L.A. Guns' new album has two main characteristics. It is the first one after Tracii Guns departed to focus on Brides Of Destruction. Secondly, as it is also obvious in the title, it is a covers' collection.
As I'm still waiting for Phil Lewis to answer to some questions of mine via e-mail, I cannot provide you with much information about what exactly were the criteria of their choices. What I can do is tell you what I've read in the booklet. When L.A. Guns thought of releasing an album of covers they decided to include songs that had been hits worldwide and some that had been hits in Europe and especially UK, during the 70's.
So, Phil suggested Rose Tattoo's Rock And Roll Outlaw, Saxon's Wheels Of Steele and Angel City's Marseilles. Then L.A. Guns added some of their favorites, Queen's Tie Your Mother Down, Foghat's I Just Want To Make Love, Aerosmith's Nobody's Fault, Led Zeppelin's Custard Pie, David Bowie's Moonage Daydream and, as a tribute to the original Punk, Iggy Pop and The Stooges' Search And Destroy. They couldn't avoid some expansion to the late 60s and the early 80s, so they also put Donovan's Hurdy Gurdy Man and Hanoi Rocks's Until I Get You. The tracklist is completed by two L.A. Guns' songs, both from their previous album, Waking The Dead, which were recorded live in 2003.
It seems that L.A. Guns intended to present songs that have branded particular genres, the influences and the features of which form L.A. Guns' own musical idiom. Classic Rock, Hard Rock, Southern Rock, Glam Rock and Punk hymns are interpretated as their roots and performed with respect and consciousness. Each song's atmosphere is preserved but a touch of sleaze and L.A. Guns' familiar sound almost transform them in genuine creations.
Phil Lewis' voice is in great shape and adjusts to all the appropriate performing styles. Steve Riley and Adam Hamilton fulfill their duty to the usual high level way, not that this is surprising, and the newbie, Stacey Blades,  fits in just fine.
There is no much left to be said aboyt Rips The Covers Off. It is a bunch of songs you probably already love in a collection put together by a band in its maturity, in a nostalgic mood. When somebody invests true feeling and affiction in a project, the result is usually good and in this case the covers are not ripped off but supported by kind motives. The problem is that one can't help feeling that this particular release did not come just after the founder's departure by coincidence. Playing covers could be a plain effort to drive the listener's attention away from Tracii's absense. L.A. Guns are probably in an awkward position, trying to clear things up and reorientate before bringing a new sample of their work to the public.
After all, when it is about bands like.L.A. Guns, who have proved their value with dignity all over the years, inspiration and creativity are the matters. Competence and professionalism are taken for granted.