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.
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.
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 – 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.
Join us for a serious look at everyKing’s X studio album!…and more.
KING’X – Out of the Silent Planet(1988 Atlantic)
The Texas Trio, the soul-bringers of progressive rock…call ’em what you want (I just did, I made those two titles up), King’s X are too important for you to ignore any longer. If you have been aboard the King’s X train already, then you know what I am about to tell you. If not, then realize that this band has been tragically ignored for aeons. Since 1983 in fact, as Sneak Preview, a glammy rock band who released one record before changing direction and name to King’s X. Even though Sneak Preview were certainly not hinting that there was more beneath the surface than just some good sounding rock and roll, it was obvious that they had the ability to write and to play. They made a few music videos, and “Linda” depicts them delivering hooks more typical of Bon Jovi or Van Hagar.
Supposedly, the band were not happy with the way the Sneak Preview album turned out. Of 1000 copies made, half were reportedly destroyed on purpose. Today copies sell for over $200.
Newly christened as King’s X, the band and producer/manager Sam Taylor went into the studio for Megaforce, a division of Atlantic, the label that launched Led Zeppelin. They emerged with one of the most startling and important debut albums of the 1980’s, Out of the Silent Planet. Starkly original and different, King’s X took the critics by storm. If only the record buying masses followed their lead.
According to esteemed scholar and Sausagefester Scottie Geffros, “From Out of the Silent Planet right up to Tape Head (1998), there is so much good stuff that the world in general should be embarrassed that ‘music fans’ never caught on to the greatness that is King’s X.” Adds fellow ‘Fester Johnny Cheddar, “I remember the first time listening to Out of the Silent Planet with Dr. Dave…we had been on a music buying mission, and he found an elusive vinyl copy; going cheap if I recall. It was a hard album to come by in those days. I was amazed to hear such a heavy riffy metal sound, but without the sinister vibe that goes with it.”
Starting with a dramatic space rock intro, “In the New Age” soon introduces the core King’s X sound: The soul, the dual vocal talents of Doug Pinnick and Ty Tabor, and their unique cross of influences. Ty and Doug have voices on opposite sides of the rock spectrum. Ty sings high and clean with a hint of Lennon, and Doug goes deep to the howling limits of his soul. Their trio format, with Jerry Gaskill (another talented singer in his own right) on the drums still allowed them to create expansive rock. They were not writing anything simple or pandering anymore; “In the New Age” boasts daring changes and a progressive bent that major labels weren’t usually hawking.
The central song might be the ballad “Goldilox”. On this track, the band have married a knack for a good pop song without compromising their integrity. “Golidlox” is a spring-like, bright song of hope. Doug Pinnick has a voice to be envied by anyone, with power and the ability to evoke the classic soul singers of an era gone by. The other two back him to form a lush curtain of slightly psychedelic harmonies.
“Power of Love” has a pop rock chorus, but punched up by the hard hitting band. Vocally, this is a soul anthem. Musically, it’s anthemic rock and roll, good for head-banging or banana-dancing. It’s up to you — and that’s the “Power of Love”! Although hard rock songs not unlike this were getting played on the radio, King’s X were probably too smart for radio. “Power of Love” melds seamlessly into “Wonder”, a song about divisions between us. “There’s a wall between us, a partition of sorts.” Yup, too smart for radio. Chunky like good peanut butter, and still fresh today, “Wonder” is indeed still a wonder. “This is church, this is state, rock and roll, Amazing Grace.” Then, “Should I go to the front, should I go to the back? Should I just pray or should I attack?” Considering it’s Doug singing (Doug is black), I wonder if some folks of limited intelligence might have found those lyrics just a little scary? This is some powerful shit.
Doug sounds wracked with pain on “Sometimes”, again tormented by the world he sees around him. As King’s X progressed, so too would Doug’s subject matter and way of approaching it. In 1988 he was deeply religious. “I stand here waiting for new Jerusalem, I know it’s greater than the world outside.” The pain subsides on “King”, which is an incredible high water mark of songwriting…and it’s on a debut album. Consider that for just a moment. Again Doug is using Biblical imagery in his words, but King’s X did not seem to preach. Even if some were starting to suspect that the titular “King” was Jesus Christ himself, hey look an awesome guitar solo!
The rumblin’ bass of Pinnick shakes your teeth on “What is This?” Heavy and melancholy until the chorus kicks in, “What is This?” nails it again. “Far, Far Away” ceases the slamming temporarily, for some 60’s textures and dreamy Van Halen-esque chops. “Shot of Love” has a slight but noticeable jangle to its marching riffage. Out of the Silent Planet boasted numerous styles of rock on one album but also usually within a single song too. “Shot of Love” recalls gospel, marches, Queen, Judas Priest and Supertramp. Finally, “Visions” is heavy on riffage, combined with heavenly choirs of vocals. Sabbathy riff changes, Motorhead tempos, Eddie Van-shred, and Beach Boys harmonies. Put that in your pipe and smoke it.
1988 came and went, with King’s X winding up on many critics’ top 10 lists. As luck or perhaps just taste would have it, that did not translate into sales. But in 1988 that didn’t mean the end. That just meant you go back into the studio and make another album. A better album.
Second review from Mike and Aaron Go to Toronto…Again! I paid $2.99 for this CD at Sonic Boom. A steal.
PLATYPUS – Ice Cycles (2000 InsideOut)
Platypus are: Ty Tabor – Guitars & vocals (King’s X). John Myung – Bass (Dream Theater). Derek Sherinian – Keys (Dream Theater, Alice Cooper, Kiss). Rod Morgenstein – Drums (Dixie Dregs, Winger).
From the information above, you already know several things: 1. Platypus is a supergroup. 2. This is going to have plenty of incendiary playing on it. 3. It’s gonna be progressive. Much like their first album (this is their second), it’s also gonna be fun!
If you’re a fan of any of these guys, you will love to hear them in this band’s context. There are plenty of King’s X-isms, but the personalities of the players have their own influences. Nobody plays drums like Rod Morgenstein, and I always enjoy the chance to hear him work.
The opening track, “Oh God” is quite heavy, with quieter keyboard moments. The track has some serious weight to it. Ty of course is a melodic singer, so that balances it. It’s just one of several standout tracks. “Better Left Unsaid” has a pleasant aura, similar to Faith Hope Love-era King’s X, but with Sherinian’s keyboards lending a completely different sound. Myung doesn’t play bass like Dug Pinnick does, but he does create a thick sound. Morgenstein’s drums have marching band precision.
The heavy melody-driven “The Tower” really gets the engine running during the chorus. The verses lack a bit, but that chorus section is furious, as is the guitar solo. The piano tinkle of “Cry” has a moment that is playfully lifted from Alice Cooper’s “I Love the Dead”, but the chorus is like Alice In Chains! This is a complex track, not instantly likable. Give it some time to sink in. Morgenstein, once again, leaves jaws on the floor.
My favourite tracks are two: the brief “I Need You”, which has the lush Tabor vocals that we know and love. This track is probably the most like King’s X, coincidentally. Then there’s the smoking hot “25” with its Dream Theater keys and Zeppelin guitars. There’s also a Rush riff in there somewhere. This is one of only two instrumentals on the album, but it sure is a corker! Just stunning.
The final track can only be called an epic. “Partial to the Bean (A Tragic American Quintology)” is a instrumental that goes all over the board, in seven parts. If you’ve heard instrumental epics by these players before then I’m sure you know what you’re up against. A challenging but rewarding listen.
That can be said for the album in general. It’s a rewarding listen that will, at times, challenge you. I like that.
In Part 117, we talked about promo CDs: How to identify them, what they were, what they’re worth. A short while ago, Statham and I were having a conversation about promo discs. The conversation began in regards to one of my treasured rarities, a King’s X promo CD for their 1994 single, “Pillow”, from the Dogman CD.
Even though eBay (supposedly) have strict policies against selling promo discs, I just found one as I was writing this, identical to mine, on sale for $46.99 USD. It even says “Promo Copy – Not For Sale” in clear writing on the back cover, in the eBay photo! Somebody at eBay is asleep at the wheel.
I got mine for free, a decade ago!
This one found its way into our warehouse, probably via a liquidation. The warehouse manager knew we couldn’t sell it, not with that big inscription on the back, so he gave it to me, knowing I was a huge fan. As I explained to Statham:
LeBrain: We weren’t legally allowed to sell promos, at least ones that were obviously identifiable as promos, in the store. We’d been caught once when one hit the shelves .Even if I bought this CD from you for $5, I technically couldn’t sell it in store. We could have asked $20 for it easily, because of the unreleased tracks. Those weren’t on anything else.
Statham: So even on the dark days, the ones you HATED about being there, there were then moments like your getting this CD that made it OK again!
LeBrain:Yes! Although I had to keep them secret…Our warehouse manager would slide them my way, on the condition that I don’t tell. Don’t know what they would have done with them otherwise, besides throw them out. That would have been a shame. [I think the statute of limitations has expired on my promise not to tell!] We paid money for these promos though, we got nothing for free. Everything we sold was purchased from somebody else, be it a wholesaler or an individual.
Statham:Right, but all of that is pre-killed by the writing all over the promos prohibiting their sale. So there never was a [legal] leg to stand on, with those. But nobody ever reads those warnings anymore. The Interpol warning at the start of a DVD? Just something else to skip. Part of the scenery. Surely we can ignore that, right?
LeBrain: Yeah exactly. Every other store in town had promos on their shelves too. And they weren’t as discerning as we were, they’d sell anything. [But] you’re right, we didn’t have a leg to stand on. I guess in the long run it meant that I could get stuff like this for free.
Statham: Even as recently as last year, I bought a promo single from there [LeBrain’s old workplace]. So apparently things still slip through the cracks!
LeBrain:I’m sure they do. After all, it was over 10 years ago that we received a warning about selling promos. I don’t know who tattled on us, but it always struck me as unfair. We PAID for those promos. We got NOTHING for free! And I would never buy or sell a promo in the store that didn’t have something worthwhile on it, like bonus tracks of some kind. It had to have some kind of value.
And so it goes. I have a lot of promo discs from those days, stuff that you technically couldn’t buy in stores, stuff that guys at record shows routinely ask $20 for. eBay prices? Double that. Some of them are worthless, one track promo singles with no cover and no real value. Others have exclusive live tracks, like this King’s X single we’re about to discuss.
KING’S X – “Pillow” (promotional CD single, 1994 WEA)
“Pillow” was released as a single in mid-1994, and promptly went nowhere. That’s too bad, as it’s a great song, heavy and slow, fitting right in with the grunge movement that was still dominating the charts. King’s X trademark harmony vocals by Ty Tabor can be heard during the chorus, under Doug Pinnick’s soulful lead. Doug’s 8-string bass chimes while drummer Jerry Gaskill sets the groove. This track, one of the standouts from the Dogman album, simply crushes.
The two B-sides are live, recorded in Dallas on May 8, 1994. “Shoes” is another great Dogman track. What is especially cool is how great King’s X harmonies sound live! This track proves they have the goods, but the Texas crowd is more than happy to take over the vocal chores. They clearly knew the new songs backwards and forwards.
The second B-side is the complex “We Were Born To Be Loved” from the landmark Faith Hope Love album. “I like a crowd that makes a lot of noise,” says Doug, before the band tear into the intricate rhythms and harmonies involved with this rocker. It’s another Doug lead vocal, with Ty and Jerry on the harmonies. Knowing how great King’s X are, I’m sure this truly is live — no backing tapes or overdubs.
There’s not much in the way of artwork; just a sticker on the front of the case and a pretty plain white back cover. Stickers don’t age too well, as the gooey sticky stuff starts to seep through the paper. Plus if you crack that front cover, you’re screwed.
Since this single was released, both these recordings have seen the light of day on an album, called Live & Live Some More, from 2007. While that sort of destroys the collector’s value for a single such as this, it doesn’t change the fact that these songs are awesome!
Music fans love lists. Maybe it’s the Ten Best Bass Lines of the 1990’s or a list of the songs you wish you lost your virginity to. I have always been a lists guy as the whole Sausagefest Top 100 thing would attest to. So here is yet another list. The albums listed below are not my favorite albums of all time, even though many of my favorites are included. The point of this list is to possibly introduce to, or maybe even remind, this blog’s readers of 30 albums that I think need to be heard. Maybe an album that in my opinion was under-appreciated. Perhaps even an album that inspired me in some way. Anyways, here are 30 albums that Uncle Meat wants you to visit … or re-visit. They are in alphabetical by album title. Enjoy
A EULOGY FOR THE DAMNED – ORANGE GOBLIN (2012)
I could have easily listed several other Orange Goblin albums here, but their latest album is an absolutely killer album. Almost fusing some Black Crowes into their brand of Metal, these British stoner-rockers put out maybe the best Metal album of 2012. And considering that there are only 3 albums on this whole list that were released before the year 2000, it feels good to actually get some new content in here. The album ends with the title track, which almost plays out like its own Rock N’ Roll Western. The band finally tours Canada for the first time coming up in spring of 2013. As the late Billy Red Lyons used to say, “Don’t ya dare miss it!”
ACT III – DEATH ANGEL (1990)
Death Angel’s first two albums are pretty sloppy, sound-wise and in song structure. Some very heavy moments, but at times it just sounds annoying. On their third release, Max Norman (Megadeth) got his hands on them and it resulted in a polished sound and the best album of their career. Gone were the high-pitched shrieks of singer Mark Osegueda that littered their first two records. It really does seem that the band simply matured. One of the best Metal albums of the 90’s indeed. Definitely among the most progressive metal albums I can think of. A must-have album for every true Metal fan.
ARGUS – WISHBONE ASH (1972)
It is fair to say that Iron Maiden and Thin Lizzy would never have the musical identity they have, if it wasn’t for Wishbone Ash. Innovators in twin- lead guitar harmonization, this band never really got its due. Interestingly enough, the sound engineer on this record is none other than Martin Birch. Coincidence? Meat thinks not. I remember this album sitting in front of my Dad’s stereo for years when I was very young, and then seeing Star Wars and thinking that Darth Vader looked a lot like the guy on the cover of Argus. Check this album out and discover a part of where it all came from. When you listen to the beginning of the song-clip included here, “Throw Down the Sword”, think “To Live is to Die” by Metallica. Sounds like Lars and the boys were paying attention as well.
ARGYBARGY – SQUEEZE (1980)
Think The Beatles meets The Clash. The first two songs on this album are both stellar pop moments. The melodies are McArtney-esque, and that is truly saying something. “Pulling Mussels From a Shell” is pure song-writing genius. “Another Nail in my Heart” is one of my favorite songs of all time. Check out the incredible guitar solo in this song. Funny enough, like the 2 previous albums listed, this was the band’s third album. Maybe a trend is happening here.
BIG WORLD – JOE JACKSON (1986)
For Joe Jackson’s 8th release, he decided to go all out. An original studio album, recorded live in front of a New York City audience who were told to be silent throughout. Capturing the excitement and spontaneity of a live performance, in which absolutely no post-recording mixing or overdubbing was done, this record is ambitious as it sounds. It is all here. You get Jazz, Pop, Punk and everything in between. Jackson possesses one of the classic all-time voices. When this double-album was released, it contained three sides of music, leaving the fourth side blank. A landmark recording.
BLUE – JONI MITCHELL (1971)
This album came in at Number 30 on Rolling Stone’s Top 500 Albums of All-Time chart, the highest placing for any female artist. So why is this album on this list? Honestly because I still believe this album is truly under-appreciated. Too many people do not realize how great this album is. Simply, some of the best lyrics of all time are here. If this album was any more personal it would contain a video of Joni Mitchell going to the bathroom. Listen to this front to back when you want to feel like someone understands your pain. A truly cathartic experience, when she played this album originally to Kris Kristofferson he was reported to respond, “Joni… You really should keep some of that to yourself”. I am glad she didn’t take heed of his advice.
DOGMAN – KING’S X (1994)
It seems as soon as Brendan O’Brien (Pearl Jam/STP/Black Crowes) got his hands on King’s X, the band’s sound fattened up. Thick, lush and pounding would be a good overall description of the sound on this album. The songs are great too. I saw King’s X at the legendary El Mocambo in Toronto and was standing literally beside Dimebag Darrell and the rest of Pantera. While I love almost every song on this album, the title track is an absolute killer. When the first Woodstock concert in 25 years began, it was King’s X who took the stage to kick it all off. Check out this live performance from the old Jon Stewart show from back in the day and crank it. One of my favorite youtube videos ever.
DUKE ELLINGTON & JOHN COLTRANE – DUKE ELLINGTON & JOHN COLTRANE (1962)
This might be my favorite jazz album of all time. Duke was 63 and Trane was 36 when this album was recorded. With a running time of 35:05 this album is short and oh so very sweet. Ellington’s “In a Sentimental Mood” starts this album off and it never lets up. “Big Nick” is just a wonderfully happy shuffle. True story: I once got so fed up with Metal that I became a Jazzatarian for a few months, listening to nothing but old school Jazz. I started with John Coltrane and went from there. I never did find a jazz artist after him that I enjoy more.
EL CORAZON – STEVE EARLE (1997)
Simply put, this album is easily in my Top 3 albums of all time, of any genre. True storytelling at its finest, El Corazon is a complete masterpiece. It seems that sobriety allowed Steve Earle to realize how great of a songwriter he really is and on this album he branches out and removes any constraints of style. Of all the 30 records included on this list, this is the one I am not asking you to check out, but I am TELLING you to check out. Comparing the laid-back intensity of “Christmas in Washington” to the sheer power of “Here I Am” truly makes you appreciate the diversity of this record. Steve Earle is THE man. A lifetime Bro-mance going on here.
HEAD HUNTERS – HERBIE HANCOCK (1973)
Quite possibly the greatest jazz fusion record ever recorded. This record is a funk buffet. Only 4 songs and all of them are great. The YouTube clip here of “Watermelon Man” is the shortest song on the album, and is as original as it is velvety-smooth. I find it hard not to do some sort of jig when this I hear this song. “Chameleon”, “Sly” and “Vein Melter”complete one of the most influential jazz albums of all time. Half of this album made 2012’s SausageFest countdown. I suspect the other half will not be far behind.
KING’S X – Gretchen Goes to Nebraska (1989 Atlantic)
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