“Back Into Your System” released in 2002 was the album that got me into the band. I purchased it because it had ONE song on it, written by Nikki Sixx and James Michael called “Rest In Pieces”. That’s right folks, I purchased an album that I’ve never heard from a band that I’d never heard off, based on ONE song written by an artist I was familiar with.
And man, that album blew me away, so I went back and listened to the first one “Every Six Seconds”.
Released in 2001, it’s listed as their second album on their Wikipedia discography, however on Spotify it is their first. Their independently released debut from 1997 doesn’t rate a mention on Spotify.
In July 2008, “Every Six Seconds” was certified platinum by the RIAA.
Saliva for this album are Josey Scott on vocals, Wayne Swinny on lead guitar, Chris D’Abaldo on rhythm guitar, Dave Novotny on bass and Paul Crosby on drums.
The cover is like a Glam Rock disco album but the influences are Sabbath, Crue, Steve Earle, Metallica, Sevendust and Skynard.
“Superstar”
Sitting at 18.1 million streams on Spotify.
Written by vocalist Josey Scott.
I think it appeared in a “Fast and Furious” movie as well.
It’s like a Guns’N’Roses cut on some sections, and even the vocal melody of the “all that I” section sounds like an Axl vocal melody.
“Musta Been Wrong”
It’s got a metal groove which sounds like Bush or the groove which is known as the “post grunge” or “Nu-Metal” riff, but vocally it’s an amalgamation of what Oasis created in the mid 90’s and hard rock from the 80’s.
“Click Click Boom”
Sitting at 146.799 million streams on Spotify. Written by Scott, D’Abaldo, Swinny and producer Bob Marlette. I was listening to P.O.D at the time and this song could be interchanged with a track from their “Satellite” album or anything from Kid Rock’s “Devil Without A Cause”.
The riff is sleazy and as good as any hard rock riff that I grew up with. Production wise, it’s got all those Korn sound effects with arpeggios and downtuned industrial sounding guitars
Vocally, the word rapping is different, but it works.
Check out the section from 3.16 to 3.30 when Josey Scott is singing, “it’s all inside of me”.
“Your Disease”
Its a heavy Dropped D bluesy in the riff department.
“After Me”
The vocal melodies get me interested in this song.
There is also a brief guitar melodic lead which enhances the interlude.
“Greater Than/Less Than”
It feels like an Alice Cooper cut, from his “Brutal Planet” and “Dragontown” era’s.
Six songs in, I wasn’t bored at all.
“Lackluster”
Sevendust comes to mind listening to this.
“Faultline”
A tremolo effect shimmering chord progression starts the song. Under it, is a heavy palm muted groove. The shimmering guitar part changes to a shimmering arpeggio riff.
“Beg”
Another heavy riff to start it off, with a loudspeaker vocal melody in the verses. The octave melodic idea reminds of Tool and the song “Sober”.
“Hollywood”
Another cut written by Josey Scott as the strummed acoustic guitar riff starts it all off. “Take A Picture” from Filter comes to mind. Also “Life Is A Highway”. And for some reason “New Tattoo” from Motley Crue also comes to mind.
“Doperide”
It’s been a skip since day one and still is.
“My Goodbyes”
An ominous tritone arpeggio riff starts it all off. The longest song on the album and a perfect closer.
Overall, Saliva’s has a dropped D rock/metal “Soundgarden” meets “Bush” meets “Tool” meets “Alice In Chains” sound with bluesy Southern/Country Rock influences.
Bob Marlette as the producer got those Mesa Boogie Rectifiers sounding big, loud and messy (but tight as a G-string tuned to A).
Check it out.
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