The 1990s proved to be a challenging era for the legendary rock band Skid Row. The New Jersey-based group kicked off the decade with remarkable success, launching their explosive sophomore album, Slave to the Grind, which soared to the top of the Billboard 200 chart in 1991. However, as the grunge movement began to overshadow the glam metal scene that had defined the late ’80s, Skid Row found themselves retreating from the spotlight, opting for a hiatus to weather the musical storm. Upon their return to the studio in 1994, collaborating with producer Bob Rock—who took over from their previous producer Michael Wagener—to record Subhuman Race, the musical landscape had drastically transformed, and tensions within the band were beginning to surface.

The combination of lineup changes, internal discord, and a significant shift in the music industry set the stage for a tumultuous release. When Subhuman Race debuted on March 28, 1995, it was a stark departure from the band’s earlier multiplatinum successes, ultimately peaking at No. 35 on the charts and failing to achieve gold status. Just a year later, Sebastian Bach departed from the band under strained circumstances, and the consensus among the band members in the years following was clear: they collectively deemed the album a failure.

However, what if their judgment is misguided?

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Discover Why Skid Row’s ‘Subhuman Race’ Offers a Unique Perspective Beyond Grunge Imitation

While it’s true that Subhuman Race bears little resemblance to its predecessors, it’s important to recognize that Skid Row, despite often being categorized alongside the hair metal scene, was never limited to a singular style. Slave to the Grind represented a significant evolution from the pop-metal sound of their self-titled debut (which still resonates with fans), likely influenced by their connections with iconic bands like Guns N’ Roses and Metallica. In a similar vein, Subhuman Race reflects a band that embraced the changing landscape, having toured with groups such as Soundgarden and Pantera. The songwriting prowess of bassist Rachel Bolan and guitarist Dave “The Snake” Sabo remained adaptable to the prevailing musical trends, allowing Subhuman Race to emerge as a distinctive entry in the ’90s alternative rock surge.

Even if the grunge movement presented a cohesive sound—which it arguably did not—Skid Row does not fit the mold of a mere copycat grunge band. The album opener, “My Enemy,” kicks off with aggressive, down-tuned riffs and a powerful groove-metal rhythm. Meanwhile, “Firesign” mixes its alternative rock essence with enchanting, psychedelic guitar elements. The frenetic pace of “Bonehead” showcases Bolan’s punk rock influences, while the title track serves as a logical continuation of the aggressive sound established in “Slave to the Grind.” The band even ventures into mildly progressive territory with the intricate rhythms found in “Face Against My Soul.”

Tracks like “Eileen” and “Into Another” do draw upon the “loud-quiet-loud” structures famously utilized by Nirvana, which they adapted from Pixies. Nevertheless, even the more conventional songs on Subhuman Race captivate listeners due to their memorable hooks and the emotional delivery of Bach‘s vocals. This project’s lead singer presents a different side of his talent; instead of the piercing high notes that defined hits like “I Remember You” or “Livin’ on a Chain Gang,” Bach’s vocal delivery here is grittier, alternating between raw anger and deep sorrow. The contrast is striking, ranging from the harsh screams of “Beat Yourself Blind” to the melancholic melodies of “Breakin’ Down.” At just 26 years old, Bach conveys a sense of resignation, acknowledging that his peak commercial success may already be a thing of the past.

Listen to Skid Row’s ‘Beat Yourself Blind’

If there’s one notable drawback associated with Subhuman Race, it lies in Rock’s somewhat brittle and outdated production. Unlike the punchy and dynamic sound achieved by Wagener on Skid Row’s earlier albums, the drums on this record come off as lacking depth, while the guitars are excessively treble-heavy, resulting in a noticeable absence of low-frequency richness. The overall sound feels both costly and flawed—a precursor to the infamous high-fidelity issues experienced in Metallica‘s St. Anger.

While the production may be lacking, the strong songwriting and remarkable performances shine through on Subhuman Race. It’s understandable why Skid Row has distanced themselves from this album, particularly given its commercial struggles and the impact it had on the classic lineup’s eventual disbandment. However, regardless of the unfavorable circumstances surrounding its creation, the album deserves a reassessment—paraphrasing the title track, it’s worth taking the plunge into the world of Subhuman Race.