Bullets And Octane
Song For The Underdog



by Dave de Sylvia STAFF
July 14th, 2007 | 10 replies

Release Date: 2007 | Tracklist

Review Summary: Song For The Underdog marks a stylistic shift back to the hook-laden punk-influenced hard rock of their debut.

While radio rock continues to suffer its post-grunge hangover (those poor, sensitive Seattle boys never could hold their drink), heavy, mindless, party rock has slowly crept back onto the radio. Though the ‘80s will (thankfully") never be repeated, the sound of spit-shined, radio-primed, bad-boy rock has returned, and with the likes of Daughtry, Nickelback and Hinder leading the way- well, let’s be honest- who’d listen to the radio"

Waiting patiently on the fringes are St. Louis, Missouri’s Bullets And Octane. Not as polished or as self-aware as their major label peers, the group nonetheless earned themselves a successful three-month tour with the reigning kings of pop-metal, Avenged Sevenfold, in 2006. Their latest LP, Song For The Underdog, comes fresh from the dissolution of their contract with RCA Records. Notoriously ill-at-ease with the heavier metals, RCA botched the promotional campaign for 2006’s In The Mouth Of The Young, an angry, ambitious effort produced by innovative former Helmet guitarist Page Hamilton. Returning to LA-based independent Ares Records, Song For The Underdog is the group’s third full-length release. Produced by bassist Brent Clawson, it marks a stylistic shift back to the hook-laden, punk-influenced hard rock brilliantly captured on their Gilby Clarke-produced debut The Revelry.

While there’s plenty of continuity between In The Mouth Of The Young and Song For The Underdog, it’s the differences which make the latter a far more enjoyable record. Every aspect of Song For The Underdog has been made more simple and less contrived. The subtext decrying the corruption of youth which ran right through In The Mouth Of The Young has been entirely erased; Song For The Underdog’s lyrics are lighter and more relatable, dealing with familiar themes of sex, drugs, love and werewolves. So too is the music noticeably less aggressive, and as a result more fun, while the sonic experimentation and textural complexity explored with Page Hamilton has been put on the back-burner temporarily in favour of simplistic but well-constructed rock n’ roll. The result is a more-rounded, more engaging and ultimately a more playable record than In The Mouth Of The Young.

The album opens with the stuttered guitar riffs and gang vocals of ‘Breakout,’ one of the record’s more aggressive offerings and obviously reminiscent of In The Mouth Of The Young’s ‘Going Blind.’ That’s where the similarities end, however; the upbeat, rockabilly verse calls to mind The Revelry’s ‘Pirates,’ describing a wild night out through a thinly-veiled werewolf metaphor: “by every rising moon, in the darkness we shall move alone / and from the shadows creepy crawly sin, the corruption of the young begins.” Lead single (and title track) ‘Song For The Underdog’ and ‘Building A Legend’ see singer Gene Louis at his gruff best, cycling effortlessly between sweet melodies and guttural yells; the former features an infectious Oi!-inspired gang chorus, the latter calling to mind Swedish sleaze acts like Hardcore Superstar and Backyard Babies.

Louis has always been the band’s most distinctive feature and unique selling point- his throaty rasp has invited comparisons to Avenged Sevenfold’s M. Shadows, however his clever melodic choices and ability to switch dynamically between hard and soft vocals are more reminiscent of the better Bay Area hardcore singers- Social Distortion’s Mike Ness and Bad Religion’s Greg Graffin come immediately to mind. Unfortunately, the impression is only deepened by Song For The Underdog, as the three remaining members appear to have taken a step back and reigned in their instincts. Former Guttermouth and Vandals drummer Ty Smith was a shining light on In The Mouth Of The Young, yet he appears oddly reserved here; and guitarist James Daniel’s leads are either less imaginative than previous efforts or cut out completely. Opener ‘Breakout’ serves as a perfect example: when the time comes for a lead break, Daniel falls into a repetitive chord phrasing rather than adding anything quantitative to the track.

The singer isn’t beyond criticism either; occasionally, his heavy-handed vocal style is overpowering where a softer approach may have worked better, such as the chorus of the ultra-melodic ‘I Caught Fire.’ The inclusion of two ballad-type tracks, the Avenged Sevenfold-like ‘Gravestone Love’ and ‘City Of Angels,’ which calls to mind the Goo Goo Dolls, sound out of place on an otherwise extremely catchy and upbeat album. More unexpected influences crop up too. ‘My Heart Is An Empire’ is pure pop punk, commencing with muted chords and hushed vocals before taking in an unashamedly sugary chorus, and ‘All Down Hill From Here’ recalls Fall Out Boy, both musically and vocally. ‘I Caught Fire’ and ‘Harder To Breathe’ contrast indie rock guitar lines with heavy riffs, while highlight ‘Welcome To The Holiday’ recalls post-grunge rockers Local H’s ‘California Songs.’

While Song For The Underdog doesn’t quite live up to the understated magic of The Revelry, it does display the group’s most confident and most accomplished songwriting to date. And if that’s the result of their major label split, then perhaps a few of their contemporaries should consider a similar move.

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user ratings (12)
other reviews of this album
hegster90 (3.5)
A fun album overall, the array of catchy hooks and euphoric feel of "Song for the Underdog" will hav...

Comments:Add a Comment 
July 14th 2007


I just really hate this band.

July 14th 2007


Like, I've said before, I enjoyed ITMOTY a bit. Their's something about them that catches my attention more than any other band like them. Great review, I plan on checking this out.

July 15th 2007


Good review, but I've never really found this band interesting at all.

July 15th 2007


I couldn't listen to more than the first 30 seconds of each song. Too hard.

Nah nee nah nee nah nee nah nee nah HEY

The only good part of those songs were the vocals in the second track when they imitated HWM.

Why do you listen to such bad music Dave?

Staff Reviewer
July 15th 2007


Awesome intro, and the rest of the review's pretty good, too.

July 16th 2007


The tracks featured aren't bad, but that's about it.

Great review though.

July 16th 2007


I was born with a severe defect in my visceral maximus tube which makes me completely resistant to most types of contrived catharsis.

That sucks man. This is why I support genetically modifications in utero.

July 18th 2007


Album Rating: 3.0

i LOVED "In the Mouth of the Young". it was a great, faced-paced rock n roll record with great song writing, riffs, some nice solos, and great lyrics and vocals from gene. This new one however destroys everything that made me like bullets in the first place and replaces it with pop-friendly, happy-go-lucky sing-a-longs all around. whatever Clarke did on the second album, i liked it ALOT, and will miss hopefully only until a redeeming next album. good review though.

July 19th 2007


Good review. I'll have to check these guys out. 80's party rock, bands like A7X, and from the sound of it these guys too are the ultimate inside joke.

Just take them for what they are and enjoy.

July 21st 2007


Album Rating: 5.0

This is my favorite band! It's straight-up good time rock n roll. How could anyone not like it?

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