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Rock&Roll Submarine

Rate It! Avg: 4.0 (21 ratings)
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Rock&Roll Submarine album cover
01
Mason/Dixon
2:59
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Rock&Roll Submarine
4:01
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Effigy
3:44
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Poison Flower
2:33
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Little Vice
3:15
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Thought Balloon
4:14
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Quiet Person
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She's My Ride
3:34
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End of Story
3:25
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The Valiant
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Niteliner
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Touch to a Cut
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Album Information

Total Tracks: 12   Total Length: 39:26

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Rock solid album.

Capnmidnight

Not only is this comeback album after 14 years of non UO desolation better than should be expected it's better than we deserve. Vox, guitar, bass & drums are all tight like UO of old. Great rock album. These guys should be enshrined in the R'n'R HOF but they don't get any respect . . . we, the rock buying public, are not worthy to lick their boots.

user avatar

Good comeback album...

mbendure

So this isn't Saturation, their penultimate album, but it's better than anything before it. The production quality is very nice and they have a mature sound. I'd rank UO's top 3 like this: Saturation, Exit the Dragon, Rock&Roll Submarine. Not as many catchy songs but still some good work. Keep kicking it, boys, and next year "send in the Butcher" Brothers to finish off the next album. Keep 'em coming; UO deserves to be back at the forefront, rocking our faces.

They Say All Music Guide

To say that Rock & Roll Submarine picks up where Exit the Dragon left off is not damning with faint praise. It is no small thing for Urge Overkill to reunite 16 years later — minus Blackie Onassis, whose heroin addiction was instrumental to the band’s split — and to not just stumble but to deliver a credible sequel to the sinewy, stripped-down Exit the Dragon, which itself played as a vague hangover to the oversized wannabe blockbuster Saturation. That same sense of foreboding underpins portions of Rock & Roll Submarine, but Nash Kato and Eddie “King” Roeser wear weariness well, particularly now that they’ve abandoned their ironic dreams of stardom and have settled into rock & roll survivors. Urge Overkill still subscribe to their old-school definition of rock & roll, punctuating their grinding riffs with the occasional dose of elegantly moody introspection, but Rock & Roll Submarine doesn’t feel mired in the past because UO are determined to keep everything rough and ragged, deliberately keeping the focus fuzzy and left of center. Such grit separates Rock & Roll Submarine from the legions of too carefully considered comebacks, but the thing that distinguishes this record from Urge’s other excellent albums is that there are no affectations, no play acting, nothing delivered with a tongue planted in cheek. To be sure, there’s humor — look at the album title — but Nash Kato and Eddie “King” Roeser are taking everything dead seriously, playing for the sake of music itself, giving Rock & Roll Submarine an unexpected soul and heart that makes it a rousing comeback. – Stephen Thomas Erlewine

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