Barnes & Noble
Like Marlon Brando in "The Wild One," this Motor City Madman would likely answer the question "What are you rebelling against?" with a sneered "Whaddaya got?" The Kid, however, would probably encore by lobbing a cream pie into the face of the inquisitor -- such is the attitude on this ridiculously sublime sonic escapade. Focusing on the finer things in life -- such as the title track's sensible demand that he be offered "no more floozies, just high-class ho's" -- the artist formerly known as Bob Ritchie wheedles and boasts through a series of adventures (most notably "I Am the Bullgod" and "Welcome to the Party") that mix old-school hip-hop grandstanding with proto-Nugent posturing. With the aid of his band, Twisted Brown Trucker, Rock walks the genre-bending line more effectively than like-minded acts such as Korn and Limp Bizkit, thanks to his refusal to get bogged down in whiny adolescent angst. Ultimately, you'll have as easy a time finding deeper meaning here as you will deciphering the lyrics to "Bawitdaba" -- which is a welcome state of affairs. David Sprague
All Music Guide
It's unlikely that even Kid Rock believed he had an album as good as Devil Without a Cause in him. Nobody else believed it, that's for sure. But he didn't just find the perfect extention of his Beastie and Diamond Dave infatuations here, he came up with the great hard rock album of the late '90s -- a fearlessly funny, bone-crunching record that manages to sustain its strength, not just until the end of its long running time, but through repeated plays. The key to its sucesss is that it's never trying to be a hip-hop record. It's simply a monster rock album, as Twisted Brown Trucker turns out thunderous, funky noise -- and that's funky not just in the classic sense, but also in a Southern-fried, white trash sense, as he gives this as much foundation in country as he does hip-hop. But what really reigns supreme on Devil Without a Cause is a love of piledriving, classic hard rock, not just that of hometown hero Bob Seger, but Lynyrd Skynyrd, Van Halen, and faceless arena rock ballads. The Kid makes it all shine with rhymes so clever and irresistible that it's impossible not to quote them. For all its modernity -- Rock's rapping, the titanic metallic guitars, Joe C's sideshow sidekick, the plea to "get in the pit and try to love someone" -- this is firmly in the tradition of classic hard rock, and it's the best good-time hard rock album in years (certainly the best of the last three years of the '90s). Stephen Thomas Erlewine