If you were to ask me to name a criminally underrated band, an artist that in an ideal world should’ve become a household name, I could give you a big list, but somewhere at the top of that list would be Texas 3-piece band King’s X.
Formed in Springfield, Missouri in 1979, the trio consisting of Doug Pinnick on vocals/bass, Ty Tabor on vocals/guitar and drummer Jerry Gaskill burst onto the rock scene in 1988 with their debut album ‘Out Of The Silent Planet’. Their heady mix of progressive rock with three-part vocal harmonies and clever arrangements was lauded by music critics and music lovers alike, they graced the cover of Kerrang! magazine and gained high profile tours with the likes of Cheap Trick, Robert Plant and Anthrax.
Their albums got stronger with each release, and with the advent of Grunge and their influence on the likes of Pearl Jam and Pantera, it seemed inevitable that success would be theirs. Yet even with high profile tours with the likes of Iron Maiden, AC/DC and Motley Crue, commercial success eluded them.
The excellent Cherry Red Records have stepped up to the task and cover their classic Atlantic period albums, with full sleeve artwork and extra bonus tracks.
With a mohawk-sporting singer who played a 12-string bass left-handed, bared a striking resemblance to Jimi Hendrix and had a gospel-tinged croon, King’s X were as far removed from the chart-bothering hair metal bands or the thrash heavyweights of the late 80’s, they stood out like a sore thumb and could not be pigeonholed.
With an album title taken from a CS Lewis book and lyrical themes of introspection and Christian beliefs ‘Out Of The Silent Planet’ was in a world of its own back in 1988. Complex arrangements, multi-layered Beatle-esque vocal harmonies, soulful lead vocals and a unique guitar tone laid the basis for their career and highlights such as the beautiful ‘Goldilox’, ‘King’ and ‘Shot Of Love’ remain firm fan favourites to this day. This led to the album being named ‘Album of the Year’ over at Kerrang! magazine.
The sophomore ‘Gretchen Goes To Nebraska’ was released in 1989. A concept album based on a short story written by drummer Jerry Gaskill, it is regarded by many as their defining album. The story follows a girl’s spiritual journey and all the obstacles and characters she encounters on her way to Nebraska.
The defining moment ‘Over My Head’ is a celebration of music, Doug welcoming all to the church of rock n’ roll with his soulful, gospel-tinged croon. The arpeggiated riff to beautiful ballad ‘Summerland’, a song full of whimsical mystery, Beatle-esque harmonies and an outstanding guitar solo, no rhythm guitar to fill the sound out, just the pulsing bass groove and the powerhouse beats.
The funereal ‘The Difference (in the Garden Of St Annes On The Hill)’ still sends shivers down my spine. About as ethereal and spiritual as music can get.
As every concept album should be ‘Gretchen..’ is a rapturous journey from start to finish. A musical journey that sucks you in, covering multiple moods and musical genres, yet always sounding like King’s X. An essential album in the history of rock let alone King’s X discography.
Even though it was their most commercially successful album, 1990’s ‘Faith Hope & Love’ is probably the weakest of the six on offer here. It was never going to be able to compete with its predecessor. While it contained some great tunes such as the killer rocker ‘We Were Born To Be Loved’ and the sublime Crowded House pop of ‘It’s Love’ and was as imaginative and ambitious as you came to expect from the band, it lacked the cohesion and direction of ‘Gretchen..’. In hindsight and with the musical tides turning, maybe the band were searching to find who they really were.
Their self-titled fourth album came out in 1992 and was the last to feature longtime producer Sam Taylor. ‘King’s X’ saw the band tighten things up songwriting-wise and things were getting a bit darker and heavier, maybe due to the rumblings in Seattle. The experimentation and the clever arrangements were back in force, the melodies on point and they had a newfound urgency and anger to their sound which was evident from the off on opener ‘The World Around Me’ and first single ‘Black Flag’.
The ambitious and clever ‘Chariot Song’ is like 10 songs in one and veers off on all sorts of tangents to itself with Queen-like reversed backing vocals.
The experimentation continued in the skulking ‘What I Know About Love’ and the beautiful ‘Dream In My Life’, a song that remains a career highlight. It is not average by any means.
1994 was a defining year for rock music. Alternative was mainstream and all the bands had to adapt to the musical and political climate. Music seemed more edgy, and it brought out the best in many bands, King’s X included.
‘Dogman’ is King’s X piece de resistance, their masterpiece if you like. From the massive riffage of the opening title track to the closing live in the studio version of Jimi Hendrix’ ‘Manic Depression’ it is an album of the time that stands the test of time itself. ‘Dogman’ is the sound of a band totally in tune with itself. Three men playing as one with years of experience, delivering one massive of act of defiance. With go-to Grunge producer Brendan O’Brien at the helm, King’s X sound pissed off, heavier and stripped back to a raw sounding live beast.
The powerful punch of ‘Complain’ hits right in the chest, Ty’s detuned guitar tone is sublime and the 3-part harmonies as beautiful as ever. That year they thrilled fans at Woodstock ‘94 and they played live in a tv studio to no audience when the LA riots were in full flow, that was what was going on in 1994.
The sublime ‘Flies And Blue Skies’ sends shivers down the spine and the band have never sounded as heavy as they do on ‘Black The Skies’. The raw anger and energy of the minute long ‘Go To Hell’ would never have worked on a King’s X album pre ‘94, but here it sounds just perfect.
This version adds live era versions of ‘Shoes’ and ‘We Were Born To Be Loved’, yet with the emphasis on groove and melody, bass that will rattle your bones and harmonies that will reach the depths of your soul, ‘Dogman’ set a high benchmark for all King’s X albums that would follow it.
The last of the Atlantic albums released in 1996 would mark the end of an era for the band and it’s a fitting benchmark. In complete contrast to ‘Dogman’, ‘Ear Candy’ draws on the more psychedelic influences of the band, here they tone down the heaviness and concentrate on a more commercial sound, veering on many songs into power pop territory.
While Ty took a back seat in the vocal department on ‘Dogman’, his lead vocals are more prolific on ‘Ear Candy’. From the psychedelic cover art, and the band members sporting short hair, it marked a change in direction. His 60’s influenced psychedelic pop songs like ‘Mississippi Moon’ and Jerry’s ‘American Cheese’ mark a nice direction for the band and album closer ‘Life Going By’ is filled with introspection and harmony as the band take a look deep inside their souls.
Fans who yearn for the King’s X of old are satisfied by the likes of ‘Looking For Love’ and ‘The Box’ is classic King’s X and has traits of the early albums, it remains a firm live favourite to this day.
While the addition of a few live tracks, alternate mixes and only one previously unreleased rarity (‘Freedom’) is not really much to attract hardcore fans into purchasing these albums again, ‘In The New Age’ is the perfect starting point for new or casual fans to find out what all the fuss was about and to have all of King’s X classic albums together in one nifty package. And while remastered versions of the albums and some extra updated interviews, notes or pictures would’ve been nice, this stunning collection of work is still an essential purchase in my book.
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Author: Ben Hughes
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