Kings of Leon Albums (4)
What The Critics Say
With 2007's Because of the Times, Kings of Leon ventured out of the garage and into the arena. Tracks like "Black Thumbnail" and "Camaro" were bold, anthemic rock songs that built upon the barnyard stomp of Youth & Young Manhood, and Because of the Times topped the U.K. charts upon its debut, officially crowning the Kings as rock & roll royalty in the process. Only by the Night arrives one year later, marking the band's fastest turnaround between albums; it also furthers the epic sound that Times introduced, flaunting a set of ringing guitars and radio-ready melodies that push the band away from the Allman Brothers' camp. If anything, much of this album takes up residence in U2's cathedral, particularly during the one-two-three punch of "Sex on Fire," "Use Somebody," and "Manhattan." Caleb Followill doesn't adopt Bono's political agenda, but the same sort of uplift exists throughout the record, which -- during its best moments -- rivals Aha Shake Heartbreak as the band's best work to date. Like many big-sounding albums, Only by the Night is a polarizing piece of work, one that targets new fans at the expense of those who wish Kings of Leon had never shaved their beards or discovered post-'70s rock. To rope in the skeptics, the strongest tracks are pushed toward the album's first half. "Crawl" flexes the band's rock & roll muscle, melding Led Zeppelin-styled crunch with the experimental guitar buzz of U2's Achtung Baby, while "Sex on Fire" makes up for its goofy title with a meteoric chorus tailored to Caleb's voice. (He sounds fantastic throughout the record, even if his vocals continue to be garbled by some untraceable accent, as if he's auditioning for the Jodie Foster role in a Broadway adaptation of Nell.) Rounding out the hit-filled segment are "Use Somebody" and "Manhattan," where Matthew Followill cloaks his guitar riffs in reverb and bassist Jared Followill takes the spotlight sporadically, popping up for quick melodic fills before ducking back into the mix. While past Kings of Leon albums concerned themselves with alcohol, women, and other hedonistic themes, those two songs are nothing but pop/rock grandeur, and Caleb howls their hopeful lyrics like Bono's American-born cousin. Only by the Night focuses on textures and experimentation during the album's latter half, but most songs still deliver some sort of Technicolor melody, from "Notion" (one of the only tracks featuring piano) to the unexpected chorus of "Be Somebody." Taken as a whole, Only by the Night targets the audience that approved Kings of Leon's sonic shift in 2007, leaving older fans free to damn these tracks for their consciously grand approach. Yes, the album is indebted to U2. Yes, it briefly veers close to the same territory occupied by Meat Loaf and Journey, if only in the unchecked passion of Caleb's voice. But Only by the Night is still a potent Kings of Leon record, and the guys have never defined their ambition so clearly before. ~ Andrew Leahey, All Music Guide
What The Critics Say
Leaning even further toward a kind of post-punk meets prog rock aesthetic than on their first two albums, Nashville-based Kings of Leon have crafted a darker, less pop-oriented and somewhat cerebral affair with 2007's Because of the Times. In fact, if Alan Parsons lent the Allman Brothers his spaceship, Because of the Times would be the resulting space odyssey. While that leads to some intriguing moments, the general move away from strong, hooky choruses to a focus on expansive, intricate and percussive arrangements may challenge casual and even some longtime fans of the band's catchy, Southern garage rock twang. That said, cuts like the atmospheric and brooding lead-off track "Knocked Up" showcase lead-singer Caleb Followill's growing maturity as a singer and lyricist and bring to mind favorable comparisons to such artists as Neil Young and Bruce Springsteen. Similarly, the moody single "On Call" as well as the roiling, dramatic "McFearless," while not immediately hummable, do sink into your memory revealing layers of melody and emotion on repeated listens. ~ Matt Collar, All Music Guide
'Aha Shake Heartbreak'
Release Date 11/1/2004
Tracks 12
Label Hand Me Down
See Album Tracklist and Review
What The Critics Say
The mysterious Followill family returns to the front porch/garage on the Kings of Leon's engaging sophomore effort, Aha Shake Heartbreak. On Youth & Young Manhood, the Kings gave Southern rock a swift kick in the rear, sounding like Lynyrd Skynyrd posing as a bunch of N.Y.U. film students (or vice versa). For their latest, the Nashville quartet raises a flag that's equal parts Confederate and Union Jack. Their success in the U.K. is understandable, as Caleb Followill's lazy drawl sounds like a cross between Bon Scott, Ray Davies, and Eddie Money with a slight Jamaican accent, but it's their seamless and agreeable blend of rock & roll, country, and Roky Erickson-style psychedelia, matched with a keen lyrical wit, that makes them fascinating to both sides of the pond. On the twenty-something barfly opener "Slow Night, So Long," Caleb laments/celebrates the soulless dance of the one-night stand ("She's opened up just like she really knows me/I hate her face, but enjoy the company") like a true student of outlaw country. It's a theme that runs rampant throughout Heartbreak, and whether it's set against a swamp-sick boogie ("Pistol of Fire") or emitted through a lonesome yodel ("Day Old Blues"), it resonates as clear and cool as the opening notes of a Creedence Clearwater Revival tune. ~ James Christopher Monger, All Music Guide
What The Critics Say
The Kings of Leon are the sons of a preacher and their debut album, Youth and Young Manhood, is their hymnal of rock & roll redemption. The brothers (and one cousin) Followill work with producer Ethan Johns for a rattling country-rock hootenanny, basically reviving the deep-fried Southern rock found on the band's first EP, Holy Roller Novocaine. Four of the five cuts featured in that set are included for a second time and they're nicely seeded in all their honky tonk rowdiness among the band's seven brand new tracks. Launching things off is the swanky "Red Morning Light." Guitarist Matthew Followill immediately establishes himself as a skilled musician, complementing his brother Caleb's coarse-grained drawl. "Joe's Head" is the closest the band comes to sounding like Tom Petty and Gregg Allman. "Spiral Staircase" finds Caleb causing trouble Bon Scott-style, while the band hints at some shenanigan-like behavior with some psychedelic pop. Youth and Young Manhood isn't sonically adventurous, but in the new-millennium pop realm, some greasy licks sure sound good. ~ MacKenzie Wilson, All Music Guide
