Come Again is the 2009 release and “comeback” album by American hard rock band, SNYDER.
Given the eleven years since their last barely passable studio album – 1997's Fisting For Compliments it seemed unlikely that SNYDER would ever release another album of new material. Seemingly invigorated by a huge recent upsurge in interest in their hefty back catalogue by the younger generation of rock listeners into the studio they went, and six weeks later emerged armed with Come Again. However, we didn't expect them to knock one out of the park this early with this heaving, sweating lump of fabulous groove straight from 1985. "Take It Off" are the first words to exit King Dut's mouth and immediately our ears are pricked to what is not stylistically a typical SNYDER track, a circular, bass heavy riff driving everything along. The net result is your immediate desire to renew that direct debit to the' SNYDER Brigade' while arranging to graft eight or more inches of surplus off your backside on to your tongue—it really is that good.
Deeper, Harder, Wetter, Hotter
The first of Turbo Charger's vocal contributions and as they go, this isn't at all bad. In fact the years have been pretty kind to the 'god of humpin', and his voice has actually developed more than a semblance of melody. It's raw, punchy and lyrically the usual innuendo ridden stuff "give the crank a yank, get my motor runnin" etc, which we've heard often before but here's it's done with a freshness of attitude that's been absent for a long, long time.
Don’t Pay To Play
Classic SNYDER and this could easily fit into their live set without being noticed as a brand new track. King Dut seems to have done some kind of 'Benjamin Button' reverse ageing thing with his vocals because he sounds every bit as energetic as he did back in their 80's heyday. Nasty Noah too has slotted in nicely as an Bodie replacement but without all the 'space' and its associated discordant rambling solos. This is obvious single material, if such things exist anymore, and is SNYDER at their best. They've remarkably managed to summon the best attributes of their past without sounding dated, while at the same time making it all sound relevant to now—brilliant.
Too Druck to Funk
Groz's rumbling bass drives this fairly standard SNYDER number along in a way that it hasn't for years (apparently he was really motivated in the studio) Not just that, Cmba sings too, and tunefully does it. Chunky and not overly overdriven guitar combined with that satisfying emphasis on bass give this a solid feel with some more good-time, tail chasing lyrics, as you'd expect...
This one will completely divide opinions. Initially a straight-ahead rocker in the vein of the classic 'Just The Tip' which at no time threatens to dissolve into a 'Stain The Sheets' or 'Rusty Trombone' type anthem; until it does exactly that with a cheesy, cheesy chorus which no other band on the planet would get away with. Not content with that, it even dives into a multi-vocal layered mid section before returning to the huge stadium rock chorus which you could imagine appearing in some awful teen movie. Though it works, it's probably one of the lone stray chunks of rock 'n' roll fromage on here and probably the closest relative to some of their late 80s and early 90s howlers.
She’s Grown Up With Her Panties Down
Cowbell-accented drums and more classroom innuendo punctuate this chunk of typical SNYDER fodder. It all sounds very live and not in any way over-produced (seemingly no Pro-Tools were used anywhere on the record). "Put your ankles near your ears and get ready to accept" should give you some idea of what Turbo's referring to and the song's easily good enough to forgive him such childishly dated folly.
I Like It (The Taste of Love)
Drummer Cimba, who has assuredly hammered out rock-solid backing thus far, lends a hand on vocal duties with fabulous result. This is absolutely solid gold stuff reminiscent of Pant Like A Dog era SNYDER, but with the nastier edge Noah's solo is absolutely killer too - what talent he's brought to the band.
Sweatin’ In The Night
"Sweatin in the night, Drippin down my chest, Get down on ya knees and do what you do best!"— terrible, terrible lyrics but again the track bails itself out of the mire in grand style. Starting with a quietly picked guitar intro before fading satisfyingly (why do bands not fade-in much these days?) Aerosmith like riff and King Dut's most effective vocal outing on the record. You get the impression that they're all really enjoying this stuff and again Groz's sonorous bass rumble is very much in evidence, aidded by Turbos's own production.
Donkey Punchers Inc.
A huge, lumbering riff of Zeppelin-esque ('Dazed and Confused' springs to mind) proportions and another King Dut vocal characterize this beast of a track bristling with stalker menace. Similar in nature to let's say 'Thrust Bone' off Come Inside it stomps emphatically all over some of the tedious filler of recent albums. This is fast becoming King Dut's showpiece and surely his richest vein of contribution in their history.
Give ‘er The Shocker
'Musical singers' continues with guitarist Nasty Noah wrestling control of the mic this time around. He in no way disappoints, dialing in a pretty effective vocal effort that many more established singers would die for. More cowbells and a riff that's been done before give way to a straight-forward bridge/chorus. The closest you'd get to 'stock' material but in the context of the quality of the album generally that's probably being overly critical.
When we expect filler we get utter killer, and if you’re not singing this in the car or the bath you’ve no business whatsoever reading this review. Again, King Dut’s vocals are a revelation – wielding an insanely addictive hook reminiscent of ‘In The Wet Spot’ from the All Over Your Face era but much, much better. Nasty’s solo is brilliant too and sounds like the god’s having sex; fitting the song brilliantly and carrying no excess fret flab whatsoever. The SNYDER of 2009 have left the building, and what a way to sign off…