Reviews

REVIEW: King’s X – Please Come Home…Mr. Bulbous (2000)

Complete studio albums (and more!), part 12

KING’S X – Please Come Home…Mr. Bulbous (2000 Metal Blade)

Starting with 1998’s Tape Head, King’s X would write and self-record new material in the studio. The following album Please Come Home…Mr. Bulbous was done the same way, in a quick time frame of under two months. On Tape Head they captured tremendous energy and groove with that method. Perhaps the drawback to this approach is that you have less time to live with and tighten up the songwriting. On the other hand, on Mr. Bulbous it sounds like songwriting was a minor concern next to instrumental experimentation.

Songs like the opener “Fish Bowl Man” sound like several loose ideas floating together. It is a chorus without a song, unfortunately, because that chorus is a King’s X winner. The beat poetry section of the song is very interesting indeed, but it’s not among King’s X’s finer moments. Darkly simmering is the next song “Julia”, but its soft pulse is not enough. Two important ingredients are missing, and they are Doug’s soul singin’, and the patented King’s X groove machine. “She’s Gone Away” also fails to lift from the runway (although it sounded better live). This is more like King’s X for the dreamtimes.

This band is always been interesting instrumentally, and that holds true on Mr. Bulbous. Exploring laid-back musical landscapes while only blasting occasionally is more than fine. “Marsh Mellow Field” for example has a rock-heavy chorus featuring Doug in full lungs. The issue is that the songs are loose and sparsely arranged affairs that don’t sound coherent. It’s a challenging listen, and there are moments of riff and solo brilliance, but one must be patient.

Album highlights:

Jerry Gaskill’s drums on “When You’re Scared”. This guy is such an underrated drummer. “He plays with his whole body,” said my friend Uncle Meat. You can hear that, too.

“Charlie Sheen”. No idea what the words are about, but this is about the only true “song” on the album. It’s really good, with one of those Ty Tabor choruses that you remember for days. “Kill the king, strip the queen, are you my friend dear Charlie Sheen”? Who cares, it sounds good and that’s what works. The song also has a very twangy Morse-like guitar part that makes this the catchiest track of the bunch.

“Move Me” parts 1 and 2. Although Doug’s vocals are mixed in a nasal John Lennon fashion, this rocker has some movement to it. It’s one of the most constructed songs on the album, with the light and shade finally making sense within the structure of a song. An epic triumph almost worthy of the classic period of the band.

It’s a mixed affair but because it’s King’s X there is always going to be quality to it.

3/5 stars

Next in this series: a previously published review of a Ty Tabor side project named Platypus. Platypus are a band consisting of Ty Tabor – Guitars & vocals. John Myung (Dream Theater) – Bass. Derek Sherinian (Dream Theater, Alice Cooper, Kiss) – Keys. Rod Morgenstein (Dixie Dregs, Winger) – Drums. Their second album, Ice Cycles, was loaded with fun time progressive hard rock. Ty gets a chance to shred jazzily and in other different contexts, and it is just delightful. You can check out that review now by clicking here.

Part 1 – Out of the Silent Planet (1988)
Part 2 – Gretchen Goes to Nebraska (1989)
Part 3 – Kings of the Absurd (split bootleg with Faith No More)
Part 4 – Faith Hope Love by King’s X (1990)
Part 5 – “Junior’s Gone Wild” (from 1991’s Bill & Ted’s Bogus Journey soundtrack)
Part 6 – King’s X (1992)
Part 7 – Dogman (1994) + bonus “Pillow” promo single review
Part 8 – Ear Candy (1996)
Part 9 – Best of King’s X (1997)
Part 10 – Tape Head (1998)
Part 11 – POUNDHOUND – Massive Grooves from the Electric Church of Psychofunkadelic Grungelism Rock Music (1998 Doug Pinnick/Jerry Gaskill)

REVIEW: PoundHound – Massive Grooves from the Electric Church of Psychofunkadelic Grungelism Rock Music (1998)

Complete studio albums (and more!), part 11

POUNDHOUND – Massive Grooves from the Electric Church of Psychofunkadelic Grungelism Rock Music (1998 Metal Blade)

You have to give Doug Pinnick credit for many things, and one of them is his prolific musical output. The same year as King’s X Tape Head album, Doug released this solo project under the band name PoundHound. Massive Grooves (the shortened title) featured Doug playing all instruments except drums. His King’s X bandmate Jerry Gaskill, and Shannon Larkin of Ugly Kid Joe helped out in the percussion department. The result isn’t that dissimilar from Tape Head itself. As the title suggests, these are indeed massive grooves.

The Reverend Hershall Happiness is your host for this heavy celebration. “Jangle”, the opening song, isn’t that much different from the groovy side of King’s X at all, and just listen to that bass! Doug lets it ring low, and boy oh boy does it sound good. “Jangle” is as catchy as it is groovy. “Shake” puts the emphasis strictly on groove. “Everybody, shake your thing,” sings the Reverend. It probably surprises nobody that Doug is a good enough guitar player to nail some cool solos too. Is there anything he can’t do? (Just the drums, apparently!)

The songs are mostly short and to the point. Don’t expect the progressive metal of King’s X. Do not think you’re getting simply good time party groovers either. A great song called “Friends” for example is pretty blunt. “Kevin is a razorhead, he says the cutting numbs the pain.” Just like King’s X, Doug is not afraid to paint a stark picture of some parts of real life that we often want to bury. “My world just got darker,” he sings on “Darker”. If you were expecting an entire album of good times, this is not it. But good rock and roll? Absolutely. The direction is more or less the same from track to track. It’s heavy groove based rock with the best soul singer in metal. The variety that you get from King’s X (and their multiple singers) is not present here, but if you like Doug then you will love PoundHound.

Doug’s bass and guitar sound amazing (you will rarely hear such a full bass sound), but the drums are fairly dry and a little thin (compared to the last few King’s X discs). This does not hamper enjoyment of the disc. The songs and sound are consistent enough.

Best tracks: “Jangle”, “Shake”, “PsychoLove”, “Friends”, “Hey”. Only semi-stinker in the bunch: “Supersalad” (too much grungy grunting vocalizing).

Doug released a second album as PoundHound, before shortening his name to Dug and putting out proper solo albums under his own name. For all intents and purposes though, Massive Grooves is the first Doug Pinnick solo album and a damn good one it is.

3.5/5 stars

REVIEW: King’s X – Tape Head (1998)

Complete studio albums (and more!), part 10

KING’S X – Tape Head (1998 Metal Blade)

You never knew what you’d get with a new King’s X album. Monstrous musicianship, intelligent lyrics, and integrity certainly; but they like to fly in all sorts of directions. Tape Head, following the sweet pop rock of Ear Candy, was a monolithic slab compared to that earlier album. In many regards Tape Head is a brother record to Doug Pinnick’s solo project PoundHound (more on them later). The focus here is the groove.

Witness, the first song “Groove Machine”. “Welcome to the groove machine,” sings Doug, letting his bass lay it down. “Music oh music, such a funky thing. The closer you get, the deeper it means.” He’s right. Ty Tabor lays on a heavy wah-wah for his guitar solo, but not to be left out drummer Jerry Gaskill gets a bit of a solo too. It’s simple, straightforward and unpretentious. “Groove Machine” has but one purpose.

“Fade” continues the heavy groove direction, slower now, and with Ty Tabor taking the vocals in the chorus. From the ultra-heavy bass to Jerry Gaskill’s beats, everything hits you exactly in the right spot. A break in the groove occurs on “Over and Over”, a Doug ballad with sincere soul. When Ty joins him in the chorus, the song becomes timeless. Heavy again again but with the same kind of powerful chorus is “Ono”. When you have an album as single-minded as Tape Head, you tend to grasp onto standout melodies like this even more. King’s X let their 1960’s flag fly a little bit on “Cupid”, which doesn’t let up in the groove department, but does have shades of their hippie melodic bent. That’s an appropriate way to lead into “Ocean”, a mellow Ty Tabor song that sounds like Ear Candy, but turned up to 11. Doug’s hella-sonic bass just crushes, even though you could fairly call this song a ballad! The difference between this and Ear Candy is all in the production. Tape Head is self-produced and you can tell they just wanted to hear everything heavier and lower!

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Pure ear candy is “Little Bit of Soul” which sounds like it should. Heavy rock knows no singer with as much soul as Doug Pinnick. He even brings soul into “Hate You”, which is pretty straightforward in the lyric department! Then “Higher Than God” is one of the mightiest choruses on the album, thanks again to Doug, with Ty and Jerry backing him. Only King’s X can infuse R&B with their rock the way that they do. Listen to Doug’s low vocal crooning on “Happy”. Then he turns it up, lets it loose. There is only one Doug Pinnick and he is a rock and soul treasure.

You might not expect the slight twang that starts off “Mr. Evil” but like most King’s X songs, it mutates into different forms. (Nice steel guitar solo by Ty.) If you were craving just one more killer chorus before it’s all over, then “World” delivers that and some heavy-ass grooves too. The highlight here is a blazing rock n’ roll guitar solo, very different for Ty. That’s not the last song though; there’s a surprise at the end that defies description except to say it’s pretty funny!

Tape Head is an impressive monument of rock indeed. It bleeds pure gobs of soul, and it rocks the brain really, really hard. It’s slimmer in the catchy melodies stockpile, but the relentlessness of direction draws you back in for another listen. Some may lament that with Tape Head, their progressive metal past seems long behind them. I think that was road they already turned from, with 1994’s Dogman. They transformed into a heavier band, with echoes of their past but a sound that blends it all up. The songs are not as distinct, but the groove is king on Tape Head.

4/5 stars

REVIEW: King’s X – Best of King’s X (1997)

Complete studio albums (and more!), part 9

KING’S X – Best of King’s X (1997 Atlantic)

Alas, it was inevitable. After six stunningly good albums, but none of them gold, in 1997 Atlantic dropped King’s X. In the mid-90’s it’s amazing that King’s X hung around as long as they did. Many labelmates has long since been dumped, or broke up. King’s X did not break up, but instead continued to work on their own, self-producing a new album. Atlantic meanwhile prepared the calculable “best of” package for release. Whenever a band gets dropped from a label, a “best of” is bound to follow. It’s a law of science.

It’s a pretty straightforward release. Chronologically, you get most of the major singles and hits from all six albums. Then you get the three requisite unreleased songs. Finally, a 10 minute live blowout from Woodstock ’94, previously unreleased. In an unusual touch of quality for a release like this, Ty Tabor himself remastered all the tracks for the album.

We already took a close look at most of these songs earlier in the series, and there are no real duds. The CD is weighted too heavily to the later albums, leaving Silent Planet and Gretchen under-represented with only four songs between them. Hearing “King” opening the album is perfect, and the inclusion of “Pleiades” earns respect. The other two tunes, “Summerland” and “Goldilox” are awesome but predictable inclusions. The self-titled album and Dogman are represented by two tracks each. We could have done with more Dogman. “Shoes”, for example, or “Pretend”. Three songs from this set come from the more commercial Ear Candy. Again, you can’t really criticize the choices too much, because all the songs are great. How do you squeeze more in?

Well, one way would be not including the unreleased songs, but these are record company bait to entice fans to shell out for it. The three studio cuts are self-produced demos from 1996. Appropriate to that era of the band, these are more commercial sounding than typical King’s X. The production is not lush, but they have a lively quality. “Sally” is nothing to write home about, but it’s a concise King’s X pop rocker with plenty of cool noodling by Ty. Both “Sally” and the next song, “April Showers” feature fuzzy wah-wah guitar, always a treat. Doug Pinnick sings the funky “April Showers”, which sounds a bit more King’s X. Possibly the best song is the sparse ballad “Lover”, also sung by Doug. It just depends on whether you prefer the mellow hippie sounds of “Lover” or the funk of “April Showers”!

The closing piece of the album was a surprising but important inclusion, and that is the live version of “Over My Head” from their opening set at Woodstock ’94. This 10-minute track features a passionate singing rant by Doug Pinnick. He has often spoken about his difficult upbringing, and how he never heard the words “I love you” as a child. “This is a song about my grandma…she raised me from a child…she was a very religious lady…she went to church every night…she read her Bible all the time…” begins the painful rant. It still gives me chills, but it has a positive note. If you have kids, make sure they know that you love them, more than anything in the whole wide world.

Yes it’s an odd way to take up 10 minutes of a “best of” CD, but it had to be on here. It was a historic moment for this band. Anybody in the crowd that day who wasn’t completely blasted on drugs would remember that moment forever.

Opening up Woodstock ’94 should have propelled King’s X into the stratosphere. They just couldn’t catch a damn break. They couldn’t even be given a decent album cover for their own damned Best Of!

4/5 stars

REVIEW: King’s X – Ear Candy (1996)

Complete studio albums (and more!), part 8

KING’S X – Ear Candy (1996 Atlantic)

This is actually the album that sparked this review series in the first place. I had to re-rip it to my PC. Enamoured, I forged on with an entire series of King’s X, because they deserve it!

By the time King’s X hit album #6, any hope of them being a mainstream success was in the distant past. 1994’s Dogman was an artistic triumph, and considerably heavier than past albums, but still nothing. King’s X even played the noteworthy, critically acclaimed opening set at Woodstock ’94 (more on that next time), to no avail.

Ear Candy was their last album for Atlantic and I don’t know if it was record company pressure or simply natural creativity, but it was different for the band yet again. The heavy tunnel-vision sound of Dogman was severely toned down, in favour of melodic composition. Canadian hitmaker Arnold Lanni was on board for production, his only outing with King’s X. (The Canadian connection was manager Ray Danniels who was handling King’s X for a brief time.) Even guitarist Ty Tabor had stepped back up to the microphone, after being notably absent on Dogman‘s lead vocals. Some fans naturally rejected some of these changes. For others, Ear Candy was a high water mark. The 90’s were a confusing time!

This reviewer is in the high water mark category. Although Ear Candy eschews progressive rock tendencies in favour of catchy tunes, I don’t think the end result was a bad thing.

“Step up and step aboard, your seat is to the left. Leave all your bags and tighten up your metal belt.” That voice is Ty Tabor’s and what better way to usher in his vocals with the first song on the album? “The Train” is a duet between he and Doug Pinnick who sings on the choruses. Classic King’s X trademarks are in place: harmonies, sweet 60’s melodies, hard guitars, and soul. The train is departing on a journey called Ear Candy, and it is a welcoming song. Continuing with the 60’s vibe, “(Thinking and Wondering) What I’m Gonna Do” is sweet and summery. Acoustic guitars, tabla, and Doug’s soulful throat are the focus. Drummer Jerry Gaskill refuses to play anything simple, and so his drums and percussion are spare but unorthodox. Backwards Tabor guitars add to the psychedelic trip.

One of the draws to King’s X has to be Doug’s 8 and 12 basses. “Sometime” (another Doug song) has some of the baddest, lowest, most ass-rumbling bass you’ve ever heard. You have to love the sound of those big phat strings shakin’. Mid-tempo and sweet, “Sometime” is hard enough but with those Beatles-like harmonies.

There was one single released from this album, the very rare “A Box”. (This single had a bonus track called “Freedom” that is missing the LeBrain HQ rock library.) A brilliant selection for a single, “A Box” has that “Goldilox” sound from the first King’s X album. Pinnick had been dealing with his own personal issues and you can hear this in the words. Also worth noting: the drum sound. Arnold Lanni has a knack for finding a killer snare drum sound. Just listen to Our Lady Peace’s first album Naveed. Jerry’s drums have never sounded better than they do on Ear Candy. That snare just snaps! Then “Looking For Love” blasts. Doug is not seething in anger, but you can hear it between the lines. “Religion burned me at the stake,” and “I guess I lost my faith,” sings the once-devout Christian. You can also hear it in the tempo; straining at the lead. Then, following “Looking For Love” is possibly the album highlight…possibly. Because next is Ty’s “Mississippi Moon”, which is impossible to hate. Ty sometimes writes these pleasant, 60’s-pop-like songs in his solo material, and with King’s X. The layered vocals are like a little sugar on top. Just delightful. The only stumble is “67”, which is plenty chunky but not memorable. The freakout guitar noise outro is pretty cool though.

That sounds like a side closer, and the next song “Lies in the Sand (The ballad of…)” would work nicely as a mellow start to a second side. Ty ballads are sometimes very special, and “Lies in the Sand” is special indeed. His earnest singing and playing are basically the song; the other two guys take a step back and just let the song pulse. Things pick up again with “Run”, with Doug sounding cast-down and dejected, but bouncing back again. The pain also runs through “Father”. “My brother’s on crack, my sister’s a wreck, our mother she tried, our fathers are lies.” But the message is clear: “Every one of us loves every one of us.” Blood is thicker than water.

Jerry Gaskill takes a rare lead vocal on the ballad “American Cheese (Jerry’s Pianto)”. The 60’s are recalled once again with a very Beatles-like piano pop ballad. This sets up “Picture”, possibly the most upbeat pop rock moment on Ear Candy. It has a drive to it, and instrumental integrity, which takes it levels high and above most examples of pop rock. Doug sounds happy, and the band rock with glee. It’s a great precursor to “Life Going By”, the finale. It has a quality that sounds like a bookend to “The Train” at the start of the album. Tabor weaves a bright tapestry of acoustic and chiming electric guitars, and also takes the lead vocal for this last song. Layers of harmonies take us out on a sweet, soulful note.

What an album. What’s not to like? Fear not the pop, for King’s X took it back to heavy for 1998’s Tape Head….

5/5 stars

Shortly after Ear Candy, progressive rock fans who craved a little more got their wish partly fulfilled. Doug Pinnick did an excellent guest appearance on the hella-cool song “Lines in the Sand”, from Dream Theater‘s Falling Into Infinity album from 1997. Doug sang accompanying vocals with James LaBrie, lending the song an additional edge. A 10 minute long-bomber, “Lines in the Sand” definitely supplied a taste of the heavy complex rock that fans may have missed. Even if Doug was just a small part of it, he was an integral part.

KING’S X review series:

REVIEW: King’s X – King’s X (1992)

Complete studio albums (and more!), part 6

KING’S X – King’s X (1992 Atlantic)

The end of an era: the self-titled album. When you self-title a record, it’s usually meant to be a statement. Who knows if King’s X knew that theirs would be the end of the classic era of the band? Tensions with producer/manager Sam Taylor were increasing and this would be their last collaboration.

King’s X, the album, seems to hone in on songwriting. There are no long bombers, just short and taut King’s X songs. “The World Around Me” exemplifies this. The main ingredients are intact: Doug’s soulful but pained lead vocals mixed with the lush backing of the other two, the heavy but uniquely constructed riffs, and the diverse assortment of influences. This song, and the next (“Prisoner”) get in and get out quick, delivering the necessary hooks with integrity. They don’t spend time noodling or meandering. The songs are more direct this time, without selling out. You still can’t mistake what band this is. There is only one band that sounds like King’s X, and that’s due to a unique vocal blend, and playing that sounds like no one else.

“The Big Picture”, the first ballad, doesn’t sound all too different from the Faith Hope Love material. Good song, but a retread. Then we’re “Lost In Germany”, with Doug and Ty Tabor sharing vocals, but this is one song that annoys more than it entertains. Something about that chorus. “Germany, lost in Germany!” Maybe it’s the fact that my old boss at the Record Store used to make fun of this song, or maybe it’s just corny. It has a tricky little Steve Vai-esque guitar lick, but I don’t want to be “Lost in Germany” any more. Having found the autobahn, we get off next at the “Chariot Song”. Accelerating breakneck, this song kicks ass. Time signatures and keys change left right and center, but it’s a cohesively awesome song. All I dislike are the self referencing lyrics: “Out of the planet comes Gretchen with faith, hope and love.” You’ll love the psychedelic Beatles section in the middle. Fave tune “Ooh Song” blows out the speakers. The stuttery riff and dark melodies hint at where King’s X were headed. “Ooh Song” and “Chariot Song” are a whopper of a one-two punch, 100% King’s X, no selling out.

“Not Just for the Dead” is uplifting, with hints of piano and sitar. It has a proud, anthemic quality before it too ventures into psychedelia. An album highlight for sure. Then, “What I Know About Love” (the closest thing to a long bomber on this album) has a long Ty Tabor solo section; very cool. “Black Flag” was the lead single but never a favourite of mine. Like “Lost in Germany”, something about the chorus just isn’t happening. Seeing Doug flying around in his underoos, in the music video, is entertaining however. There are also some King’s X puppets — somebody made actual puppets of the guys for props in this video. I sure hope somebody hung onto those!

Winding down the album, Ty’s mellow “Dream in my Life” just kind of sits there. It doesn’t have the drama I crave in King’s X. Fortunately, the closer “Silent Wind” kicks ass completely. The verses and chorus are equally excellent. This is a powerhouse of a song, and though a closer, could have made a much better single than the two they picked!

King’s X created another solid album, but for the first time it felt like they had not progressed. King’s X feels like an amalgam of previous King’s X albums, and maybe that was the point. Still one of the greatest rock bands of all time, they spun their tires a little here. But change was afoot.

4/5 stars

The only King’s X album I reviewed prior to this series was Dogman (1994), and that review is the next chapter in this series. You can read it by clicking here now!

As stated above, Kings’s X, the album, was the end of an era. Dogman would be dramatically different. There were no lead vocals by Ty Tabor, and they had gotten much, much heavier. Putting the emphasis more on the groove, and installing Brendan O’Brien at the console, King’s X delivered a punishing sledge of an album. Dogman rates 4.9999~/5 stars, just shy of a full 5/5. Check out the full review for that. Also previously published is a mini-review for a promotional CD single for the track “Pillow” from Dogman, complete with two then-unreleased live bonus tracks. Click ’em both.

KING’S X review series:

REVIEW: King’s X – “Junior’s Gone Wild” (1991)

Complete studio albums (and more!), part 5

KING’S X – “Junior’s Gone Wild” (1991 Interscope, from the Bill & Ted’s Bogus Journey movie soundtrack)

With Faith Hope Love creating a little bit of a buzz, 1991 coulda been the year for King’s X to finally break. Meanwhile in Hollywood, a Canadian fellow named Keanu Reeves re-teamed up with his buddy Alex Winter to star in Bill & Ted’s Bogus Journey. Many rock fans worldwide had enjoyed the prior adventures of Bill & Ted. They liked cool bands and got to hang out with George Carlin. Not to mention, the movies had soundtracks. Extreme, for example, had some exposure thanks to an appearance on the first movie’s album. Then somehow, King’s X landed a song on the Bogus Journey soundtrack. Maybe because the movie soundtrack came out on Interscope, owned by Warner, also the parent company of King’s X’s label Atlantic.

The soundtrack CD is actually really good. Kiss, Faith No More, Megadeth, Primus, plus quality tracks from Winger, Slaughter and Richie Kotzen. Surprisingly, one of the weakest songs was the one by King’s X!

“Junior’s Gone Wild”, barely three minutes long, is one of the most unremarkable songs King’s X have done. You can’t pinpoint what exactly doesn’t work. On paper, it should. A stuttering riff, Doug Pinnick’s impassioned singing, and the trademark lush King’s X cloud of backing vocals: it’s all right there, wrapped up in a bow for 3:09. Yet it’s bland and forgettable. Was this the first crack in King’s X armour? Or did they just send a throw-away outtake out for the soundtrack? If so, perhaps doing so was a mistake. The movie made almost $40 million, doubling its budget.

In another weird twist, “Junior’s Gone Wild” also wound up on the B-side to a Kiss CD single, “God Gave Rock & Roll to You II“. With that kind of exposure, don’t you just wish King’s X had put an amazing song out instead? Meanwhile back on the soundtrack CD, I was being blown away by this new young kid, Richie Kotzen, with an incredibly soulful voice and hot space-blues licks. Kotzen succeeded in competing with the big boys on the CD, and so did Faith No More. King’s X fumbled the ball.

2/5 stars

KING’S X review series:

Part 1 – Out of the Silent Planet
Part 2 – Gretchen Goes to Nebraska
Part 3 – Kings of the Absurd (split bootleg with Faith No More)
Part 4 – Faith Hope Love by King’s X

REVIEW: King’s X – Faith Hope Love (1990)

Complete studio albums (and more!), part 4

KING’S X – Faith Hope Love by King’s X (1990 Atlantic)

This is where I hopped on board the King’s X train. It was the quirky video for the irresistible pop rocker “It’s Love”. It wasn’t the first accessible King’s X single, but it was the first I ever had the chance to hear. And it was instant. It was an immediate, “Ah! So this is King’s X! I have to get this.” And I did. Before then, I had only read about them in magazines. Their cool cover art, striking album titles, and brilliant reviews had them on my radar.

“It’s Love”, written and vocalized by Ty Tabor, emphasizes the melodic aspects of the band. They always utilized Beatles-like harmonies over chunky guitars. This mixture was perfected for the charts on “It’s Love”, and it did make a minor dent.

Although “It’s Love” might be the most instantaneous song on the album Faith Hope Love (the band’s third), it’s not the most impressive. Not even close. And that’s saying something!

With Faith Hope Love, there was a downshift in intensity but not in quality. The album is overall a little less edged, but just as challenging. Indeed, the title track is almost 10 minutes of swirling rock, with dual lead vocalists and startling instrumental integrity. There is also a song called “We Were Born to Be Loved” with smoking playing, false endings, and enough technical chops to satisfy the most ardent fan.

King’s X have never taken the easy road, lyrically or musically. “Legal Kill” is abstract but can be interpreted to be about a few sensitive issues in today’s society. It’s not preachy: “I only know what I believe, the rest is so absurd to me.” It’s a beautiful song, a peaceful acoustic ballad. A song like this could have been a hit for anyone, except King’s X it seems.

Other accessible rock songs include the love song “I’ll Never Get Tired of You”, a beautiful sentiment. The “Fine Art of Friendship” combines the vocals of Doug Pinnick and Ty Tabor in that patented blend, always so tasty. Then there is the slow, dark ballad “Everywhere I Go” by Doug. There aren’t any weak songs on Faith Hope Love, although I find the softies “Mr. Wilson” and “Six Broken Soldiers” (vocal debut of drummer Jerry Gaskill) to be not quite as amazing as the rest of this stunning album.

The centerpiece is “Moanjam”. By the opening rumble of Doug’s bass and the intense tempo, you might think it’s a Motorhead song. Proving their diversity, “Moanjam” combines smoking metal riffing, lush harmonies, and Doug’s unmistakable soul singing. You could put “Moanjam” on an album 10 times and it would still be a hell of an album! With subtle Christian lyrics (“I sing this song because of You, You’re the glory”), you can headbang to it without thinking too much about the words. In fact, doing so is quite an enjoyable experience. It’s also a blast to air-drum to Jerry’s speedy parts; just be sure to catch your breath!

Although Faith Hope Love was their most accessible album yet, in many ways it really wasn’t. It was over an hour long, containing two long-bombers. The arrangements are still challenging, and still uniquely King’s X. There is nobody out there who plays guitar like Ty Tabor does, and nobody who can sing like Doug Pinnick. Faith Hope Love is a completely unafraid album. Unfortunately it might also have been their last chance to grab the brass ring. With grunge around the corner, bands like King’s X were hastily pushed aside. What a shame. This record could have been their Revolver.

5/5 stars

KING’S X review series:

Part 1 – Out of the Silent Planet
Part 2 – Gretchen Goes to Nebraska
Part 3 – Kings of the Absurd (split bootleg with Faith No More)

REVIEW: King’s X – Kings of the Absurd (split bootleg with Faith No More)

Complete studio albums (and more!), part 3

KING’S X – Kings of the Absurd (split 1990 Metal Crash live bootleg with Faith No More)

Live bootlegs vary in quality, but usually have one thing in common: they are almost always interesting. Kings of the Absurd, a split live bootleg from Italy, raises a curious question.

Why put Faith No More and King’s X together on one CD?

No reason.

The King’s X set is from London at the Astoria; Faith No More’s from a festival set in Italy many months later. It’s an odd pairing, with no common musical denominator. If anything, both bands share critical acclaim, but that’s about it. Why are they together on one CD?

No reason!

Absolutely no reason.

The Faith No More portion of this CD will be reviewed at a later time, probably as part of a Faith No More review series. For now we’ll just examine the four songs presented by King’s X, which, believe me, are enough to melt your face off without the help of Mike Patton and co. I found this CD in the racks of the used CD store in which I started working, in early 1995. Loving both bands, and stickered at just $11.99, this was an easy winner once you figured in my staff discount. I was just lucky to have snagged it before Thomas, also a massive Faith No More and King’s X fan.

“What is This?” is the only song lifted from their debut album Out of the Silent Planet. The original set was 10 songs, and this was the second, but it works as an opener as well. The heavy groove and the slick backing vocals of Ty Tabor and Jerry Gaskill are intact. Doug is more impassioned live than on album, which is the way it is with any good soul singer. Doug’s take on “What is This?” is very different from the album; he just lets the vocal come out as it does. Even on this crappy sounding CD, you can hear that the bass is hella-heavy, and that Jerry Gaskill is one of the most underrated drummers you will ever lay ears on.

Doug addresses the crowd between songs. “We’re going to try to do almost everything that we know tonight for you,” he teases, with no idea that these words would end up on a live bootleg with only four songs! Next (and the next song played that night) is “Out of the Silent Planet” from their then-current Gretchen Goes to Nebraska album. The complexity of the backing vocals doesn’t seem to present them a problem. It’s clear that this is one hell of a trio, as if you were in any doubt. The CD doesn’t have “Sometimes”, the next song played, but instead goes to “Summerland”, also from Gretchen. The poor sound hampers the song slightly, since it’s lighter and doesn’t slam as hard as the others. Doug is again outstanding, not only one of the greatest singers in rock but also a top notch bassist. “Fall On Me” (Gretchen) ends this short set. It was a great song on album, but live it’s just as amazing. Doug’s lungs sound as if diesel-powered.

The fact that King’s X only got tacked onto the end of a Faith No More bootleg CD is sadly not unexpected. They got boned by the music business, so why not by bootleggers too? The whole set is out there, and it sounds like an amazing show. Just check out this article and the comments section, over at our friends Every Record Tells a Story. A few readers were there that night.

You gotta give King’s X a 5/5 stars for a set this hot, but Metal Crash get 0/5 stars for the CD

KING’S X review series:

Part 1 – Out of the Silent Planet

Part 2 – Gretchen Goes to Nebraska

REVIEW: King’s X – Gretchen Goes to Nebraska (1989)

Complete studio albums, part 2

KING’S X – Gretchen Goes to Nebraska (1989 Atlantic)

Only a year — one measly year! — after debuting with one of the most dearly beloved first albums in memory, King’s X summoned the muse for a second time. They went back into the studio with Sam Taylor to repeat the magic. Repeat it they did, with their original blend of influences and talents, but without backing off one inch in compromise. They did make a couple corny but cool music videos, although the rarity of their airplay must have frustrated everyone involved.

“Over My Head” surely made the band look and sound cool. Their souls-meets-metal-meets whatever they want vibe is concisely summed up in under five minutes. “Grandma used to sing, grandma used to sing, every night when she was prayin'” says Doug, opening up old wounds that he would still be singing about for years. But it’s not dark; instead, the music is as uplifting as a church choir. But only if the church band featured Jimi Hendrix and the Isley Brothers.

Production is improved on Gretchen, and diversity has expanded once again. “Out of the Silent Planet” (the title track for the last album!) opens with sitar, but before too long a very Rush-like riff is enveloped by the lush psychedelic harmony vocals that Doug, Ty and Jerry create so naturally. Clearly the band did not take summer holidays that year because the growth is audible. Layers of guitars, sitars and unknown sounds create a swirl of purple haze. And listen to Doug’s chiming bass on the outro. What’s that you hear? Yeah, it sounds like the bass outro to “Jeremy” to me, too. Jeff Ament of Pearl Jam once said that “King’s X invented grunge”. I don’t think that’s true although it probably indicates that some smart guys in Seattle had good taste in music. I think Doug Pinnick invented the way that he and Ament play bass. If you hear Pearl Jam occasionally in King’s X, I think that’s the part that was tapped by Jeff Ament via Doug Pinnick.

Gretchen may be challenging like Silent Planet was, but King’s X try to make it easy for you to climb aboard the train. The light melodic picking in “Summerland” sound enticing so just come on in. Doug’s soulful wailing brings the clouds but Ty’s harmonies blow ’em back away. “Summerland” is a rock triumph, possessing drama with melody and integrity in a flawless mix. Back to church again on “Everybody Knows a Little Bit of Something” — but only briefly as we are now on funky ground. Accelerated for action, “Everybody Knows a Little Bit of Something” is a pulse-pounder not to be missed. King’s X can do no wrong, especially when combining disparate elements in new ways. Another side of King’s X is the acoustic one often visited by Ty Tabor, and that’s “The Difference”. The setting feels like a chilly fall day but King’s X paint pictures that allow you to see your own images. That’s the beauty of the music.

“I’ll Never be the Same” is more familiar King’s X territory. Never keeping it simple, never making it inaccessible must have been the motto. Their pool of influences seems to come out slightly different each time. Church organ (by Sam Taylor) makes its debut on “Mission”, an appropriate place for it, but that’s a bluff. “Mission” is actually a metallic assault on televangelists. “What is the mission of the preacher man?” asks Doug in an impassioned wail. “Some are true, Some do lie,” he warns. “Fall on Me” will then take your head off with some of the rockingest King’s X on the album. If a record label was looking for an accessible single, here it is. I guess this band really was just too smart for radio, like with the cosmic “Pleiades”.

Far off in the field I see a castle,
Today the people gather at the pole,
He tried to tell us all the world was spherical,
They burned his body but not his soul.

Keep in mind this is a band that is often lumped in with Christian rock! But what about the riff? Imagine the love child of Ritchie Blackmore and Jimmy Page. They had a baby and named it “Pleiades”.

Pinnick brings the soul back on “Don’t Believe It (Easier Said than Done)”. “This is not the end of the road,” he sings and he’s right — even though it is track 10, it’s not the end. King’s X beefed up Gretchen with 12 tracks, a rare bounty in 1989. But this was not a normal band. These was an inspired trio with thoughts and feelings to get off their collective chests. “Send a Message” keeps the pace upbeat but not straight; there have to be some twists and turns. Ty then takes the final track with “The Burning Down” and a mellow ballad. Floyd meets Rush meets King’s X, and it’s over.

The first two King’s X albums boasted rich and impressive album art. Gretchen is the best of the pair. Now that’s an album cover; the LP at least anyway. On CD it’s much harder to appreciate. No matter since it’s the music that counts. It’s rare for a band to grow from an incredible album like Silent Planet to something even bigger like Gretchen. That’s exactly what King’s X did, even though they did it in obscurity.

5/5 stars

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Reviews

REVIEW: King’s X – Please Come Home…Mr. Bulbous (2000)

REVIEW: PoundHound – Massive Grooves from the Electric Church of Psychofunkadelic Grungelism Rock Music (1998)

REVIEW: King’s X – Tape Head (1998)

REVIEW: King’s X – Best of King’s X (1997)

REVIEW: King’s X – Ear Candy (1996)

REVIEW: King’s X – King’s X (1992)

REVIEW: King’s X – “Junior’s Gone Wild” (1991)

REVIEW: King’s X – Faith Hope Love (1990)

REVIEW: King’s X – Kings of the Absurd (split bootleg with Faith No More)

REVIEW: King’s X – Gretchen Goes to Nebraska (1989)

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