Saigon Kick Albums (5)
What The Critics Say
Perhaps due to the fact that their breakthrough hit was an acoustic ballad and they weren't afraid to embark on a musical detour from time to time, Saigon Kick seemed to go over the heads of many metalheads -- despite the fact that the majority of their repertoire was metallic. By 1995's Devil in the Details, guitarist Jason Bieler was firmly in the driver's seat, as this was the second album on which he did double duty as the group's lead singer. And once more, Devil in the Details turned out to be a varied album that brings to mind Extreme, King's X, and Queen. Another sweet and sappy acoustic ditty is included ("Spanish Rain"), as well as an old-tyme pop tune ("Victoria") and the expected headbanging rockers ("Killing Ground"). Fans of the band's first few albums will dig it, but it appeared as though rock radio circa the mid-'90s was as far removed as you could possibly get from Saigon Kick's brand of all-encompassing rock. ~ Greg Prato, All Music Guide
What The Critics Say
Water is another fine album by Saigon Kick that unfortunately undermines its own merits by trying to employ too many sounds at once. The same problem plagued Saigon Kick's first two releases, as the bandmembers hedged their bets while trying to embrace the dying metal scene as well as the embryonic alternative one at the same time. The band presents a dizzying array of stylistic shifts in the course of 14 songs, changing from alternative to punk, pop, metal, and ballads at the drop of a hat. The group most resembles Jane's Addiction for the majority of the album, although it offers a nifty cover of David Bowie's "Space Oddity" done with a real Mick Ronson flair. In a way, the album resembles a very scaled-down version of Smashing Pumpkins' Mellon Collie and the Infinite Sadness. However, Saigon Kick wasn't as adept at this approach and the record, while solid, is too schizophrenic to leave much of a lasting impression. Eclecticism has been a hallmark of good rock since Revolver, and in the right hands this approach can be a welcome relief from artists who rewrite one song for their whole careers. However, Saigon Kick overdoes it and can't quite pull it off. It's definitely better than the band's alleged hair metal roots would indicate, but Greatest Mrs.: The Best of Saigon Kick would be a better overall choice for most. ~ Brian Downing, All Music Guide
What The Critics Say
Saigon Kick's guitarist and general mastermind Jason Bieler may have bitten off a little more than he could chew when he decided to produce the band's inconsistent second album, 1992's The Lizard. Like its predecessor, the record is a schizophrenic mess, ranging from brilliance to mediocrity in the wink of an eye. In the first category, we find the fabulous metal riffage of "Hostile Youth," Peppermint Tribe," and the title track; the alterna-rock of "God of 42nd Street" and "Feel the Same Way"; and the beautiful acoustic ballad (and minor MTV hit), "Love is on the Way." In the second, we encounter the bulk of the record, including pointless instrumentals ("Cruelty," "Sleep"), faceless metal work-outs ("Freedom," "My Dog"), silly pop ditties ("Chanel"), and so on. For fans only. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Saigon Kick's biggest problem musically and visually, was not knowing whether they wanted to be Jane's Addiction or Def Leppard. The band tries desperately to please everyone and though they obviously fail, their 1991 eponymous debut still features very inspired songwriting and some amazing chops from guitarist Jason Bieler. In short, the record offers everything from U2-styled, socially-conscious rock ("Colors" to "Come Take Me Now"), raucous punk ("What do You Do," "Acid Rain"), ponderous pop ballads ("Love of God"), and even a couple of hilarious pop ditties: the neurotic "My Life" and the homo-erotic "Down by the Ocean." Mostly, however, the group shells out numerous heavy metal varieties, including classics ("Coming Home," "Ugly"), a "bad pop MTV submission" ("What You Say"), and even some Eastern-flavored, trance metal ("New World"). Whew! ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Although original Saigon Kick singer, Matt Kramer, briefly reunited with the band in 1997, a full-fledged reunion was not meant to be, as Kramer exited shortly thereafter. As a result, guitarist Jason Bieler was left to call all the shots once more. The ensuing album since the aborted reunion turned out to be 1999's ‘Bastards,' which musically, doesn't quite follow the guidelines of past Saigon Kick releases -- melodic pop metal that is more grand in scope than their competitors at the time. Saigon Kick circa 1999 turns out to be even more pop based than ever, as evidenced by such tracks as "Jehovah" and "Meet Your Maker." In fact, some longtime fans may be left wondering, "Isn't this the same band that penned ‘Hostile Youth'?" And it doesn't help matters that the group headscratchingly decided to cover a Billy Joel song, "Big Shot" -- this coming from the same band that covered the Sex Pistols' "Bodies" on their Greatest Hits Live release. After comparing ‘Bastards' to the group's first two releases, Saigon Kick and The Lizard, it's hard not to think that this is merely a watered down version of Saigon Kick -- both from a musical and personnel standpoint. ~ Greg Prato, All Music Guide
