California's Buckcherry have always been a bit of an enigma. When I was developing my taste for hard rock and metal in the late 2000s, a Buckcherry song was never that far away on Kerrang! TV or Scuzz. They were one of the first 'modern' bands that I discovered that played gritty, yet commercial-sounding, hard rock in the vein of Guns N' Roses and Mötley Crüe - so they were a band that I gravitated towards. 2005's 15 and 2008's Black Butterfly, the band's third and fourth albums respectively, were albums that I listened to quite a lot in my teens, but Buckcherry were a band that I somewhat grew out of. 2010's All Night Long just did not really hit the spot, and by this time my overall music taste has diversified. Buckcherry's sleazy, punky hard rock just did not excite me as it once had, and I largely stopped following the band. A few years later I decided to pick up 2015's Rock 'n' Roll a year or so after its release to see what the band were up to, but the album did nothing for me at all - and I do not think that I have listened to it any more than twice. The limited interest that I had rekindled soon evaporated as a result, which was helped by a poor live performance by the band as support act in 2016. 2017 brought some changes however, as the band's founding guitarist Keith Nelson and long-time drummer Xavier Muriel both left. I wonder if there had been tensions in the band for a while which had contributed to that poor 2016 show, but either way frontman Josh Todd was left as the only original member of Buckcherry standing. Not wanting to throw in the towel however, Todd and long-time guitarist Stevie D. recruited some new members and put out Warpaint in 2019. I am yet to hear Warpaint, but the reviews at the time of its release certainly suggested that it was a much better album than Rock 'n' Roll. More line-up changes followed however, and it was clear that Buckcherry was going through a period of instability. Earlier this year however, when I was cruising YouTube, I was recommended the video for So Hott - the lead single for the band's ninth album Hellbound. Out of curiosity I clicked on the video, and was surprised to hear how vital the band sounded. It sounded like the Buckcherry of old, so I decided to pre-order Hellbound. I have had the album for just over a month at this point, and it is easily the strongest thing, at least of the albums that I have heard, that the band have put out since Black Butterfly. The hooks are here in spades, and the band's current line-up seem to have gelled perfectly. Joining Todd, D., and long-time bassist Kelly LeMieux are guitarist Billy Rowe (Jetboy) and drummer Francis Ruiz (Leggesy; Great White). Also returning is Marti Frederiksen, who was involved in some of the band's best work in the past as both a songwriter and a producer. His involvement in Hellbound seems to have really re-focused the band - and the album shines as a result.
The reason that Hellbound shines is not because the band have significantly changed their sound, as they have not, but more that there is a palpable energy that surges throughout the album. This has been lacking on some of the band's other more recent albums, and the relatively short runtime helps Hellbound make an impact. A great example of this energy is found in the opening number 54321, Unsurprisingly the song opens with a countdown, but this is followed by a fast-paced riff and a wordless gang vocal refrain that is sure to get the blood pumping. The song is one that never lets up throughout. D. and Rowe team up throughout for the song's punky riffing and occasional bluesy lead, while some Hammond organ subtly rumbles away in the background. The chorus harks back to the style that the band employed on 15, and Todd's nasally punkish voice sounds as good as ever as he belts out the snappy melodies. Overall the song is very simple, but its strong attitude makes it the perfect album opener - and it announces that Buckcherry are back in a big way. The aforementioned So Hott follows it (although I am not sure why hot has been spelt with two Ts), which slows the pace down somewhat but introduces a significant amount of groove. Buckcherry have always been the masters of a sleazy groove, and So Hott exemplifies this. The choppy riffing of D. and Rowe keep the song moving; while Ruiz's slightly punky drumming helps to give the song a bit of an edge. A bluesy guitar solo shows the band's musicality, but it is probably the chorus that is the highlight of the song. The vocal melodies from Todd are very catchy, and they perfectly attune with the groove to emphasise the song's sleazy nature. The song's title track is up next and it incorporates strong AC/DC-esque grooves throughout - which is a band that Buckcherry have often taken cues from. The opening bluesy riff and the lack of bass is very AC/DC in style, and the way that Todd sings counter to this riff also follows the Australian band's blueprint. The song is not a pure rip-off however, as moments of the track have a much fuller sound, but there is also something about the chorus that reminds me of AC/DC - particularly the main riff that follows chord patterns and progressions that are similar to AC/DC's usual style. Buckcherry have the attitude to make the style work however, and the song is another strong cut.
Gun slows things down further, and takes a much bluesier path. Harmonica sometimes provides an additional melodic focus, but on the whole the song is a hard-hitting blues stomp with snaking guitar riffs and a shuffling Ruiz drum groove. Despite the slower pace, the song is no less tough. The riffing is in-your-face and full of attitude, and Todd sings the song with real venom - with some spoken word sections adding some extra bite. This is another style of song that Buckcherry have made work well over the years, and as a result it is another memorable addition the album. The chorus is another winner, and is one of those occasional moments that Todd showcases a pseudo-rapping approach to his vocal delivery - which helps his vocals mesh well with the song's overall stomp. No More Lies is somewhat similar but is less tough sounding overall - with the band instead going for something a little different. Funky keyboards, which are subtly mixed into the background, add a different vibe - while slide guitar swells add depth. Despite the somewhat different approach, the song still very much sounds like Buckcherry. Todd's vocal approach will always ensure that the band maintain their sound, as his voice is very distinctive, but the reggae-inspired pre-chorus section certainly pushes the band's boundaries somewhat. Here I Come ups the pace again, and takes an approach that is similar to how 54321 opened the album. The band's punk edge is on display again throughout the song, and the band never really let up at all. The riffing throughout is simple, but it has a razor-sharp edge to it - while Ruiz's pounding drum beat adds to the song's overall heaviness. Todd showcases what a strong singer he can be too with some vocal melodies that other singers would trip over. He has a real knack for nailing fast-paced vocal melodies - which again sometimes include a little of that rap-inspired delivery. It is a big part of Buckcherry's unique sound, and Here I Come is a great example of the band's overall appeal as a result. Junk is more of a groove-based piece, and the main riff sounds very Slash-inspired. The song has a real old-school Guns N' Roses vibe as a result, with a bluesy strut that is forced through a sleazy filter perfectly. This riff forms the basis of the chorus, which is a winner as a result, while the guitar solo is also packed full of tasty melodies and phrases which perfectly capture that Guns N' Roses-esque sound further.
Wasting No More Time slows things down again, and has something of a ballad-esque vibe with a subtle keyboard backing and lots of bluesy lead guitar. Buckcherry have never been a band to show off that often, but they know when a good solo or lead can emphasise a song. This is one that features more leads than usual, and they often play off Todd's vocal melodies during the verses - while acoustic guitars fill out the song nicely. Buckcherry have done a number of songs like this over the years, and it is a style that they do well. While I think that the band excel at faster-paced punky and groove-based sounds, their gentler moments are usually strong too. Speaking of gentler moments, The Way is easily the slowest song on the album, and takes the ballad vibes of Wasting No More Time further with its piano opening and surprisingly low key Todd vocal. It is the most emotional-sounding song on the album, but it works well - with a strong piano presence being maintained throughout. I like how the piano does not dominate however, with the exception of the song's opening. Buckcherry are not really a piano band, but its presence does add a lot to the song - while clean and acoustic guitars still form the track's overall basis. Unsurprisingly there is also a great guitar solo in the song, which really helps to add to the track's overall emotional punch. The aching phrases are filled with emotion, and they help to the song to stand out as a result. The album returns to the band's more typical sound for its closing number Barricade however, although there is certainly a slightly more epic overall sound throughout the track. The riffing is still groove-based, but they are accented by subtle stabs of organ to help them stand out - while the chorus has something more of a post-grunge, stadium rock feel with soaring melodies that are much less punk-inspired than is typical for the band. The song still very much sounds like Buckcherry, but there is just a slight change in emphasis present throughout. This soaring approach helps the song to close out the album nicely - and I can see the song working really well live as a result. It helps to the album to end on a high - although in the truth the whole album is very strong so this ending high should not come as a surprise at this point. Hellbound is great comeback album from a band that has been somewhat in the wilderness for a while. The new line-up seems to have gelled perfectly, and I hope that the band can now enter in a new period of stability - as I would like to hear more albums of this quality from the band going forward.
The album was released on 25th June 2021 via Earache Records. Below is the band's promotional video for Hellbound.
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