King's X Albums (13)
What The Critics Say
Over the years, the majority of rock critics have not been big supporters of heavy metal. But there have been certain metal bands that critics have applauded and championed as "thinking man's metal," including Living Colour, Jane's Addiction, Rage Against the Machine, and Anthrax. King's X have also often been exalted by critics as "smart metal" because of their spiritual, contemplative, philosophical lyrics -- and that intellectual approach to metal (as well as hard rock and alternative rock) continues to work well for them on XV. Doug Pinnick, Ty Tabor, and Jerry Gaskill are as deep-thinking as ever on this 2008 release, but despite its intellect, XV is an easy album to absorb. In terms of melodies and hooks, XV goes for immediacy -- and some of the credit for that goes to veteran producer/engineer Michael Wagener, who King's X enlisted for this album. XV isn't the first time King's X have worked with Wagener; they also used him on 2005's Ogre Tones, and they obviously thought enough of Wagener to hire him a second time. Hooks, of course, are something Wagener knows a lot about; he worked with Ozzy Osbourne, Accept, Alice Cooper, Great White, Dokken, and many other headbangers in the 1980s -- and the hookiness that Wagener is known for prevails throughout XV. But that isn't to say that Wagener tries to turn King's X into Accept or Great White. A lot of the metal and hard rock that Wagener produced in the '80s was headbanger party music, and XV is hardly party music. Instead, tracks like "Broke," "Rocket Ship," "Alright," and "Pray" achieve musical immediacy without sacrificing the lyrical sophistication that King's X are known for. Some of the discs that King's X have provided in the 21st century have been uneven, but XV is among their most consistent and focused albums of the 2000s. ~ Alex Henderson, All Music Guide
What The Critics Say
Perhaps more than ever in their lengthy career, King's X have embraced their heavy metal roots on their 11th studio album, 2005's Ogre Tones. While the riffs are mighty and quite a few screamed vocals can be detected, the most telling sign of all is that the group enlisted renowned '80s metal producer Michael Wagener (who has worked with Accept, Metallica, Dokken, etc.) to oversee the sessions. Early in their career -- especially on albums like 1989's Gretchen Goes to Nebraska -- it appeared as though King's X were all about succinct and snappy songs. But as their career carried on, the group seemed to embrace its artier side, as new King's X releases needed several spins to fully register. This remains true with Ogre Tones. While there are a few catchy tunes -- especially the album opener, "Alone" -- for the most part, riffs 'n' ranting play a prominent role here. King's X have a lot on their mind about the current state of the world, and they certainly don't hold back -- letting it all spill out on tunes like "Freedom" and "Get Away." Additionally, not all of the tracks hit the mark, especially the lyrics to "Bebop" (which quotes the famous line from "Tutti Frutti" -- "a wop bop a lu bop a wop bam boo"). While it may not be Gretchen, Pt. 2, there are a few leftover elements from the past -- the Beatlesque vocal harmonies in the chorus of "Fly," and the long and winding Ty Tabor guitar solo in "Sooner or Later" (which brings to mind "The Burning Down" from the aforementioned Gretchen). ~ Greg Prato, All Music Guide
What The Critics Say
Having toured on a consistent basis since the release of their 1988 debut, Out of the Silent Planet, you'd think that King's X would have issued a live set some time ago. But for whatever reason, the Texas trio didn't get around to unleashing a live set until the 2004 double-disc Live All Over the Place. Instead of issuing a complete show from one of their recent tours (they remain quite a force to be reckoned with live, by the way), the chaps have opted to assemble a compilation of performances from various tours. While this technique has often resulted in flat albums for bands in the past, it actually works out well here, as it's constructed similarly to the set list utilized during the group's tour in support of Black Like Sunday. For the most part, it can be split into three sections -- starting off "electric," going into an acoustic set in the middle, and then wrapping things up with a return to amplification. Most of the expected King's X classics are included here -- "Dogman," "Over My Head" (included as both electric and acoustic versions), "Summerland," and the jamfest "Moan Jam." But it's the underrated album cuts that put this set over the top, especially a gorgeous reading of "The Difference," "Believe," "Talk to You," and another jam-heavy track, "Visions." Also, kudos to King's X for not overdubbing this set to death -- especially with the majority of rock bands going Pro Tools crazy during the early 21st century. ~ Greg Prato, All Music Guide
'Black Like Sunday'
Release Date 5/19/2003
Tracks 14
Label Inside Out
See Album Tracklist and Review
What The Critics Say
Longtime King's X fans can attest, quite a few tracks from early in the trio's career had gone unreleased. With many of the songs never properly recorded (only existing as demos or live bootlegs), these early tracks were in danger of going forever unnoticed, until the boys decided to do something about it. Entering the studio in 2002, the band finally recorded 14 of these rare compositions, resulting in the release of Black Like Sunday a year later. The first release by the group via its own Brop! label (distributed by Metal Blade), Black Like Sunday unsurprisingly sounds quite a lot like the group's early works (the straight-ahead rockers Out of the Silent Planet and Gretchen Goes to Nebraska), before the group began stretching out a bit more on latter releases. Standouts include such meaty riff rockers as the title track, "Finished," and "Bad Luck," as well as the more melodic tunes "Danger Zone" and "Working Man." Also included as "CD Rom Extras" are lyrics, pictures, a screensaver, and even a video of the band performing "Dreams" from back in 1986. [Note: the jumbled track listing on the back of the CD cover does not match the actual sequence of songs.] ~ Greg Prato, All Music Guide
What The Critics Say
After the relatively eccentric Please Come Home...Mr. Bulbous, King's X returned with the most confidently organic and groove-based record of their career. Manic Moonlight, the Texas trio's ninth album, is the sound of a band who has vented their demons and come to terms with themselves. This can be credited to several factors: for one, the band has been creating music in a low-pressure environment since finding sanctuary in the supportive indie label Metal Blade in 1998 (following nearly a decade-long sentence in major-label hell). For another, Ty Tabor and Doug Pinnick have both satisfied some of their extracurricular creative impulses with solo albums and other projects, which has contributed to the band's freshness and newfound ability to write collaboratively (which they have done since the wonderfully cathartic Tape Head album in 1998). On Manic Moonlight, the group's musical and lyrical themes are simple ones, developed with confidence and conviction. The album opener, "Believe," says it all; over an understated, soulful groove that would make Sly Stone proud, singer Pinnick advises, simply, "in yourself believe, it's alright." No longer grappling so much with issues of God and spiritual faith (Pinnick has publicly announced his abandonment of Christianity), the band now finds strength in themselves and address the day-to-day struggles of personal longing, love, and getting older. There is a Zen-like acceptance of all things, good and bad, running through the album; in the sublime "False Alarm," the singer doesn't sound bitter about his failed relationship, but reckons, "I guess it was a false alarm." Meanwhile, on the dark, creeping "Static," existential confusion is summed up in the simple mantra, "I don't wanna do this anymore. I really wanna do it." Musically, King's X has never sounded earthier; much of the band's psychedelic leanings, exotic instrumentation, and metallic aggression are stripped away, leaving the bare bones of the band itself, minimally produced, but playing the hell out of the material. The ragged funk verse of "Vegetable" features Ty Tabor's most drily unadorned guitar tone yet, while Pinnick's bass sounds like it's pumping out of a blown speaker. And ironically, the trio's first-time use of electronic loops also enhances the organic feel of the album; Tabor's programming adds a warmly textured, percussive nuance in the record (although unfortunately, nearly every song on the disc starts the same way -- with the unaccompanied drum machine -- but that's a minor point). Manic Moonlight finds King's X getting back to basics while continuing to push outward and experiment; it is a glowing testament to the group's long-standing tenacity, integrity, and unshakable musical identity. Fans will be grateful for yet another great record from the uncompromising and fiercely individual band. ~ Andy Hinds, All Music Guide
'Please Come Home...Mr. Bulbous'
Release Date 5/17/2000
Tracks 10
Label Metal Blade
See Album Tracklist and Review
What The Critics Say
By switching from Atlantic Records to the smaller Metal Blade label in 1998 for their Tapehead release, King's X was finally able to call their own musical shots without having to worry about coming up with the "big crossover hit." Their second release for their new label (and eighth overall), Please Come Home...Mr. Bulbous, shows that this veteran band still has plenty of gas left in the tank. If you're a fan of the band's heavier and slightly darker direction of recent times, then Mr. Bulbous is for you. Although it starts off with one of their weaker album openers, "Fish Bowl Man" (especially when compared to such stellar past opening cuts as "We Are Finding Who We Are," "Dogman," and "Train"), King's X quickly picks things up where they left off with such outstanding melodic heavies as "Julia," "She's Gone Away," and the mysteriously titled "Charlie Sheen." While most prog metal bands of the late '80s/early '90s have struggled with their musical direction by the dawn of the millennium, King's X remains true to their longtime vision with Please Come Home...Mr. Bulbous. ~ Greg Prato, All Music Guide
What The Critics Say
On their seventh studio album (and first for the Metal Blade label), King's X get back on the right track with Tape Head. Their previous release, 1996's Ear Candy, did indeed contain several superb tracks ("The Train," "Looking for Love," etc.), but was not consistently as great as such past classics Gretchen Goes to Nebraska and Dogman. Maybe their reinstated songwriting focus is due to the fact that both bassist/vocalist Doug Pinnick and guitarist/vocalist Ty Tabor took time off to work on solo projects prior to the album's recording. Other reasons for the album's success could have been that it was written and produced entirely by the band (without the aid of outsiders), and the majority of the album's tracks were a collaboration by all three members. With the exception of one track, the album is one long highlight -- tracks such as "Cupid," "Ocean," "Little Bit of Soul," and "Hate You" are all examples of King's X at the height of their powers. The only weak track on the album is its closer, "Walter Bela Farkas (Live Peace in New York)," which contains irritating screaming over a live band improvisation. Still, it doesn't prevent Tape Head from being one of King's X's finest, and one of the best hard rock releases of 1998. ~ Greg Prato, All Music Guide
What The Critics Say
Ear Candy is King's X most straight-forward album, lacking the art-rock tendencies of their earlier albums. What is left is a psychedelicized heavy metal, with swirling harmonies and guitar riffs. Although the album lacks a standout track on the level of "Over My Head," the songwriting maintains a consistently high level throughout the album. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
After taking a harder and more frequently metallic approach on its self-titled fourth album, King's X continued in that vein on its next project, Dogman. Through it all, the Christian headbangers remained very recognizable and continued to make recordings that were impressive, even if they did fall short of the glory of Gretchen Goes to Nebraska (which remained their best album). Showing an awareness of the mid-'90s alternative rock scene, guitarist Ty Tabor had grown increasingly aggressive -- and yet, brute force is hardly the only thing this album has to offer. King's X was still a band that thrived on harmonic nuances and benefited from the influence of the Beatles and progressive rock. And like before, the band addresses spiritual concerns without trying to force its beliefs on anyone. "Complain," "Don't Care," "Black the Sky," and other heavy yet melodic offerings speak of a search for spiritual fulfillment, but never does King's X point the finger at non-Christians. ~ Alex Henderson, All Music Guide
What The Critics Say
Having lost their way somewhat with the overtly commercial and carefree Faith Hope Love, King's X tried to regain lost momentum with their eponymous fourth release. The album explores the darker side of their songwriting with mixed results, often over-compensating for the cheerfulness of its predecessor at the expense of the courageous experimentation for which the band had become known. The unprecedented aggression in the opener "The World Around Me" illustrates the band taking stock of this new challenge and fighting back, while the first single, "Black Flag," clearly displays their fresh no-nonsense approach. The excellent "Prisoner" and "Lost in Germany" are also standouts, and despite its confusing lyrics, closer "Silent Wind" manages to put a positive spin on things. Other interesting moments include the wistful "Dream in My Life" and the somber "Ooh Song," which harkens back to days past with its prog rock feel and use of space. ~ Eduardo Rivadavia, All Music Guide
