It’s been 15 long years since Southern California’s Social Distortion released an album. Barack Obama was still in his first term, and Donald Trump was hosting The Apprentice, where he should have stayed. A global pandemic occurred in 1918, not, God forbid, in the present day. Fifteen years is longer than many bands last. The Beatles, all told, were together for just a decade and in that time released 12 studio albums.
Fullerton, California’s Social Distortion, fronted by Mike Ness, has been a touring band throughout much of the 2000s, perhaps an economic effect of the streaming era, in which fat-cat digital music execs grift artists to fill their coffers. Indie artists will always find a way to navigate the corporate playbook, whether that means relentless touring, in-store events to sign and sell physical records printed on a color wheel of limited-edition vinyl, or offering a cornucopia of creative merch that belies heartless, mass-produced corporate dreck.
Social Distortion are back with new music and, dammit, the world is made right again, despite Orange Shitler threatening the 22nd Amendment to steal a third term. Born to Kill is Social Distortion’s eighth full-length studio album, and it’s a masterful mix of the many shades of the punk sub-genres that have elevated the group to become elder statesmen of the rock ‘n’ roll world.
Formed in 1978, Social Distortion were a progenitor of the Orange County punk scene, which also spawned the Adolescents, T.S.O.L., and Agent Orange. Their first album, 1983’s Mommy’s Little Monster, was straightforward traditional and hardcore punk. Then, throughout the 1980s and early 1990s, the band began exploring Ness’s roots influences, notably Johnny Cash, Hank Williams, Kitty Wells, and others.
Social Distortions’ fusion of Americana and traditional punk became their signature, led by Ness, a tattooed, 12-step-sober, slick-backed-hair rockabilly rebel—Jimmy Rodgers and Johnny Thunders rolling up in a chop shop low-rider. Yet, this cow-punk sound was just one facet of the band. As they moved into the 1990s, they rocked harder than ever before on the blistering White Light, White Heat, White Trash.
Never one to be boxed in by genre labels, Ness, who has been Social Distortion’s sole constant throughout their 48-year history, has always explored his varied influences on his tattooed sleeve—from the Rolling Stones to the New York Dolls to Bob Dylan. Perhaps, the coolest thing about the band’s latest, Born to Kill, is that Ness (who co-produced the album with Grammy-winning producer Dave Sardy) has found the perfect sweet spot of all the sub-genres and sounds that have made Social Distortion distinct, relevant, and timeless.
The record kicks off with the barn-burner title track, replete with a ripping gold top Les Paul riff that instantly signals, these guys ain’t fucking around. “Born to Kill” is Mike Ness and company baring their teeth: aggressive, still hungry, still up for the fight, despite age, wisdom, and the battle scars of surviving addiction and the sordid lifestyle missteps that go with it.
While Ness is most decidedly the frontman and songwriter, the road-tested line-up that surrounds him has been together since 2010. Jonny Wickersham (rhythm guitar and background vocals, joined in 2000); Brent Harding (bass and backing vocals joined in 2005) and David Hidaldo Jr. (joined in 2010). All are exceptional players and have been with the group long enough to make Born to Kill unmistakably a band outing.
With their latest, Social Distortion have organically captured their many sonic personas, from hard rock to classic punk to Americana, all in a 45-minute and 50-second incendiary burst. “Crazy Dreamer”, a duet with Americana stalwart Lucinda Williams, is pure, 1940s West Texas ballroom beauty, replete with honkytonk piano and a melody that would make Asleep at the Wheel lose a few hubcaps. Similarly, “Tonight” is a rocking reflection that could easily sit alongside their classic anthem, “Story of My Life”.
Social Distortion have, on occasion, served up a cover song, from their smoldering rendition of the Johnny Cash standard “Ring of Fire” to the Stones classic “Under My Thumb”. On Born to Kill, they unexpectedly cover the suave Chris Issac hit, “Wicked Game”. It offers a smooth snarl, finding Ness singing in a range we seldom hear from him, and placing a guitar solo in the track that shows the sting of Mike Ness’ singular guitar tone. Born to Kill is new yet vintage Social Distortion, a greatest-hits package of new material that is authentic, fresh, and retrospective all at once.