here ( http://wc02.allmusic.com/cg/amg.dll?p=amg&sql=10:wifuxzrhld6e~T1
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