Skid Row's 'The Gang's All Here' - Album Review

The New Jersey-based five-piece Skid Row could have been huge. They really had everything going for them, and for a few years it looked as if they would really blow up. The band, who fused the glittery hair metal sounds of the late 1980s with much heavier influences that ranged from traditional heavy metal to thrash, formed back in 1986 and found early success when they unleashed their self-titled debut album in 1989 onto an eager, post-Appetite for Destruction world. Of all of the bands that were snapped up by record labels aiming to capitalise on the success of Guns N' Roses and the recently-rejuvenated Aerosmith, Skid Row probably found the most success. The heavy, yet melodic, songwriting of guitarist Dave 'Snake' Sabo and bassist Rachel Bolan provided a bed for their heartthrob frontman Sebastian Bach to work his magic atop - whilst the riffing and solos of Sabo and fellow guitarist Scotti Hill ranged from old-school bluesy hard rock to up-to-date metal. The band's first two albums, 1989's Skid Row and 1991's Slave to the Grind, were big deals at the time, but by the time they released Subhuman Race in 1995 the musical landscape had changed and anything with a sound forged in the 1980s, even with Skid Row's heaviness, was no longer welcome. The band split up the following year, although Sabo, Hill, and Bolan did not stay away for long - reuniting in 1999 with Johnny Solinger replacing Bach. Despite touring heavily since reuniting, I think it is fair to say that Skid Row have not exactly been prolific when it comes to releasing new material since reforming. The band only released two albums with Solinger, the strong Thickskin in 2003 and the lacklustre Revolutions per Minute in 2006 - although they remained a popular live act despite many missing Bach's presence. I first saw the band live back in 2013, and they were excellent - and that tour saw the band somewhat rejuvenated as they were about to release their first new songs since 2006. A trio of EPs was planned, but only two ever saw the light of day. Despite this, though, both 2013's United World Rebellion - Chapter One (which I reviewed here) and 2014's Rise of the Damnation Army: United World Rebellion - Chapter Two (which I also reviewed here) were very enjoyable - and contained some of the band's strongest songs since their heyday. Solinger was fired in 2015, though, and the third instalment of the trilogy was continually postponed - with ex-TNT frontman Tony Harnell briefly joining the band before a more permanent replacement  was found in 2016 in former DragonForce singer ZP Theart. With Theart, Skid Row again sounded reborn. I saw the band live with him three times, and all three shows were excellent. Talk of a new album was ever-present, with the third EP having morphed into a full-length - but it kept getting delayed. The fabled album was eventually formally announced earlier this year, though, but it also came with news that Theart was out and Erik Grönwall (H.E.A.T; New Horizon) was in. The album, the band's sixth and first since 2006, was finally released last month - and The Gang's All Here finds the band feeling fiery.

Given how quickly a new song was released following Theart's departure, it was clear that much of it was recorded during his tenure - and he is credited with co-writing three of the songs here. Previously announced collaborations with rock/metal heavyweights like Slipknot's Corey Taylor and Halestorm's Lzzy Hale are conspicuous by their absence - but the core songwriting duo of Sabo and Bolan have come up with plenty of memorable songs here, with some other collaborators chipping in. I was actually disappointed to see Theart go, as he was a great fit for the band in my opinion, but, being a H.E.A.T fan, I knew that Grönwall would not disappoint. His presence seems to have brought a few lapsed fans back on board, too, and The Gang's All Here has certainly been seen as a bit of a big deal in the rock and metal circles of late. The 10-song album has a great old-school feel, and it comes with an appropriately old-school 41 minute runtime. As such, it is a very digestible album - and it can be listened to again and again without eating up too much time. The first handful of songs here represent the best of what the album has to offer in my opinion, with the tough Hell or High Water kicking things off. The sound of those first two album has well and truly been channelled here, and this album very much feels like Skid Row trying to get back to basics. The opening riff is packed full of the dirty, bluesy swagger that made the band such a hit originally, and the mix places lots of emphasis on Bolan's bass - which allows his punky influences to shine through. Those who love songs like Big Guns and The Threat will find plenty to enjoy throughout Hell or High Water. There are more frantic pieces here, but the weighty, mid-paced grooves of the track establish the band's heaviness from the off - with the gritty vocals of Grönwall perfectly suited to the riffing style. Grönwall generally sounds tougher here than he did with H.E.A.T, but his sense of melody is still present - and the big chorus is brought to life by his pipes. There are some dynamics here, too, as following the second chorus a more atmospheric breakdown section creeps in - before Sabo and Hill launch into the first of many solo sections here. The song very much feels like a statement piece, but in truth much of the rest of the album is similar - so it sets the tone nicely. The album's title track follows, and this was the first taste of what was to come when it was released a few months ago. Co-written by Paul Taylor (Alice Cooper; Winger), and opening with a huge bass riff from Bolan, the faster song injects some sleazy vibes throughout - and the track is a real throwback to the 1980s. It has an infectious chorus, which is easy to latch onto, whilst a stop-start, call-and-response verse vocal ups the excitement levels as Bolan's bass drives everything. There are still plenty of bluesy guitar moments throughout, but in general it is the bass that takes the lead. This helps the sleazy, punk feel of the song grow - but there is still a shredded guitar solo which only serves to up the overall pace further, cementing the song as a future fan favourite.

Not Dead Yet is similar, but in my opinion the song is the strongest of the album's opening trio - and may well be my favourite piece on the album. The song is more guitar-focused, with a big opening guitar riff, but there is a blues edge added by some dirty slide guitar licks - which is something a little different for the band. Slide guitar is not generally used against a fast-paced, punky hard rock backing, but it works well here - and it gives an edge to the track that would be missing otherwise. This combined with the hookiest chorus on the album for me makes for a winning combination. The vocal melodies during the chorus are great, and the gang vocal responses to Grönwall's leads again really hark back to the 1980s. It is a classic-sounding Skid Row track as a result - with another excellent shredded solo and an energy that never lets up. Time Bomb then slows the pace down somewhat, and the heavy, mid-paced track takes a somewhat different path. The bluesiness of a song like Hell or High Water is generally not present here, with much of the track instead creeping along thanks to a lumbering bassline and some down-tuned riffs that would not have sounded out of place on Subhuman Race. There is definitely a 1990s sound on display here, but the heaviness shines through thanks to the riffing - with Bolan's bass ever-present to create a snarling groove. The chorus is a bit more overtly melodic, though, but there is still a punk edge. Grönwall's main vocal hooks soar, but the responses to it are more frantic and off-kilter - giving the song an overall strange mix of vibes that all seem to hang together to make it work. Resurrected then ups the pace somewhat, but it still generally stays in a mid-paced lane - with a bluesy groove similar to the album's opening cut reprised here. There are certainly parts of the song that bring the feeling of Monkey Business to mind, and the guitar interplay between Sabo and Hill throughout is busy and full of feel. Hill co-wrote the track, and it is one of three that he contributed to the writing of, so it is perhaps unsurprising that there is a lot more guitar firepower here. The bass is not as prominent this time, which allows the guitars to shine - and the excellent solo section again sees both guitarists shred. Vocally, the song is still very hooky, too. It is perhaps not as hooky as the album's opening trio - but the chorus is a meaty winner thanks to its backing grooves and it really allows Grönwall to showcase the grit that has often been a part of his delivery. Nowhere Fast is similar again, but the pace has been upped further - and it is another song that exhibits a strong 1980s vibe. The riffing is still tough throughout, but the vocals seem to have been pushed to the fore this time - and the focus throughout on hooks is evident. The verses are quite fast, with a punky feel throughout, whilst the chorus slows the pace somewhat and goes for something more epic in scope. The melodies feel very old-school, and the song is stadium-ready as a result. There are even some wordless vocal hooks during the chorus, which would no doubt really come alive when played live.

There is a lot of quality on this album, but for me it does take a bit of a dip with the next couple of songs. When the Lights Come On is filled with promise, but is let down by a poor chorus. The opening bass riff is great, and there is a bit more slide guitar utilised during the intro - but for me the song builds towards a chorus that fails to deliver. The verses are crunchy and packed with energy, but the chorus feels too similar - and it really should have exploded with something much bigger. As it stands, the song falls somewhat flat for me as a result - and the only genuine misstep here in my opinion despite it containing some good ideas. Tear It Down is better, but considering some of the other songs here it does get a bit lost in the shuffle. It was released as a single, and I think that there are many other better candidates - but perhaps the fact that it was co-written by famed songwriter Marti Frederiksen persuaded the label to go with it. It is a decent song, but it feels lumpy. It lacks the hard-driving attitude of many of the songs here - and instead goes for an AC/DC-esque mid-paced approach that does not bring the best out of Bolan's driving bass or the riffing of the guitarists. The chorus is decent, though, but again there are better ones found elsewhere on the album. The gang vocals throughout are fun, but like the rest of the song it just feels a bit laborious. The final two songs up the quality again, though, with the excellent October's Song introducing an atmospheric and reflective side to the album. It is the album's ballad, and the lengthy track allows for a bit of a break from the heavy riffing. Grönwall gets to showcase a bit of a different side to his voice here, and his performances during the verses especially really stand out. His emotional delivery is perfect for the song, with long-time drummer Rob Hammersmith's punchy groove and chiming clean guitar melodies backing him. The crooning style of Grönwall's delivery is perfect, and his voice grows in stature as he approaches the chorus - which is somewhat tougher with bigger guitars. It never really morphs into a full-on metal piece, though, but the lengthy guitar solo section later does feel somewhat heavier. The bluesy solos add to the song's overall emotional pull, though, and a final reprise of the chorus does the same - cementing a memorable and hard-hitting ballad in the process. The album then comes to a close with World on Fire, another hard-driving rocker. The opening riff is packed full of energy, but the verses then up the heaviness with some crunchy power chords. The highlight for me here, though, is the chorus. It is another real winner - and another candidate for the album's best. The big opening riff is repurposed here, and the snappy melodies allow for another gang vocal-led chorus that sinks into the brain. The album has already used all of the song's tricks at this point, but as a closing statement it works - and the album ends on a bang as result. This is very much the case generally for the album, too, a couple of missteps aside. For a band that had not done a full album since 2006, The Gang's All Here is a great comeback. I liked the two EPs from a few years ago, but they never made a wider mark. This album, on the whole, is better though - and is likely the best complete piece of work that the band have done since Slave to the Grind. I just hope it is not another 16 years before the next one!

The album was released on 14th October 2022 via earMusic. Below is the band's promotional video for The Gang's All Here.