The original press release lists as a selling point that “Music has always played an important part of Road Rash history.
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To license some of those bigger label names, how many songs could they have realistically put on the game for equal money? Half as many?īusiness Affairs for Music and Video for Jailbreak was credited to Jim Kennedy, who (assuming I have the right man based on his resume) has since gone on to a Senior Vice President role with Pixar, so he’s to be given at least a portion of the credit for the compilation of talent as far as I can tell. As long as the music is hard-hitting, it was going to work, and this soundtrack manages to pack not only eighteen songs, but they are eighteen songs that contribute wonderfully in their own way to provide a great atmosphere. But in this case I’d argue the exception breaks the rule. Some may argue quality over quantity is the way to go, and I’m usually inclined to agree. Second, which goes in hand with cost, is volume.
To grant exposure for lower-tier bands to a potentially massive worldwide audience seemed like such a forward-thinking idea to me, and they weighed the risk correctly that big names wouldn’t make or break the game. We have here a stable of bands that provide a similar energy or possibly higher energy considering their hunger to expand their respective fan bases at what was likely a fraction of the price tag. The first of these surely must have been cost. This shift to independent and lesser-known artists was smart on several factors. The follow-up Road Rash 3D also included notable major-label talents such as The Tea Party, Sugar Ray, and Kid Rock. In fact, they did do this on the 3DO version of Road Rash with the likes of Soundgarden, Therapy?, and Monster Magnet. Electronic Arts could have made it easy on themselves and brought in some bigger bands to potentially draw more eyes on the game. The soundtrack as a whole doesn’t get enough of a spotlight since for the most part, none of these bands really broke out. All of these bands were independent or lesser-known that were mostly in the early phase of their music careers. The cool thing about the featured songs is that they didn’t pick from established major label acts at all. In total, there were eighteen different songs included in the game by various artists. With Road Rash: Jailbreak, they took advantage of the next-generation of gaming technology to raise not just the graphics to a higher level, but the sound and music as well.
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A huge disappointment indeed.What’s not to like about the Road Rash series of video games? They contain the thrill of speed, the competition of a sports game, and satisfy your blood-lust with the ability to take out opponents with a punch, kick, or bludgeoning with weapons. This is not what Road Rash is about! Mix this in with some horrible graphics and you have a total stinker of a game. But where is the fun in this? If you're going faster you have to slow down to their speed and painstakingly attack them while maintaining slowness. The aim is to knock the rashers off their bikes before they reach the finish line. There is also a new feature here in which you can play Marshall Lee on his police bike. There is no counter telling you how far you've come in the racecourse. There is no rear-view mirror or indicators telling you who is behind. There are very few/no opportunities for stunts/jumps. It doesn't really feel like a race anymore and there are 11 less people to beat-up. But you magically reappear on the bike in a second. Falling off only happens (rather unspectacularly) when you're energy hits zero. If you smash into your car you just go right through it. You cannot fall off your bike and run around. Everything that makes Road Rash great has been whittled down to nothing that I ended up wondering why they bothered. It's so weak and pointless and the gameplay is unbelievably crap. Jailbreak is an embarrassment to the Road Rash franchise.
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