Customer Reviews

Black Like Sunday

5 star:		(26)
4 star:		(14)
3 star:		(8)
2 star:		(12)
1 star:		(12)

 

 

King's X. Either you "get" them, or you don't. Sad for you if you don't because this is the best band in the history of the world. These same three cats have been playing together since 1981 and, in fact, most of the songs from this new release were written and originally performed during the band's earliest days while they were known as The Edge and then as Sneak Preview. All songs were re-recorded with a modern edge between late 2002 and early 2003 though. These songs are amazing, especially "Two," "You're The Only One," "Black Like Sunday," and "Down." Another standout is "Johnny," always a cool song, this one joins the select group of ULTIMATE King's X songs in its current incarnation. Doug, Ty, and Jerry take a groovy little pop song written during the height of New Wave and turn it into a modern "Moanjam" with the extended jamming section that will appeal to jam-band fans, metalheads, and of course King's X followers. The cover art is the best since 1992's self-titled release, and it comes courtesy of a fan named Danny Wilson who won a contest ... It's about time this incredible band had cool cover art again! The whole package is great, with the booklet designed as a mini 2003 calendar complete with historical information about King's X, current tour dates, and more. This is also the band's first enhanced disc, including a video of the band performing the song "Dreams" live in 1986, right after the name change to King's X, plus a wealth of cool photos and complete lyrics to all 14 songs. Final notes on BLACK LIKE SUNDAY: the production is a real treat, the songs are great, Ty's guitar playing sounds fresh and inspired (among his best, especially on "Johnny"!), Doug's bass playing is the best in the business and his vocals are among the best in his career (and that is really saying something as Doug has the greatest voice in the history of music), and Jerry's drumming is as tight as ever and very creative. All the harmonies are tight and clean, too. Vocally, this is a truly classic King's X album. Some of the lyrics will seem strange and dated on the printed page, but if you put them in the context of three mature men taking songs they wrote when U2, Big Country, and The Police ruled the airwaves and revamping them for today, it all makes sense. This album will make you feel good in every way. If you are tired of today's boring, homogenized music "scene" or maybe haven't checked out a King's X album since you were in high school, give them another shot with BLACK LIKE SUNDAY. You can't go wrong here!

It's tough to seperate the good King's X albums from the bad ones, because fans of the band have such radically different views. Everyone pretty much loves "Gretchen...", but people were pretty much split on "...Bulbous." So someone who reads a good review of "Black Like Sunday" may not agree once they hear the album, and vice versa. So in an effort to clear it up, here's how I rate past King's X albums:

Loved (from best to merely adequate): Ear Candy, Gretchen, King's X, Dogman, Faith Hope Love, Tapehead, Out Of The Silent Planet.

HATED (From most depised to merely disliked): Please Come Home Mr. Bulbous, Manic Moonlight, Black Like Sunday.

In other words, King's X took a shockingly bad turn with Bulbous, and they've been struggling to recover ever since. They've made another step on the road to recovery, but they aren't there yet. I thought Ear Candy was their best work, but I can also understand why people like Gretchen so much. It's a great album. "Black Like Sunday" is missing all the things that made us love King's X in the first place. Gone are the stellar harmony vocals, the lightning guitar leads, the hooks that were original yet effective, and the lead vocal contributions from the other band members. This record is raw and unpolished (which might work for Alice in Chains, but not King's X), the music is uninspired, Doug Pinnick handles all lead vocal duties and most of the back-up, and while much of the music still has those original sounding hooks, they're just not as interesting as they used to be. I'm all for a band progressing and evolving, but that's not what King's X is doing. They're not picking up new "musical tools" to add to their bag. They're trading in their good tools for bad ones.

Texan trio King's X are one of the few bands whose albums I automatically buy whenever a new one is released, to date, I have never been disappointed. Each one has seen the band grow and evolve together in new and interesting directions. However, as much as it pains me to say it, their latest offering "Black Like Sunday" is a bit of a patchy, hit and miss affair.

In fairness, this album can't really be judged alongside the main body of the band's work because it contains recently recorded versions of songs that were all written some 20 years ago, before the band became successful. I have to say though, that you can tell. The standard of songwriting is not what we've come to know and love from the guys and, although there are occasional flashes of the band as we know them today, the material generally lacks the solidity and maturity of even their earliest studio work. As someone who loves the band for their thoughtful lyrics and their depth, this time warp back to 1986 and the "Whoa, yeah, I'm a rocker" style is a bit of a shocker.

As a nostalgia trip for the band and the fans who remember them prior to "Out of the Silent Planet", BLS may be great fun. However, it isn't going to win them any new friends in 2003 and is no more than an interesting curiosity for those who joined the King's X bandwagon in 1988. If you're a hard-core fan you'll buy it anyway, but I reckon you'll only listen to it a couple of times before retreating back to the safety of something more recent.

This is an interesting project for these guys. What they've essentially done is take songs from their pre-KX/Sneak Preview days and re-do them in the current context of the band. Its a risky endeavor primarily because when many of these songs were written, they were still learning how to be King's X. Twenty plus years of tightness and finesse and some more modern-sounding production won't do anything if the songs aren't good. And a cursory listen will reveal tunes like "Danger Zone" and "You're The Only One" to show a lyrical and musical naivete that will make some folks wince. That having been said, there are more diverse influences overtly on display here, like the ska-tinged "Dreams", the tribal drumming and eastern-sounding vocals on "Screamer", and the heavy-metal-country stomp of "I Won't Turn Back". Overall the musical vibe is very upbeat and most of the songs stand well on their own. Doug especially attacked a lot of these tunes with more gusto than I have heard in some time. His performance on "Working Man" and the gorgeous ballad "Down" make them candidates to become new King's X classics, while the title track and especially the ten-plus-minute jamfest "Johnny" are yet again excellent showcases for Ty's riffing and shredding. Also notable is that the re-recorded version of "Two" is far more developed and powerful than was shown on the B-side version that appeared on _Ear Candy_ imports. As for the band, they do sound revitalized and tighter on this album than the looser, grittier _Manic Moonlight_. I don't think they've sounded this relaxed and had this much fun playing on an album in a long time. My only complaint is the enhanced portion is very chintzy and subpar; with a faulty installer and overall sloppy design (the video button doesnt do anything and the lyrics are too large for the display window on one or two songs). This slightly sours an otherwise attractive package and clever CD booklet. Overall, a nice gift for longtime fans and the more upbeat vibe may bring some disenchanted fans back who don't like the band's darker direction as of late.

After 9 CDs that featured a wide spectrum of influences, sounds, and musical experiments... one thing could never be debated: King's X was a kick ass group that did what they wanted to do, no matter what the "World Outside" was doing. From prog metal to soul to Beatles-esque pop to funk rock, a King's X CD would have at least 5 or 6 tunes that were catchy and unforgettable, no matter what the listener thought of the overall CD. Spiritual fans would belt out with Pinnick's thoughtful and often times painful choruses, musicians would double take Ty Tabor's unique guitar playing, and music fanatics would sit back and enjoy the ride.

Until now...

Black Like Sunday features reworkings of the band's early 1980's tunes that they discarded after settling on the name King's X and the image that surrounded them. Instead of cranking up 12 or so new tracks of the music that we have grown to love that has influenced so many bands and musicians (some even has gone as far as saying that they have influenced the Seattle movement), we have a project that is laden with influences, not innovations.

BLS sounds immature and poppy, and is sadly irrelevant. These songs were discarded officially in 1988 with their first release... THEY WEREN'T GOOD ENOUGH THEN... WHO WANTS THEM NOW??? It should go without saying, each track features solid musicianship at some point and most songs feature good vocals... but the cheesiness of the lyrics and guitar riffs is unforgivable. I can't believe they actually released this. I really, really can't. This just goes to show that they still don't care what people think.

For 80's rock freaks only.

First off, I love King's X. But, this album leaves me conflicted. I like the songs (even though they lack the sophistication and maturity of their best work), but the production quality is so poor I can't listen without getting frustrated. The rhythm guitar in particular sounds distant. It sounds consistent from song to song so I am assuming they did it on purpose. Unfortunately I really am dissappointed. As Ty and the boys get jamming, pounding away in trademark style, the guitar is muddy and distant. Where is the wall of sound we have all come to know and love? Another review on this site has suggested the band get a real producer to help them filter their material and mixing/mastering. I couldn't agree more! Ty is one of the best rock guitarists ever, but he is not one of the best producer/engineers. (sorry ty) I would love the retro style and pounding King's X tunes if the production value was not so poor. Overall, this is a good album - just not great and certainly not up to the high standards of their previous work. I would recommend to anyone looking for the best of King's X to try earlier works like "Dogman" (for power and polish), "Gretchen Goes to Nebraska" (for off-center rock and melody), and "Faith, Hope, and Love" (for stunningly complex arrangement, sweeping vocals, and amazing musicianship). Wait until you become a die-hard fan (like me) before you give "Black Like Sunday" a try.

After 2 experimental albums that had thier high points but were somewhat lackluster, the trio is back with one of thier best albums ever. Black Like Sunday is a collection of songs that they have had in thier archives for quite some time, 20-25 years in at least 2 cases. These were songs they'd break out in thier live shows from time to time and, as is the case with the song Two, soungs that never made their US released CDs. This is them at thier best by far. From The Upbeat title track to the ballad Down to the middle eeastern influenced Screamer to the Guitar god eleven minute epic Johnny to a couple that remind me of 80's pop metal, the range and quality of these songs is just staggering. True quality Throughout. The cover is artwork by a fellow X head. Other extras include a 2003 calander listing tour dates and album release dates as well as the boy's birthdays. (Doug is my birthday twin). A video of the song Dreams recorded live back in the big hair days of 1987, a slide show and, of course complete lyicks. Just nice little extras to embellish songs that stand strong on thier own. If you're a fan you won't be disappointed. If you aren't now this is the album to discover just what makes these guys the best band you've never heard of.

...but this album really weak. I guess I should make the customary statement about being a big fan from the beginning. I lived in Texas for a long time and followed these guys closely. Went to Austin, Dallas and Houston every time they toured. Evangelically touted them to all my friends, championed the good reviews, even cheered when I saw the guy from Pearl Jam with a King's X t-shirt in the movie "Singles."

But I have to say, this is thin and unspired, coming from a band with so much inspired work under their belt. I never thought I'd hear an album from these guys that I could take or leave, much less turn off altogether. Going back and rehashing a bunch of old stuff that wouldn't have made the cut even then is no way to do it. Ugh, turns my stomach to think this way, but I'm reminded of other bands committed to dragging things out and ill-fated comebacks: if they can't cut it like they used to, I almost wish they'd hang it up so they don't taint the catalog with material like this.

I love this band, and I always will. But coming from a guy who at times has thought he was the biggest fan King's X could ever have, this is a big, big disappointment. If you're new to these guys, do yourself a favor and pick up Dogman, Ear Candy, Tapehead...*anything* else of theirs instead.

It pains me to give a King's X album such a low score. I mean, I own the entire catalog, I've seen the band live at least ten times, and have even had beers with the guys after a show. I remember hearing them for the first time as a kid watching late-night TV when their video for Over My Head made a splash for a while on MTV. I've been a fan ever since. But, alas, I have to be truthful and honest about this collection, as nothing less will benefit the band or fans.

This is a sub-par album for any band, let alone one as stellar as King's X. As many have already mentioned, it's a modern recording of a bunch of rehashed throw-away tunes that didn't make it onto their first album, Out of the Silent Planet. They were put in the circular file then, and that's honestly where they should have stayed. The sound is dated, the structures are boring, the lyrics are juvenile and banal...need I go on? It's cheesy, 1980s pop-rock that is barely saved by the fact that it being played by a band with incredible execution.

Screamer is novel enough, but that's the problem: it's merely a novelty song to show off Doug's screaming ability. Rock Pile has a decent enough verse, but the chorus is sickeningly goofy. Johnny is the epic tune that doesn't justify its epic length...Ty's long solo is the most pointless, meandering bunch of swoops and ambient sounds he's ever put together into a single chain. The title track is passable.

Honestly, this album should be avoided by anyone except collectors. It is definitely not the place to start if you're just trying to get into King's X. If you really want to support this band, buy their latest CD, Ogre Tones, which is an excellent, excellent album. It has a great variety of sound, and should satisfy both their later fans that are used to the "heavy" version of King's X as well as their earlier fans that long to hear the soaring guitar and Beatlesesque harmonies. I'm a fan of both eras, truly, and I think it's their best CD since Please Come Home Mr. Bulbous, and possibly since Dogman (another awesome disc that everyone should own).

Avoid this one, but don't avoid King's X. I'm one of those music nerds who owns like 1500 CDs, and if I had to give up all but, say, 100 of them, I would take up slots in that batch for all of my King's X CDs. This is one of the best overall rock bands still recording that hasn't ever sold out and keeps pumping out great tunes. They deserve many a listen...just don't start with Black Like Sunday.

King's X is undoubtedly one of the most underappreciated bands in rock and roll. This power trio has cranked out incredibly innovative music for well over a decade. Heavy borrowing from King's X panoply of sound and songwriting has catapulted lesser bands to far greater recognition, leaving us hard-core fans to wonder why King's X hasn't attracted more attention in their own right. It also prompts us to overrate solid but unspectacular efforts like this one.

Speaking honestly, this is a roots project, not cutting edge stuff. Bass player Doug Pinnick has said in an interview that all the songs were written at least 10 years ago, so this CD hardly represents the latest evolution of King's X. For such a project, it has some fine moments, including the title track, "Rock Pile," and "Danger Zone." It also has some unexpected tracks such as the reggae-based(!) "Johnny." Doug's soulful vocals and the band's rich harmonies soar as always, Ty's exhibits his expressive artistry on guitar, and Jerry and Doug lay down solid rhythm for all the tracks (it is good to hear real drums consistently on this one).

Still, fans will hear mostly echoes of stuff they've heard before. New listeners will be better served to get their introduction to King's X from an earlier release. Faith, Hope and Love is a great choice for sampling early '90s KX, Dogman for rockin' way down low, and Tape Head for the more recent stuff.