Saliva are one of the bands on the forefront of the so-called «new American rock», along with the likes of Nickelback (urgh), Creed or even American Hi-Fi. The difference is that the group inject their songs with somewhat heavier guitars than the aforementioned names, therefore leading the record company to publicize them as a hard rock band. This is probably why I was so let down by this album; I was expecting something a little heavier and more aggressive than this.
The aptly titled
Back Into Your System is the band’s third offering, the second on a major label, after the success of their major debut
Every Six Seconds, mostly on the back of the single
Click Click Boom. For this album, Saliva were:
Josey Scott – Vocals
Chris Dibaldo – Guitars
Wayne Swinny – Guitars
Dave Nowotny – Bass
Paul Crosby – Drums
Bob Marlette – Producer and Co-songwriter.
The first thing that has raised your eyebrows is probably the inclusion of Marlette in the band members. «But he’s just the producer», you’ll say. Wrong. Marlette is so involved in the writing process that we can almost consider him a sixth band member. In fact, most of what is on this album was masterminded by him, Scott, and Dibaldo, with other band members contributing merely on three songs. In fact, only the title track itself features a joint effort by the whole band!
Now I have ranted time and time again against producers butting in on a band’s creative process, and in this case I’ll do it yet again. Marlette is just too omnipresent to make this band anything more than a prefabricated producer-ruled corporate rock band. Incidentally, the cuts in which Marlette
doesn’t intervene end up being the heaviest on offer here. Creative limiting, anyone?
Not that the album is at all bad. It’s just that there’s no way this is hard rock. Most of the songs are melody-driven, and only on
Raise Up,
Superstar II and
Pride do the heavy guitars take over the operations. The rest of the album cruises along at a leisurely pop-rock pace, with the tracks sounding like those nondescript songs you sometimes hear on the radio. Risk factor zero, surprise factor minus one. The album goes by nicely, it never becomes bothersome, but it never particularly catches our attention either, apart from the odd heavier moment. If you’re the kind of person that seldom buys records, and prefers to listen to the radio, you’ll probably love this album. But if you bought this expecting an orgy of heavy riffs and shouting, then you are misled, my friend: this is radio rock at its best.
Another annoying factor is the lack of direction the album showcases: on
Rest In Pieces (co-written by Nikki Sixx), the band try to sound like American Hi-Fi whereas on
Raise Up they are a Kid Rock pastiche, and on opener
Superstar II they come close to Nickelback. This lack of unity is disturbing on a band releasing their third album. Still, it ensures appeal to both nu-metallers, radio fans and tortured, whiny post-grungers. Good move, guys…
Yet for all its flaws, this isn’t a bad album. It’s entertaining while it lasts, and as I said it would probably make a good soundtrack for an afternoon hanging around the house with your girlfriend. The problem is, Saliva are being publicised as a hard rock band, which they most definitely are
not. If you’re looking for thrills, go look somewhere else. If you want a good radio-rock album , this may be a strong contender.
Songs:
Superstar II – Nice opener to the album. We hear a phone conversation between Scott and his son, with the latter stating that he wants to be a rockstar just like his daddy. Touching, yes, but somewhat strange on the light of some of the song’s lyrics:
Quote:
No cryin’-ass b*tching about my wife or girlfriend
‘Cause in my life I can’t have either one
|
If indeed «you can’t have either one», then whose son is that, Mr.Scott? But forgetting these small idiosyncrasies, this is actually one of the most satisfactory songs on the album, with a contagious pace, good riffing, a nice chorus and even a guitar solo. If all the songs were like this one, we’d be all right.
(4,5/5)
Weight Of The World – The sh*t hits the fan. Moderately heavy guitars, melodic choruses and whispered vocals make this the prototypical radio hit, the kind of song you listen to in your car, driving to work or to school, not knowing the name of the band, then instantly forget. Overall, the sound is closer to American Hi-Fi than Nickelback. Don’t get me wrong, it’s not a bad song; it’s just not a particularly good one, either. Oh, and the rap section at the end sounds terribly forced.
(3/5)
Always – Once again, closer to AHF than anything else. The chorus actually reminds us of Kelly Family (!!) A good song, but if this is rock, I’m Robert DeNiro. And believe me, I’m not.
(2,5/5)
Back Into Your System – This one once again comes closer to rock, as the boys deliver a song where aggression and melody combine perfectly. With a contagious riff and middle section, this is a slightly above-average song.
(3,5/5)
All Because Of You – Starts with the song name repeated twice, leading into a good riff. The chorus is huge, but it’s about all there is to this song. Good rocking mood, but not outstanding.
(3,5/5)
Raise Up – After so many pop/rock songs, this is…a rap-metal song? Scott sounds to all the world like Zack De La Rocha, and overall this is the most satisfactory cut on the album. Huge chorus, as well, it will stick in your head for days.
(5/5)
Separated Self – Despite the title, this has nothing to do with Nonpoint. Instead, it’s a whiny song about how everybody lies in this world. So-so chorus, nothing special. Skip it.
(2/5)
Rest In Pieces – Apparently co-written by Nikki Sixx, this is a shameless carbon copy of American Hi-Fi’s
Safer On The Outside. Except worse.
(2/5)
Storm – Once again, good chorus, but sounds a tad too nondescript. Neither good nor bad. Average.
(3/5)
Holdin’ On – Yet another whiny set of lyrics in a distinctly average radio ballad. Not much else to say.
(3/5)
Pride – Pathetic patriotic lyrics set against a good musical backdrop, heavier than average and featuring a nice guitar solo. (1/5) for lyrics plus (4/5) for music =
(2,5/5)
Famous Monsters – After so many painfully average songs, this one comes as a nice surprise. Although it makes us think of the Misfits, it has nothing to do with the infamous punk quartet. Instead, it’s a minimalistic ballad, where Scott sings alone, accompanied only by a piano. Nice lyrics, nice chorus, nice song.
(4,5/5)
All in all, Saliva show potential, but need to do things themselves rather than rely so heavily on the producer. Better luck next time, guys!
Recommended Tracks
Superstar II
Raise Up
Famous Monsters
