Customer Reviews

Ogre Tones

5 star:		(37)
4 star:		(29)
3 star:		(15)
2 star:		(2)
1 star:		(2)

 

 

Since the split with Atlantic the band has produced their own work. This has given them unbelievable amounts of freedom to pursue exactly what they wanted to. With this were learning curves so the work was at times brilliant (Mr. Bulbous) and other times missed the mark (Black Like Sunday, Manic Moonlight). Never lost on these records was the trademark "King's X sound" of blissful harmonies/soulfull vocals married to harder edged songs..however some things got lost in all the experimentation and taking steps out on their own...
Enter Ogre Tones, for which the band teamed with famed produce Michael Wagener (Master of Puppets...hello?). This album also marked a return to the band bringing in their outside demos and working them through versus just writing tunes on the spot (with the exception of Black Like Sunday which were tunes from the bands pre history of the early 1980's). Wagener brings in a crisp clear approach to the vocals and instrumentation. While not "sparkling" it gets it done in a way that doesn't distract from the natural appeal of the core sound the fans of King's X have fallen in love with over the years. Oddly enough this album is comprised of mostly songs penned by Doug Pinnick. The songs Stay, Fly, If, Get Away, and Sooner or Later all have been filtering around the fan community as demos since as early as 1996. The song "BeBop" has a lyric "Emotional Animal" (which happens to be the title of doug's latest solo effort) and sounds like it would have fit right in with doug's solo material (especially considering the vocal style as well). Another two songs, Freedom and Goldilox (reprise), are re-releases. Personally I am just confused to the band's recent penchant for doing this. These songs do nothing to make better or improve on the original versions, their incusion here can only be seen as filler or perhaps a stab at getting recognition for past released songs. With all that in mind there aren't too many "brand new" tracks for the rabid fan BUT that said the execution here is much sharper than on the previous two records.

More about the tracks themselves... "Honesty", to me, is the new "Summerland". It's short, It's sweet, It's conveys the point beautifully. Any ty fan should be drooling like a mongoloid over the vocals on this acoustic gem. Why he doesn't release more tunes like this I am baffled. If the world heard this track they would be in love like the rest of us X heads. Sub in Dave Matthews or something and this song would be #1 on multiple formats. Dare I say this song is worth the price of the CD? Well, I just did. "MUDD" is another track probably penned by Doug which deals with the death of his great uncle (who was 96 at the time). We get the "usual" great harmonies here... classic? maybe not, but a good song none the less. "Alone" is the "single" (if there really is marketing behind this one). Granted, the video (which is included on the CD just as a file, open up windows explorer) is stupid if not shot very well (dancing ho's ? stupid...). The song is a catchy little pop ditty with a nice chorus, questionable lyrics but it does grow on you. "Hurricane" is probably the biggest dud on the platter, it sort of plots around like a storm that isn't organized and doesn't know where to go. "Open My Eyes" is a nice rocker with a calm verse and slamming chorus..reminds me more of the Mr. Bulbous stuff for some reason. The band has been playing this tune live for over a year now, so note that the recorded version doesn't have the same vocal interplay as the live version, not a total detriment, rather an observation. The doug demo tracks shine here. "Fly" has a great riff and catchy 'make you smile' type of chorus. "Sooner or Later" and "Stay" really convey the emotions that the song and lyrics imply. They have a signifigant emotional impact. "Get Away" seems a bit silly lyrically but hey, no one's perfect.

A classic? Probably not. Enjoyable and worth buying? You bet.

This band has been wandering blindly both musically and spiritually (well, Doug mostly) for the last 10 years and it shows. I Haven't personally liked a record from these guys since Dogman. After that, their magic seemed to leave with the early 90's. While grazing the bins i saw this and my curiosity was peaked. I weighed the value of that $13 like Greenspan but gave in to the impulse buy. I can't help but hear this record and listen to it with anything else but an unsatisfied expectation for the next Gretchen, Faith Hope Love, Kings X or Dogman. That being said, this record isn't bad. In fact some songs bare a faint resemblence to thier best material. Problem is, it never quite BECOMES thier best material. This record is definitely a step out of the ditch they seemed to fall into for me. However, i think its safe to say this band's highpoint is just in the past and will likely not return to the elevated Horizon they stood on. As a record and independent from its ancestors, its a good record. Bebop is a good idea that MIGHT have been a good song. But that scream Doug throws out is awesome. Personally, i think Doug's personal spiritual woes weigh down this band from taking another successful flight. But they can still glide the landscape and remain fairly local while we all recognize that shadow being cast from above from a band that should have just taken off.

King's X has been my favorite band ever since I first heard their CD, Gretchen Goes To Nebraska . From the open riff of the song "Out Of the Silent Planet," they had me hooked. What's even more amazing is that I bought that CD just because I thought the album cover was cool. I didn't really know a lot about them at that time. Fast forward many years later and I'm still a huge fan. They are the main reason why I ever picked up a guitar in the first place. Ty Tabor is one of the most underrated guitarists in music, Doug (now dUg) Pinnick has a voice that will take you to heaven, and Jerry Gaskill is one of the most respected drummers among musicians. They are truly a musician's band. You can't help but be influenced by them if you have ever had the desire to play music yourself. Especially rock music.

All of this being said, the last few albums they have released have fallen short of what we expect from them. While trying out different approaches to songwriting and production, it seemed as though they had lost some of the "magic" that was King's X. Although there have been a few moments of their previous genius on these albums, the band just wasn't living up to their reputation. We knew they could do much better.

Enter Ogre Tones. The first CD to have an outside producer since 1996's Ear Candy. This is the King's X that I fell in love with. The memorable guitar riffs, Beatle-esque harmonies, and pensive lyrics are back with a vengeance. This is definitely the best CD they've released for in quite a while. While it still doesn't really match the brilliance of their earliest works, it is definitely a step in the right direction. This CD definitely proves that this is a band that does their best work under a producer.

The album opens with the rocker and first single "Alone" and doesn't let up from there. The musical styles they utilize on this album run the gamut from rock, funk, ballad, acoustic and, of course, hard rock. For me, the highlights of the album are the songs "Alone," "Stay," "Bebop," and "Freedom." If it wasn't for a few weak moments on this album, it would be almost perfect.

The majority of the weak moments are lyrically. For the song "Freedom," (which was originally recorded during the Ear Candy sessions as a b-side), they've changed a couple of words that should have been left alone. It's as though they've decided that they don't want to take the risk of including some lyrics that might be thought of as "preachy" or "offensive" to those that might not share the same point of view. However, isn't this what rock is supposed to be? It's supposed to be a dangerous medium that challenges what you think. Unfortunately, they have decided to go the "politically correct" route in this case.

The other weak aspect of the album is the song "Get Away." It's a shame because the music to this song is quite good. However, once again, it fails miserably in the lyric department. It's nothing more than a childish diatribe in dUg's continuing and sad war against Christianity. He even drops the F-bomb during this one while describing how "mean" God's people are. This may be exactly how he feels right now and I don't chastise him for sharing it, but he could have at least come up with some more creative lyrics to express it. They just seem like a cop-out and don't make for a very good argument. I love these guys very much, but it saddens me that they've allowed their view of God and Christianity to be twisted because of a few people and/or situations that they have come into contact with. It seems that they truly don't know what it is all about.

Besides these couple of weak moments, Ogre Tones is still a great album and very much worth the purchase. Everything from the overall production quality, the CD packaging, the artwork and, of course, the music prove that King's X is still relatable to today's music scene. I waited for a while before reviewing this CD because I wanted to listen to it quite thoroughly before doing so. Every time I listen to it, I like it more and more. It hasn't left my CD rotation since the day I purchased it.

The first time I heard of Kings X was in a crowded, smoky bar in 1988. It was a cover band in Jersey playing "Over My Head". I've been a huge fan ever since. Kings X had me hooked with their unique sound and harmonies that I have ever heard since my love for The Beatles, Simon and Garfunkel and Crosby Stills and Nash. The raw talent and brotherhood of Kings X by far surpasses any music made in the last twenty years. Why they never gained the popularity they deserved parallels the age old question, "Is there a God?" Every CD made by this band is a gem in my heart, except for "Black Like Sunday". I was left feeling hungry for something good to chew on.

Then comes "Ogre Tones." I havn't stopped listening to this CD!!! It is powerful, grabbing your attention from the beginning with Ty's primal scream in "Alone" and ending with a new rendition of Goldilox that gives you the chills. This is the CD I was waiting for and I am so excited for them. Glad to know I was given the "Freedom" to choose good music!! "Ogre Tones" questions and answers why life is the way it is. It is a privilidge to hear Dug's, Jerry's and Ty's heart and soul once again and an honor to be able to to share their journey with them. This CD continues their musical quest and will restore the faith in their fans who have been dissappointed in some of their previous releases. On "Ogre Tones", Dug's voice is powerful and tuned up, Ty's lead and harmonic vocals shine - his Yamaha sounds like his best friend and Jerry is the power that holds them all together. Ty's solo in "Sooner or Later" will just blow you away (especially if it is nice and loud in the car). Great harmonies as always. The energy is back and I have a feeling that this is a new beginning. They have made the right decision in choosing Michael Wagener as producer, for on this CD, he helped the band reach self actualization. For the old fans and the new, this is one CD to scream about. Thank you gentlemen!!!

Awhop boba lo bop a wop bam...boom!

Great release from King's X that features all the things that I have admired about the band- great harmonies, great musicianship and great melodies. Several reviews have suggested that this sounds a lot like Ear Candy and I would agree to a certain point. I also hear a lot of Cheap Trick influence on this one. I like Stay, Get Away, Alone, Mudd- hell I like all of it. The guitar solo on Sooner or Later is absolutely mesmorizing reminding me of a tune by the Hoax "Pulpo". Doug does some of his best vocals on this album- they're really heartfelt. This album comes close to a 5 rating- it's that good. Pebonr will be happy when he mooches this one. Deducted half a star for what I think is a very unnecessary new rendition of Goldilox.

I have been a King's X fan since Out Of The Silent Planet. This is probably the best release from this Texas Power Trio since Dogman. It sounds like the X-men are having fun making music again. Although the releases on Metal Blade had some bright spots; this first studio release on the Inside/Out label marks a return to the sound that put King's X on the map! The harmonies are rich and full. Ty's guitar work is as great as ever. Jerry sounds great behind the drum-kit. Dug sounds like he is back to form. Ogre Tones reminds me of Faith,Hope, Love and Gretchen Goes To Nebraska. If you are a King's X fan, this cd is a necessity. If you are just being introduced to King's X, pick this cd up and then back track and get the rest of their albums. Long Live King's X!!

King's X is one of the rare bands that has continuously released a string of impressive albums one after the other, and they have yet to disappoint me with anything they've done, be it a King's X release, side project (Jelly Jam), or simply solo albums. Surely, when I hear a new album is in the works, I know I'm in for a treat.

The title Ogre Tones comes from a funny wordplay and is meant to read "Over Tones" actually, but since the word "ogre" has a sinister tone to it, the band went for it. Interestingly, I remember them tentatively calling their album Landscape when they were still in the writing process, but one can never guess what the band went through during the recording, arrangement, and production period, so Ogre Tones it is. As with every King's X album, this one is no different. It rocks hard with a groovy guitar and bass foundation, power drums, and unique King's X vocal harmonies with all three members contributing to the final product. Moreover, the band enlisted the services of excellent producer Michael Wagener who mixed and produced the album in his own studio, and rendered it a rock-solid sound with rhythmic intensity and colourful dynamics - just what this type of music needs. It surely shows that working with a professional has strengthened the guys' musical statement.

All the expected King's X similarities pointed out, the album does differ from their first two outputs. The songs are shorter, rarely seeing the 4-minute mark, and more direct. However, they are also very diverse in nature. Besides the classic King's X groove numbers "Alone", "Bebop" and "Open My Eyes", all of which are different from each other, there are also slowed-down pieces in the form of "Hurricane", the blues-inflected classic rock of "Fly" (with a gorgeous melody line running through the whole piece), and of course the mandatory love ballad "Mudd". It' easy to tell how much fun the guys were having during the recording of "Freedom", and how intense the mood in the studio must have been when Doug Pinnick sang his heart out on "Sooner or Later", lamenting the death of a loved one, with a fat bass bottom woven around Ty Tabor's processed guitar sound littered with Floydian psychedelia. "Get Away" stands out for its thoughtful lyrics and Gaskill's fantastic percussion work in the intro. The album is further diversified with an experimental track, "Bam", that contains merely a very heavy Russian accented-guy speaking incoherently. "Bebop" will be a huge surprise for some fans because of its meaty guitar sounds, Pinnick's ripping screams, and its extremely catchy chorus that is filled with counterpoint vocals. Indeed the chorus is so catchy and sing-along-friendly that it may have even the oldest fan smile from ear to ear.

King's X is back with 47 minutes of music on their new label Inside Out. The CD features a multimedia section with videos for "Alone" and "If". They are worth checking out. How does this album measure up to their classics? Well, that's for you to decide.

I admit, I was scared.

I downloaded the video for 'Alone' from King's X's website, and cringed.

Here we have three middle-aged men--two are divorcees, one is gay--singing a passionate (if simple) song about wanting to be accepted, and the video inexplicably features a few scantily-clad low-budget models writhing and dancing to the music. The cognitive dissonance is so severe it makes the head hurt.

The song itself is a decent rocker. But lyrically, oh dear, what is going on?? These are ripped straight from a high-schooler's diary: "No one should be made to feel rejected / No one should be made to feel unwanted / Sticks and stones, breaking bones / Names and words, they hurt you / Affecting everything." One can't dispute the message, I suppose, but the delivery is artless and didactic. Where is the imagery of "Summerland"? Where are the metaphors of "A Legal Kill"? Where is the sheer poetry of "Pleiades"?

Ok, take a deep breath.

Despite the mediocre lead single and atrocious marketing/video decisions, I am happy to discover Ogre Tones to be the best King's X album since Ear Candy. Easily. Credit this improvement to--once again--an outside producer. Even great actors need a director, and King's X needs a good producer to make them shine.

There are a lot of musical highlights here, with few (if any) throwaway tracks. The album as a whole does not quite attain the thematic cohesiveness we've known in the past, but at least the quality is consistent throughout. Even the remake of 'Goldilox'--which other reviewers have complained about--is an enjoyable listen. It's not a new arrangement--in fact, it's note-for-note identical to the original--but it's a treat to hear how the band's sound has evolved, and how well their songs have aged over twenty years.

There are even some shining lyrical moments--in particular, I enjoyed the understated 'Stay' and the beautiful 'Honesty'. With regard to the lyrical content of this album, we're all aware of the personal hardships of the band members--and they've been courageously candid with us over the years--but perhaps the most discouraging aspect is that their faith, as far as it is communicated in their lyrics, seems to be continually losing the battle in the face of those hardships. Nevertheless, they still seem unavoidably haunted by the things of God; I'm just not sure if they're on speaking terms with Him at the moment.

King's X's early music was transcendent; it lifted the soul to heights like only great art can do. It was music that reached far beyond itself, that was both timeless and urgent, and that set its sights on things more glorious than the tedium of life. On Ogre Tones, the band begins to extend itself once again, something that has been markedly missing on the last several albums. Perhaps it ain't quite there yet, but it's an encouraging step in the journey.

This album really makes me wonder what the hell was going on with the 2 previous releases.

Ogre Tones is so full of hooks it's scary. Black Like Sunday had some hooks too, but it sounded so trite and amateurish. Manic Moonlight was short on hooks, the production was awful and the electronic experimentation just didn't add anything. If they were going to experiment, they should've gone further with it.

Anyway, back to Ogre Tones... it shows King's X is back in a big way. The harmonies are possibly better than ever - just listen to Get Away - and as I said before, the hooks. I'd say for pure sing-along moments, Ogre Tones has more than anything King's X have ever done.

This is undoubtably modern King's X, though I do hear moments that make me think of earlier releases. One thing missing form Ogre Tones as opposed to they're more recent releases is Ty's mega-heavy riffing. Don't go in expecting Bulbous style heaviness, it's not there. What is there is up there with the best they've ever done though, so if you've been turned off by the last few albums, give this one a chance. It's so superior to Black Like Sunday and Manic Moonlight it's not funny. And a big plus is that they haven't had to resort to copying their old sound to develop this great new material.

One has to wonder how the band feels about what they've been able to achieve here in comparison to the above mentioned albums.

The songs on 'Ogre Tones' are tight, powerful, and electrifying, a formula we've come to expect from King's X. Vocal resilience and harmonic precision is constant as well. Though Doug Pinnick's ability hasn't vanished, his voice sounds deeper than in the past at times. This is no hindrance by any means, as it seems to have furthered his intensity.

Musically, from a King's X fan's point of view, this is Ty, Doug, and Jerry in top form. Doug's bass playing is full and flawless, as is Jerry's vibrant percussive presentation. Ty Tabor never ceases to amaze, as his signature style is intact throughout. He even reaches higher levels. Listen to his extended lead performance in `Sooner Or Later'; it's truly incredible.

Only time will tell if 'Ogre Tones' can possibly exceed 'Gretchen Goes To Nebraska' or even 'Faith Hope Love' in creativity and praise, but after listening to it a few times I've become attached to it. Though intelligent and progressive, all of the songs embrace their own individuality, separate from each other, which is a trait hard to come by these days. They're memorable and catchy tunes. Ogre Tones is a brilliant album.