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King’s X hired a producer, Michael Wagener, to help them put together their first studio album of nearly all-new material since the disappointing Manic Moonlight (2001).  The result is probably their best album, certainly with respect to the vocals, in 15 years.  Yes, it’s that good.  Ogre Tones is packed solid with “heavy Beatles” hits that hold their own against King’s X classics and even the weaker tracks are compelling enough to resist pressing the skip button.

The highlight is “Freedom,” which was originally a catchy and crunchy B-side from the Ear Candy (1996) era.  Indeed, much of this album can be described as Ear Candy kicked up a few notches.

Some listeners, including myself, will be disappointed that the band removed some pro-life lyrics in the song in favor of an inside joke about the band's sound tech, Jay Phebus.  I think it’s a bit much to say the band is “selling out” here.  It’s really the only place the joke will fit, and the song’s overall message about freedom being abused, whether it be to “"terminate my fetus if it don't fit it in” (the original lyric) or to join the KKK, get elected and set your own salary, or a number of other questionable practices, is still poignant.

Other great songs include the album’s first single, “Alone,” which begins with Tabor screaming, “No one should be made to feel alone!”  Bassist dUg Pinnick repeats similar thoughts in the verses, and drummer Jerry Gaskill joins the trio for some powerful harmonies in the chorus.

In a funky, existentialist tune, most reminiscent of “Everybody Knows a Little Bit of Something” from the critically acclaimed Gretchen Goes to Nebraska, dUg urges the listener to “Bebop, be alive, y’all, what you gonna do?”  In “Bebop,” as in “Get Away” (the lone song on the album with a profanity), dUg raises his difficulties with understanding why God allows bad things to happen to good people.  “Positive music” purists may dislike this theme, but these same questions are raised in Job and in the Psalms and I don’t see King’s X offering any wrong answers on this album.  Instead they conclude, “It’s something I don’t understand.  I know nothing.  It’s what I
am.”

“If” is the best King’s X ballad yet and will hopefully replace the overrated “Goldilox” in their live setlist, while the rumbling and appropriately cacophonic “Open My Eyes” asks, “What does it take to get to the point where you want to kill someone?  Where is that place, that line you have to cross, where you want to kill someone?”

In short, Ogre Tones is an outstanding album and a must-buy for anyone who enjoys heavy guitars combined with Beatlesque harmonies.

Dan Singleton
9/13/2005

Attention long time King's X fans:  Ogre Tones is the album you've been waiting for since Ear Candy .  From the opening scream on "Alone" to the closing bars of "Goldilox (Reprise)", King's X makes it clear that more time and energy have been employed on this disc than on any album since the 2000 release, Please Come Home Mr. Bulbous.

This shouldn't be interpreted as saying the last three King's X discs were throwaway discs.  Each have several tracks that hold their own against any in the seventeen years of recording they've done.  _Ogre Tones_, though, is their most consistent and complete album in ten years.  Coincidentally (or maybe not so), it is their first album to use an outside producer since 1996.   Long time metal producer Michael Wagener does great work here in guiding the band to bring out the best of their respective abilities.  After over a dozen side projects and solo albums, we are once again reminded that Ty Tabor, dUg Pinnick, and Jerry Gaskill are each talented artists in their own rights, but that King's X is much greater than the sum of its parts when they are hitting on all cylinders. 

"Alone" leads off the disc, featuring a whispered, then screamed out vocal from Ty Tabor (his best since "She's Gone Away" from the Bulbous disc) that sets the tone for the entire disc. "Stay" would have fit in on Ear Candy, and "Freedom," an outtake from that disc,  finally sees the light of day here.   "Hurricane", which may fall victim to bad timing given the recent events of Katrina, is actually a portrayal of a tumultuous relationship.

King's X openly questions God and His interaction throughout the disc: "Freedom" speaks of blaming everything on Him, and "BeBop", perhaps the most unique song here, shows Pinnick just flatly admitting "God is something I don't understand", and cites "a hundred million reasons" for that conundrum.   "Get Away" simply poses the question to God: "Why are your people so f---ing mean?" "Mudd" simply hopes that all of us will go "up into the sky".  This last is assumed by some to be a tribute to the late Dimebag Darrell (Pantera, Damageplan), but Pinnick says it's about an uncle of his.

"Honesty" is almost a solo track by Tabor, much like "Legal Kill" many years ago.  It will receive criticism from some for it's a-b-a-b rhyme scheme, but it comes across as plaintive and Beatlesque.   "Sooner or Later" is a Pinnick demo that receives the King's X treatment, closing with an extended jam that recalls "The Burning Down" from the _Gretchen Goes to Nebraska_ disc.   "If" has a familiar feel (almost like that of Michael Jackson's "Man in the Mirror, oddly enough), and concerns itself with a faltering relationship.   

Ogre Tones is a trademark King's X disc, and will earn a spot in the top 5 of their catalog immediately, and perhaps move up to top three status after repeated listens.   The key to the whole album is Ty Tabor's willingness to sing lead on a few tracks, and trade leads with Pinnick at others.  When he does this, King's X goes from good to great.   Pinnick is the best vocalist is the group, but the interplay between the two, backed with Jerry Gaskill's harmonies, raises their game to a level few other groups can reach. 

This disc is groove driven, a perfect mix of harmonic vocals, Tabor's blazing guitar work,  Pinnick's trademark bass, and rock and roll screams, and Gaskill's underrated drumming skills.   If this album were on a large label with any kind of publicity push, it would go platinum.  Hopefully, being on Inside Out will not keep this band relegated to "cult favorite" status, but I fear that will be the case.   This may well be the album of the year.

Brian A. Smith
8 October 2005