Reid's tone is more raspy and aggressive than Sheepdog's, and having this kind of vocalist running parallel to the structure of thrash serves to amplify the tenacity. He is certainly more limited in tone and ability, but the harsh manner is really all the album needs to sound like a killer. Although I find his performance on "Open Hostility" his best, Reid's shouting sounds like he's been verbalizing Razor's resentment since the group's inception; few appear this natural in new surroundings. The lack of variety and raw skill which had been Sheepdog's modus operandi (especially on "Violent Restitution") is equalized by the unrelenting unfriendliness pouring from his throat, and I can't find a reason to throw him under the bus for the stuff he shows here.

Razor is still Razor, though that shouldn't come as breaking news. "Shotgun Justice" runs on what was left over from the seismic slaughter of "Violent Restitution"; Razor has no need for reaching into the bag of tricks and pulling out needless musical gimmicks. The riffs are almost always scorching to the rhythm of wild percussion hammering underneath the thrash-based sequences and solos, but Razor's knack to make each song seem fresh had not yet expired. "Electric Torture" and "United by Hatred" show the group using riffs bands like Exodus have been trying to figure out as though they were calculus problems. "Shotgun Justice" also excels in the mid-tempo department, especially "Brass Knuckles" and its crunching, face-breaking riff which makes every note feel like a fist to the jaw. Rosie O' Donnell isn't this heavy.