Slave to the Grind | ||||
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Studio album by Skid Row | ||||
Released | June 11, 1991 | |||
Recorded | 1990–91 | |||
Studio | New River Studios in Fort Lauderdale, Florida; Scream Studios in Studio City, California | |||
Genre | Heavy metal | |||
Length | 48:41 | |||
Label | Atlantic | |||
Producer | Michael Wagener | |||
Skid Row chronology | ||||
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Singles from Slave to the Grind | ||||
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Professional ratings | |
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Review scores | |
Source | Rating |
AllMusic | |
Chicago Tribune | |
Christgau's Consumer Guide | |
Encyclopedia of Popular Music | |
Entertainment Weekly | A− |
Rolling Stone |
Slave to the Grind is the second studio album by American heavy metal band Skid Row, released on June 11, 1991 by Atlantic Records. The album displayed harsher sound than its predecessor and lyrics that avoided hard rock cliches. Slave to the Grind is the first heavy metal album to chart at number one on the Billboard 200 in the Nielsen SoundScan era, selling 134,000 copies in its opening week. The album was certified 2× platinum by the Recording Industry Association of America (RIAA) in 1998 for shipping two million copies in the United States. It produced five singles: "Monkey Business", "Slave to the Grind", "Wasted Time", "In a Darkened Room" and "Quicksand Jesus", all of which did not receive significant airplay as the singles from the previous record. Skid Row promoted the album opening for Guns N' Roses in 1991 and as a headliner the following year.
Skid Row wrote most of Slave to the Grind in a New Jersey studio and demoed the tracks with Michael Wagener, who produced its previous album. Recording took place at two studios: New River in Fort Lauderdale, Florida and Scream in Studio City, California. Slave to the Grind marked the band's move toward a heavier sound, with the title track verging on speed metal. The lyrics were more complex, criticizing modern ways of life, authority, politics, drugs, and organized religion, among other topics. Wagener said the demoing and pre-production went well, and the title track was recorded and mixed in an hour, and was placed on the album without being remixed.Sebastian Bach's father, David Bierk, painted the cover art, which is actually a long mural, continued inside the album's booklet. Although it is set in the medieval era, it depicts people using modern technological gadgets. The cover was inspired by Caravaggio's Burial of St. Lucy from 1608 and shows John F. Kennedy in the crowd.