KING’S X – Ogre Tones

King’s X, the most underrated trio in the music business, is back with another installment to their impressive back catalogue, and if you’re not familiar with them, then this in not a bad place to start. King’s X busted into the scene back in the 80’s, and were said to have a “Black Sabbath meets the Beatles” kind of sound. Both of those influences can still be found in their music, but after twenty some years, it’s simply called “the King’s X sound.” Just ask any musician who’s into heavy grooves and harmonies, and they will cite King’s X as an influence.

This time around, the band has had the luxury of using a producer after handling that job amongst themselves for a long while. The famed producer Michael Wagener, that most remember as the house producer for many 80’s Metal greats, has given the band the freedom to concentrate on their playing, and that freedom can certainly be heard in the playful and inspired tone of the whole record.

“Alone” starts explosively, and then settles on a confident Dogman-style groove. “Stay” and “Hurricane” slow down the beat into a lazy Sunday afternoon groove, bringing out relaxing harmonies and images of twirling psychedelic colors.

“Fly” hits the ground running and keeps on effortlessly going. “If” has a strong hook, but unfortunately the melody line is disturbingly close to Jacko’s “Man in the Mirror.” Unintentional, surely.

“Bebob” sounds like a future live favorite, with its foolproof sing-along chorus. The band certainly sounds like they are having fun goofing around with the song’s jammy kind of vibe. Doug Pinnick even gets to belt out a mighty scream a couple of times.

“Honesty” is touching new ground by letting guitarist Ty Tabor take over the lead vocals, and you get to hear a hauntingly beautiful acoustic song that highlights those amazing harmonies that only King’s X is capable of producing.

“Open My Eyes” and “Freedom” get back into the rockier groove. “Freedom” sees guitarist Ty taking over the lead vocals again, but this time he gets the distortion treatment.

“Sooner or Later” flirts with Progressive Rock, and amazingly manages to make this seven-minute jam session sound like a four-minute song … that’s how well the jam floats. The guitar in the middle is screaming its loneliness and is just exhaustively begging to be heard. The whispering of the chorus throughout the instrumental jam carries the song along and gives it a feeling of wholeness.

The album-ending “Bam” starts with a sound of feedback that gives way to an ancient-sounding speech on the wonders of the phonograph.

Ogre Tones is an album made by a band that is comfortable in its shoes. It does not offer anything new, as such, but successfully brings back the sound of joy and the marvel of playing, which is more than anyone can ask a band with as long of a career behind them as King’s X. Who says they all have to be masterpieces or include hit songs? Surely, these well-crafted and highly executed songs will easily find their place in the hearts of many Hard Rock fans.