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Hard Rock | Artist Spotlight
November 19, 2012
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Kid Rock Hits

Artist Spotlight: Kid Rock

by Linda Ryan

When Kid Rock released Grits, Sandwiches for Breakfast in 1990, it was clear the Detroit native was smitten with the early innovators of rap. His debut album is riddled with the sampling, scratching and potty-mouthed boasting that defined hip-hop in the '80s, with a definite nod to early genre pioneers such as the Beastie Boys and Run-D.M.C.. But the result was more backward- than forward-looking, and his label, Jive, dropped him.

So while it's easy to dismiss the album, it's equally interesting to look at it as an early indicator of where Kid Rock wanted to go -- and where he would eventually land. In between expected samples from the likes of Funkadelic, Bootsy Collins and The O'Jays are riffs from The Rolling Stones, James Gang, The Doobie Brothers and other rock artists. From there, it's a short leap to, say, 2007's "All Summer Long," which combined Warren Zevon's "Werewolves of London" and Lynyrd Skynyrd's "Sweet Home Alabama" to create one of the year's freshest, most genre-defying hits.

When Kid Rock signed to Atlantic in 1998, Korn and Limp Bizkit had already married hard rock and rap with varying degrees of success. His swaggering "Bawitdaba" hit the airwaves that year, the cocky self-assuredness heard on his debut shining through the hard rock din; Devil Without a Cause went multiplatinum, and a star was born. Very few artists can successfully re-invent themselves and sound as at home in their new musical genre as Kid Rock does. Does Rod Stewart sound "right" singing pop standards? Did Garth Brooks sound at home as rocker Chris Gaines? Yeah -- not so much.

Let's face it: Even while Kid Rock has been rapping or rocking his way through various genres, he has always played to the cowboy aesthetic. It doesn't matter if he surrounds his lyrics with grungy guitars and the kind of metallic beats that drive the ladies to stripper poles, or with the gentle sway of a twanging slide guitar. Either way, his cut-to-the-chase, blue-collar roots shine through.

These days, Kid has found success in a sound that bubbles up from Southern rock, adding his riffs to an irreverent outlaw-country compound. Where he once was looking to the rhymers and schemers of New York and Cali, he now finds inspiration in country rebels, not to mention his own backyard of Detroit, where classic rock icon Bob Seger makes his night moves.

The release of his latest album, Rebel Soul, is as good a reason as any to take a deep dive into Kid Rock's lively catalog, and trace Bob Ritchie's path to becoming the redneck, white-trash, blue-collar king.

Albums
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Born Free
Kid Rock
Kid's 2010 album -- easily his mellowest and most tastefully sincere -- was branded a big deal from the gitgo, thanks to Rick Rubin production and a pile of major cameos: Martina McBride and T.I. trading lines of heartfelt concern in "Care"; Sheryl Crow backed by Bob Seger's piano in "Picture" replay "Collide"; Zac Brown and assorted members of the Chili Peppers, Los Lobos and Tom Petty's Heartbreakers elsewhere. Kid trades in funky crunch-rock and lecherous punchlines for a politely unwinding road choogle, and even tries some falsetto. But with "Times Like These," he doesn't forget Detroit.
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Devil Without A Cause
Kid Rock
Highlighted by "Bawitdaba" and the revelatory (in 1998) "Cowboy," this is the album that made Kid Rock an MTV, tabloid and even Rolling Stone megastar after eight years of obscurity. No matter how you slice the overdose of white trash posturing, chugging guitars and metal beats just made for the stripper pole, "Cowboy"'s fast food appeal and redneck aesthetic marked a decided first for the mainstream. The title cut proves why Rock, regardless of his massive popularity, has a certain irrefutable cache. For better or for worse, "I Am the Bullgod" combines hip-hop and, um, grunge.
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Rock N Roll Jesus
Kid Rock
Released in 2007 to universal critical and popular acclaim, Rock N Roll Jesus is Rock's second attempt at modern redneck classic rock revisionism (Kid Rock being the first), and once again he's clearly been listening to more Hank Williams Jr. and Lynyrd Skynyrd than Wu Tang Clan. "All Summer Long" mashes up Warren Zevon, Bob Seger and the aforementioned Floridian boogie masters with almost scholarly reverence, and "Amen" and "When U Love Someone" are both just as good as any Black Crowes song. "So Hott" brings back the days of "Bawitdaba."
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Rebel Soul
Kid Rock
Kid opens this soundtrack to Detroit's urban-farming future with a Seger-boogie scoot called "Chickens in the Pen" and ends with three honky-tonk moves. Between, he throws caution to the wind: silly nu-metal, lonely Auto-Tuned ballad, lots of old-time Detroit rock 'n' roll, including a soul cover named for the city and two songs named for the music -- one a long list of oldies; the other about a trash-talker who sells his Midwestern soul for L.A. success. Two other standouts even count as political: an AC/DC riffer for soldiers, then a Mitch Ryder-ish frat-rocker tuned into bad American news.
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Cocky
Kid Rock
Following up the mega success of Devil Without A Cause, Cocky is aptly named, with Rock coming on like he thinks he's the only white dude who's ever heard Kurtis Blow. Rapping about Southern rock and verbally abusing practically every celebrity in the world, Kid manages to make his strutting braggadocio work, especially when he takes the Beastie Boys' License To Ill out behind the trailer -- not so much for a beating, more like to drink corn liquor with. It doesn't get much better than "Forever," and it doesn't really need to.
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