Memphis rockers Saliva followed up their 1997 self-titled indie debut with their first major label record, Every Six Seconds<\/i>. Their raw fury received a professional polish that spotlighted frontman Josey Scott\u2019s vocals. The album\u2019s metal-inspired rhythms, memorable hooks, and emotive singing brought it attention on the hard rock scene. While Every Six Seconds<\/i> includes several of Saliva\u2019s best songs, its inconsistency keeps it from being a Southern rock classic.<\/p>\n
\u201cSuperstar\u201d introduces the musical collage that Saliva pieces together on Every Six Seconds<\/i>. They move seamlessly from crunchy metal riffs to lighter mainstream rock with a synth and bass dominated backdrop. Scott\u2019s lyrics describe what it\u2019s like to be on the verge of stardom. Like Knievel and his cliff, the goal looms large with the promise of fame and wealth and whether success will actually enrich Scott or control him.<\/p>\n
While the follow-up, \u201cClick Click Boom,\u201d is the straightforward radio rocker that launched Saliva\u2019s career, it is also more than that. The energy, bravado, and catchiness brought clips of the song to numerous film trailers and video games. These qualities, however, are balanced in the album cut by moments of vulnerability and a sense of journey. The first verse, \u201cAll those Saturdays, when kids go out and play \/ I was up in my room, I let the stereo blaze,\u201d is returned to, emphasizing that this record deal is a culmination of years of loving music more than anyone else. Scott adds, \u201cWhy\u2019s my mother always right? \/ And will I make it to the end? \/ Or will I crawl away and die?\u201d\u00a0 Even with mainstream triumph around the corner, Scott knows there are no guarantees.\u00a0 Just click, click, boom, and it could be over as quickly as it began.<\/p>\n
\u201cYour Disease\u201d is the quintessential Saliva song. Scott gets into rap mode for the verse, a style that produced mixed results throughout their career, but here it injects energy. The irresistible hooks in the refrain and bridge make the song with their stripped-down sincerity. The sonic pocket they hit here for the first time would be expanded in other tracks like smash hit \u201cRest In Pieces,\u201d but they discovered it here on this stellar track. \u201cDisease\u201d remains one of their best, blending heavy and heartfelt in a way that few other artists can.<\/p>\n
Towards the end of the album, \u201cHollywood\u201d lightens the mood by turning down the guitars so Scott can carry the song. He does it well on this sincere ballad about leaving Memphis to pursue his dreams. The chorus is catchy and the verses have the best vocals on the record.<\/p>\n
The following track, \u201cDoperide,\u201d is not the equal of the other songs I\u2019ve mentioned, but it does demand mention. \u201cDoperide\u201d is not fusion; it is rap-metal in Rage Against The Machine fashion with Saliva\u2019s unique style. Scott displays his chops as an emcee with lines like \u201cNo apologies like I\u2019m born again.\u201d While it\u2019s a solid track that doesn\u2019t need apologizing, I am glad it\u2019s the only song of its style. None of the group\u2019s best performances delve this deeply into rap, and thankfully, this song became an influence rather than a focus moving forward.<\/p>\n
While none of the other songs could qualify as filler, they are also aren\u2019t strong enough to put this album with the greats. What Every Six Seconds<\/i> did accomplish, however, was the evolution of Saliva into a force in rock radio and festivals. Their taste of greatness promoting this album left them hungry enough to hit the studio and craft their best album: late 2002\u2019s Back Into Your System<\/i>. Every Six Seconds<\/i> is good as a standalone, and even better in the context of preparing the group for its finest work.<\/p>\n","protected":false},"author":81,"featured_media":30437,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"artist":[8620],"rating":[5615],"class_list":["post-42100","review","type-review","status-publish","has-post-thumbnail","artist-saliva","rating-rating-b"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/42100","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/81"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=42100"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/42100\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/30437"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=42100"}],"wp:term":[{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=42100"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=42100"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}