Artist: Stuck Mojo
When most people think of
the rap/rock crossover known as ‘nu-metal’ that dominated the rock
world in the 1990’s, Stuck Mojo isn’t necessarily a name that
springs to everyone’s mind. Despite the fact that they debuted
around the same time as Coal Chamber and Korn and by nu-metal’s end
had released six albums in almost as many years, Stuck Mojo never really
propelled to the same heights as the genre’s big names. Make no
mistake however, this wasn’t due to some kind of never - in - the -
right - place - at - the - right - time, Anvil-type scenario, this
is, and always was, due to the fact that Stuck Mojo are pretty rubbish.
In the 90’s, they just weren’t up to the standard of the bigger nu-metal bands and now that the genre has firmly being established as buried and gone for good, they seem even less relevant and more mediocre than ever before. Ironic then (though I’m sure not intentionally so) that the album is called ‘The Great Revival’ when it revives absolutely nothing except maybe memories of how bad some ‘nu-metal’ bands really were.
Much in the same way that people wonder why (hed)PE are still bothering to release albums to a consistently indifferent (at best) response, there is a similar wonder about Stuck Mojo. This album continues in the same rap/southern rock vein as their previous efforts and certainly doesn’t break any new ground and will doubtfully win them any new converts. New vocalist Lord Nelson doesn’t really bring anything new to the Stuck Mojo table, except maybe even more of the sort of sub-par rap that would get him laughed out of the room at any respectable hip-hop label’s head office, whereas the addition of female guest vocalist Christie Cook, who appears on several of the album’s tracks, at least adds something a bit different to the mix but even this cannot save Stuck Mojo. She is a good vocalist and would no doubt fit in well on other albums by other bands who have good songs, but here her talents go somewhat to waste.
Opening track “Fifteen
Minutes Of Fame” kicks off ‘The
Great Revival’ in a rap-metal style that continues pretty much all
the way through the album, aside from a few partially-inspired
departures that serve solely to only just keep the listener from turning
off the stereo half-way through out of sheer boredom. One of which
is “The Flood” where the
band have a go at cranking up the heaviness level to little success and
just end up sounding like a band confused as to how to actually play
heavy without just sounding like a mess of noise.
Review by Adam G.
1. Worshipping A False
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