The Cassette Chronicles – Kiss’s ‘Hot In The Shade’

By JAY ROBERTS

The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.

Magazine advertisement for “Hot In The Shade”

 KISS – HOT IN THE SHADE (1989)

As I wrote in my Cassette Chronicles article about the Kiss album Animalize, I really have never owned that many albums from the band. I’ve started to gather up a few of them here and there but still haven’t fully committed to owning their studio album discography. Well, that is until a recent opportunity came up that will likely allow me to scoop a number of the albums up on CD at a relatively inexpensive cost.

But until that happens, I still have one more cassette album of the band that I can write about for this series and that is their 1989 album Hot In The Shade. The album came out the year I graduated from high school but other than the two best known songs on the album, I never paid any attention to this one.

Those two hit songs would be the rocker “Hide Your Heart” and the big power ballad “Forever”. I still find myself quite entertained on the rare occasion that I hear “Hide Your Heart” on the radio. I can’t lie and say I didn’t enjoy “Forever” when it was released as a single but hearing it now kind of makes my teeth grind against themselves. Still, it was a pretty successful single for the band, hitting #8 on the chart.

Of course, restraint has never been a huge part of the Kiss vocabulary. This comes into play when I realized that Hot In The Shade has a total of 15 songs on the album. And I don’t mean a couple of brief instrumentals padding the album either. These are all full-length songs. Of course, given how pedestrian to outright unappealing some of the songs turned out to be, perhaps a little restraint would’ve been a better choice for the band to make.

The first side of the album starts out with “Rise To It”. The song was the third of three singles released from Hot In The Shade. Though I don’t remember having ever heard the song before, I can see why it was chosen as a single. The intro to the song is a cool little piece of music in its own right, but as the song gets fully underway, you can feel your blood pumping to the rhythm of this rocking anthem.

For me, I loved the pacing of “Betrayed” but I also found that the song kind of grated on my ears after a while. Still, it is better than the three songs that followed in in the track listing. I found “Prisoner of Love”, “Read My Body” and “Love’s A Slap In The Face” to be completely inane and would’ve been better served being left in the band’s archive for all time. All three songs had a more uptempo style but that didn’t save them from making me want to fast forward through them.

I will say that the closing song on side one, “Silver Spoon”, was fantastic. It’s a real rocking number that made me want to play it over and over again a few times.

The second side of the album started off in superb fashion with another rocker in the form of “Cadillac Dreams”. The guitar work on “The Street Giveth and the Street Taketh Away” but found the song as a whole merely just “OK”. I’d probably describe my reaction of “King of Hearts” and “Little Caesar” the same way.

But I loved the song “Somewhere Between Heaven and Hell” a lot. The chorus was especially catchy. As for the closing track “Boomerang”, that was a killer rock track. When I was researching the album for this article, I saw that the song is described as flirting with speed metal. I’m not completely sold on that particular designation but the way it blazed with it’s race to the finish pace, I can’t discount it completely. If I was to pick a song from the album for the band to do on what is being billed as the final concert tour, I’d love to see this one performed just to see how hard it would come across in a live setting.

The album’s initial sales figures got it a gold certification in the US. And I think that overall it is a pretty good album. But if they’d eliminated four songs from the release and cut the track listing down to a more reasonable/manageable eleven songs, it would’ve been that much stronger collective whole. There’s plenty here to keep your fandom for the band burning bright and while I’m not an official member of the Kiss Army, the good outweighs the bad on Hot In The Shade and shows that the band still had some songwriting chops even in the days of their sound being more commercially accessible.

NOTES OF INTEREST: Current Kiss guitarist Tommy Thayer co-wrote the songs “Betrayed” and “The Street Giveth and the Street Taketh Away”.

As I’m sure most Kiss fans know, the song “Forever” was co-written by Paul Stanley and pop crooner Michael Bolton.

Eric Carr sang the lead vocal on the song “Little Caesar”. It was the first time he sang lead on an original track. He had song the lead vocal on a remake of “Beth” that appeared on the Smashes, Thrashes & Hits compilation.

The English Beat to celebrate 40 years at Narrows Center

The English Beat will be making their debut appearance at the Narrows Center in Fall River, MA, on May 22 at 8 p.m. The band continues to dish out two-tone, ska, reggae and new wave, while mixing social commentary with danceability. Purchase tickets HERE.

Founded in 1979 by Dave Wakeling, The English Beat is a band with an energetic mix of musical styles and a sound like no other. Their infectious sound, which crosses fluidly between ska, soul, reggae, punk and rock, has allowed them to endure for four decades and appeal to fans of all ages all over the world.

Throughout their career, The English Beat has scored multi-platinum record sales, sold out shows and, most importantly, universal fan approval because they kept “The Beat” alive.

The English Beat founder Dave Wakeling (Photo by Bryan Kremkau)

Along with their contemporaries The Specials, The Selecter, and Madness, the band became an overnight sensation and one of the most popular and influential bands of the British Two-Tone Ska movement. By Christmas 1979, The Beat were riding high in the UK charts with their first single, a smoking remake of the classic Smokey Robinson tune “Tears of a Clown.” Over the course of the next five years, The Beat toured relentlessly and released three studio albums: I Just Can’t Stop ItWh’appen, and Special Beat Service.

Following a lengthy hiatus, Dave Wakeling continued to keep the music alive and strong, touring the world as The English Beat.

Now in their 40th year, The English Beat is still lead by Wakeling with an amazing all-star ska backing band that will play all their signature tunes, such as Mirror in the Bathroom,” “Save It For Later,” “Can’t Get Used to Losing You,” “Hands Off, She’s Mine,” and “I Confess,” as well as some covers, songs from General Public, and their 2016 studio album Here We Go Love, the band’s first new release since 1982’s Special Beat Service.

The Narrows Center is located at 16 Anawan Street. Tickets can be purchased online at narrowscenter.org or by calling the box office at 508-324-1926. For those wanting to purchase tickets in person, box office hours are Wednesday through Saturday, 12 noon to 5 p.m.

The Cassette Chronicles – Baton Rouge’s ‘Shake Your Soul’

By JAY ROBERTS

The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.

BATON ROUGE – SHAKE YOUR SOUL (1990)

The debut album from Baton Rouge came about after the band moved from Louisiana to Los Angeles and had gone through a number of name changes.

I’d like to say that I remember this album fondly but you can chalk this up to yet another latter day metal years album that I completely missed the boat on. I’d heard the band’s name back then but I wouldn’t lay odds on whether or not I ever heard their music.

The funny thing is, this is actually a better than average album for its time. The reason I say that it is funny is because while I liked the music after now having “discovered” the band, the reported reason the band ended up breaking up was due in large part to singer Kelly Keeling being unhappy with the music and the band.

Such a shame too, because Baton Rouge sure did seem to have a lot going for it on this first album. They had some really great rocking tracks featuring huge instantly memorable hook filled choruses, some great riffs from guitarist Lance Bulen and an overall sound that even now just grabs you by the ears and won’t let go.

The first side of the album did take me a bit longer to fully appreciate but the big chorus, driven by a gang backing vocal, really kicked off lead track “Doctor” nicely. That could also be said about “Bad Time Coming Down”, a rhythmic rocker that just oozes a cool vibe from start to finish.

The requisite power ballad was “It’s About Time” and while the tempo of the track tended to lean more towards the faster portions of the song, this one just didn’t do much for me at all. The brief instrumental “The Midge” was pretty inconsequential in my book too.

That said, the stand out cut on the first side of the album has to be “Walks Like A Woman”. I loved this song. Fast paced with a strong melodic hook to it, the song also has a killer chorus that darn near had me singing out loud where other people could hear me. I did manage to hold off on doing that so embarrassment at my bad singing was avoided. Still, it is a killer track!

Now when we get to the second side of the album things just get exponentially better. The second power ballad, “There Was A Time (The Storm)” follows the expected course for a song of its kind but happily enough, I found it to be halfway decent.

And that’s the only criticism I had with the second half of Shake Your Soul. The rest of the songs are all pure adrenaline fueled six string blitzes. “Baby’s So Cool” and “Young Hearts” are amazingly catchy. The choruses are memorable and Keeling’s vocals are striking. I was surprised to find that the song “Melenie” was also pretty darn memorable as well.

The album closes out with a double shot of premium rock and roll. “Spread Like Fire” was a white hot number and the song “Hot Blood Movin'” was my other favorite track (alongside “Walks Like A Woman”) on the album.

If you go strictly by sales, the album was a commercial failure. Still, the overall enjoyment of the music is not tied to how many people bought the album. Rather, the under-the-radar nature of the Shake Your Soul album will become a pleasant surprise to your ears.

 NOTES OF INTEREST – The band disbanded after two albums but a subsequent third album, which was self-titled, was released in 1997. However, according to the band’s Wikipedia page, though vocalist Kelly Keeling appears on the album as a vocalist he doesn’t consider that an official reunion of the band. He was the only original member to appear on that release. The original lineup did reunite to play the Rocklahoma festival in 2009 but never did a full reunion.

Kelly Keeling would go on to work with Blue Murder, Dokken, George Lynch and Trans-Siberian Orchestra.

Among the guest musicians on Shake Your Soul are drummers Joey Franco from Twisted Sister and Frankie LaRocka from Company of Wolves (a recent Cassette Chronicles featured band).

The Cassette Chronicles – Company of Wolves self-titled debut

By JAY ROBERTS

The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.

COMPANY OF WOLVES – COMPANY OF WOLVES (1990)

In terms of the peak of the 80’s metal years, I’d venture to say that 1990 was the year the sadly inevitable slide downhill began in earnest. As we all know, by 1992 or so the music scene was all about the Seattle grunge sound. Still, even if the metal movement wasn’t quite as strong as it had been in the mid-to-late 1980s, there was plenty of good music being released.

Unfortunately, more than a fair share of it seems to have gone relatively undiscovered. If not by the public at large, certainly by me. Such is the likely case for why I can’t recall ever having heard anything from the band Company of Wolves. While the name seemed familiar to me, I couldn’t recall any of their music from this release, their debut album.

Now that I’ve done a little research I’ve found that they had at least two videos for songs on the album. You can find those pretty easily enough on YouTube. But the best part of finding these albums that I’ve never heard before is discovering that there’s a really great collection of tunes to be listened to for the very first time.

The album opens with what I’m guessing was the lead single. The song is “Call of the Wild” and it is one of the two videos the band has out there in cyberspace. Company of Wolves has a blues rock oriented sound and the song opens with a kind of tame/slow southern bluesy drawl from guitarist Steve Conte. After that intro, the more rocking nature of the tune is set into motion right quick and I found it to be just a really cool track. It’s got that instantly memorable chorus that you can sing along to (shhh…I eventually did just that…even with my rather spectacular inability to carry a tune). The solo is rather electric and it is just one of those very cool tracks that become an instant focal point for the listener.

Each of the two sides has six songs on it and on Side One, the band follows up that great opening track with two more rockers in “Hangin’ by a Thread” and “Jilted!” The two tracks are pretty darn good and help make for a eminently strong opening trio of songs.

The second song that the band made a video for is “The Distance”. The song has a mid-to-uptempo pace, alternating each as kind of a stop and start point. Musically speaking, I thought the song was golden but I could honestly take or leave the lyrical content.

Singer Kyf Brewer has a great voice here but sometimes what he was singing just didn’t resonate all that strongly with me. Of course, when he and the rest of the band are “on”, they turn out some great music like “Romance on the Rocks” and the Side Two opening track “Hell’s Kitchen”. Brewer’s vocal on the latter track is particularly noteworthy. On the song “I Don’t Wannna Be Loved”, the lyrics are of a more ballad like nature, but the delivery of them gives the song a more rocking intensity.

On most albums, I find myself having a preference for the last song to be a hard charging rocker in order to finish things off in an adrenaline charged climactic way. But on occasion, a band finishing with a slower kind of calming track works better and I think that song “Everybody’s Baby” accomplished that task in fine fashion.

For my money, aside from “Call of the Wild”, the best example of a rocker summing up the band perfectly is the song “My Ship”. Fast moving and crackling with energy to burn, the song is an out and out killer song.

I’d venture to say that I’m not the only one who missed out on this band and album when it was originally released given that it was their only release before they split up. But even now, nearly 30 years after the fact, the Company of Wolves album amply demonstrates that even in the twilight of the “Metal Years”, there was some prime hard rocking music to be found. It might be a missed opportunity for me from back in the day, but listening to this album now brings me back to that prime musical fandom time of my life and leaves me wanting a whole heck of a lot more.

NOTES OF INTEREST: Though the band split up in 1992, there has apparently been some kind of reunion shows done in the past and according to their Facebook page, there may be more shows and an album re-issue yet to come. You can check out their Facebook page by clicking HERE.

Though Company of Wolves only released their self-titled album before splitting up, they have had two other albums released after the band ended. The first one was a collection of demo recordings from before their first album called Shakers and Tambourines. The second (third overall) was put out in 2001 and is called Steryl Spycase. It features all new material. Both albums, as well as band shirts, appear to be available via http://www.ryfrecords.com

Singer Kyf Brewer has gone on to a solo career in music as well as playing in bands such as Barleyjuice. You can read more about him at his website http://www.kyf.com

Guitarist Steve Conte has played with a wide variety of artists before and after his time with Company of Wolves. The list includes Peter Wolf, Maceo Parker, Suzy Quatro, The New York Dolls and Michael Monroe. He’s also worked on music for anime TV series and with his own solo bands. You can learn more about him (and his brother John Conte who was the bassist for Company of Wolves) at http://www.thecontes.com, though it doesn’t appear to have been updated since 2013.

The Cassette Chronicles – FASTER PUSSYCAT’S ‘WAKE ME WHEN IT’S OVER’

By JAY ROBERTS

The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.

FASTER PUSSYCAT – WAKE ME WHEN IT’S OVER (1989)

I swear if you had asked me to name any Faster Pussycat songs other than “Bathroom Wall” from their first album and “House of Pain” from this album, I wouldn’t have been able to come up with an answer.

For me, Faster Pussycat was just a band that I was never all that interested in. Other than those two songs, I never felt the urge to delve further into their back catalog. And this is with having a friend who thinks singer Taime Downe is like the second coming or something.

So when I pulled Wake Me When It’s Over out of the Big Box of Cassettes, I couldn’t help but think that this could end up being a slog of an album for me to get through and then turn around and write about.

You could’ve knocked me over with a feather after I finished listening to the album however because I was really quite taken with the majority of what I heard. And I realized that I actually did know a couple of other songs without even realizing it.

The band’s second album found their sound seemingly becoming more blues rock based as opposed to the more straight up glam sound of their debut record. And though I never paid much attention to it in the past, I found that this new kind of sound was a killer road for them to take.

The album features twelve songs on it and nine of them are straight out foot to the floor rockers. Of course, as I said before, the album is best remembered for the hit ballad “House Of Pain”. And as I thought about it, I think the ballad is kind of why I never really got into the band. Or at least in part. I just didn’t like the vocal on the track. It struck me then and it still kind of strikes me now as being entirely too “whiny” in the execution of the vocal performance. I know that power ballads were a requirement and all, but this one just doesn’t sit well with me at all. The album also closes with another ballad, “Please Dear”, which is only marginally better.

But I found that when the band is just sending out one six string riff and pounding rhythm to the heart after another, this is a powerfully cool sounding collection of tunes.

The song “Where There’s A Whip, There’s A Way” is probably a theme song for any number of BDSM themed parties these days but listening to it straight out got the album off to a great start. The song “Little Dove” was also quite the cool little rocker too.

Those two songs I mentioned that it turned out I did know despite my failure to remember them were “Poison Ivy” and “Tattoo”. As each of the two tracks played, I almost immediately remembered them and could even hear myself humming the music in my head along with the tape. And I could actually remember the chorus to each song, which really surprised me.

Other than drummer Mark Michals, the band members each had at least one co-writing credit for the songs on the album. In varying combinations it was Downe and guitarists Brent Muscat and Greg Steele who did the heaviest lifting in the writing though.

The best part of the album was discovering new-to-me tracks like “Slip of the Tongue”, which I found to be one of the best tracks and probably a song that those of us who have to this day missed out on the band would point to as an “undiscovered gem”.

I’m not sure that I was totally sold on the song “Arizona Indian Doll” but it was rather intriguing nonetheless. Instead of a blues rock foundation, this one is more of a swampy bluesy song that delivers a much slower pace and lighter tone than all the other rock tracks. It takes a little bit of work to really get into the song so I’m not quite sure how to take it even as I write this article. But it does make an impression, so it can’t be that bad!

Okay, I admit it! I seem to have really missed the boat on this particular Faster Pussycat album. Taken on its own merits, this is a stunningly entertaining release. It might not fuel my desire to take in the entire discography of the band, but Wake Me When It’s Over has officially woken me up to the possibility that I may need to do more to familiarize myself with the band’s music to have a better formed opinion about them.

NOTES OF INTEREST: Drummer Mark Michals was fired from the band during the supporting tour for Wake Me When It’s Over. Quiet Riot drummer Frankie Banali filled in to play the rest of the dates.

The band broke up in 1993 but got back together in 2001. The reunion tour saw guitarist Greg Steele leave the band halfway through the concert trek and his place was temporarily filled by L.A. Guns guitarist Tracii Guns.

The video for “House of Pain” was directed by the now quite famous movie director Michael Bay.

The Cassette Chronicles – Quiet Riot’s ‘Condition Critical’

By JAY ROBERTS

The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.

QUIET RIOT – CONDITION CRITICAL – (1984)

It is no easy thing to follow up a big hit album. It is even more difficult to follow up said hit album when it reached the levels of success that Quiet Riot’s Metal Health did.

The sales and acclaim that followed that album broke down a number of barriers for other metal bands. Unfortunately for Quiet Riot themselves, it also kind of left them forever reaching for that same kind of status but never quite getting back to the top of the mountain.

I can remember eagerly waiting to hear the new Quiet Riot song. Like many fans, I was quite taken by “Cum On Feel The Noize” and “Metal Health (Bang Your Head)”, so I definitely wanted to see what Quiet Riot would do next.

While their cover of the Slade song “Mama Weer All Crazee Now” got radio and video airplay, it was really the only song on the album that got any reaction at all. I know that beyond that song, I failed to pay attention to anything else from this album. Heck, I never even bought Condition Critical back then. I only got it when I picked it up to do this article.

It would seem I wasn’t alone in this regard either. Looking up the sales information, Condition Critical did end up going platinum but that’s about 1/6th what the Metal Health album sold and thus the bloom was off the rose.

But in retrospect, was the album as bad as the original reaction to it would have you believe? I guess that would depend on just what you were looking for. I think it is obvious that the 2nd Slade cover was a bid to keep that particular vein of success open. And it is probably their most recognizable song other than their two biggest hits.

In hindsight that stretches back nearly 35 years, I think the problem with the album lays in the first side. Besides the “Mama” song, there’s not much to get all that fired up about. The album opens with a song called “Sign Of The Times” and while it would seem to have the requisite components to represent a Quiet Riot song (loud guitar, screaming vocal, big backing vocal sound, etc.), it felt to me like it was a paint by numbers track. There was just nothing inspiring about it at all. The same can be said about “Party All Night” and “Winners Take All”.

I will say that “Clap Your Feet, Stomp Your Hands” had a really ear grabbing rhythmic swing to it. Surrounding that with a whole lot of rocking power made the song a pretty good listen.

But I’d imagine by the time the first side of the album ended, many fans had sort of tuned out. And unfortunately, that might’ve been a mistake.

I was kind of dreading the second side of the album myself but I have to say that I really did like Side Two. The title track had an edgy darker feel to it. I’ve never heard the song before now and I really want to go back and listen a few more times because it just has something that grabs you.

The foot rarely leaves the gas pedal with rockers like “Red Alert” and “Bad Boy”. The anthem “(We Were) Born To Rock” features that huge backing vocal sound and that helps readily infuse the song with an extra bit of metallic fuel.

But if you really want to catch what I think is the stand out track on Condition Critical, you have got to check out “Scream and Shout”. It’s all frenzy and fury on the song as the band really seems to cut loose without the slightest hesitation. It is likely a track that not a lot of people paid much attention to, but for me I’d throw it out there as one of Quiet Riot’s best songs.

Judging Condition Critical as a whole is definitely not an easy thing. It is by no means perfect and at times, you can really see where the band went wrong with the songs that were put on the album. As you look back, you can definitely understand why this album, despite the platinum level sales, is seen as a bit of a failure for the band.

However, maybe after the passage of so much time, fans need to take another look at the album to realize that when it actually hit its mark, there are a number of rock solid songs to enjoy and as a whole, the album isn’t quite as bad as it was originally thought.

NOTES OF INTEREST: Bassist Chuck Wright was not a member of Quiet Riot at the time of Condition Critical but he did provide backing vocals for the album. He’s been in and out of the official lineup a number of times over the years but he has been a part of the latest incarnation of Quiet Riot since 2010.

The 2012 Rock Candy Records remastered release of the album had four live songs included as bonus tracks

For those in the same local area as I am, Quiet Riot is set to play The Vault Music Hall & Pub in New Bedford, MA on July 25th, 2019.

King’s X bring the ‘groove machine” to the Vault in New Bedford, Ma

The mighty rock trio King’s X return to the road this summer with a date at The Vault Music Hall at Greasy Luck in New Bedford, MA, on July 9, 2019. Purchase tickets HERE.

Few hard rock bands are as widely respected yet criminally overlooked as King’s X. The band, which combines progressive rock and soul with vocal arrangements influenced by gospel, blues and British Invasion groups, still features original members Doug Pinnick (vocals/bass), Ty Tabor (guitar) and Jerry Gaskill (drums). They were ranked #83 on VH1’s 100 Greatest Artists of Hard Rock and released over a dozen albums featuring the radio hits “Over My Head,” “It’s Love,” “Black Flag” and “Dogman.”

King’s X released their first studio album, “Out of the Silent Planet,” in 1988. Despite being hailed by music critics, the album didn’t fare well commercially, peaking at #144 on the Billboard album charts. The band’s 1989 sophomore release, “Gretchen Goes to Nebraska,” fared slightly better from a commercial standpoint. Significantly, the song “Over My Head” received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, “Faith, Hope, Love,” in the fall of 1990.

“Faith, Hope, Love” was the group’s first album to crack the US Top 100, with the help of the successful single “It’s Love”. The band landed a gig opening for AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour and were nearing the peak of their popularity.

King’s X signed with major label Atlantic Records for their next self-titled release. After parting ways with their longtime manager, the band enlisted veteran producer Brendan O’Brien, who had previously produced albums for Stone Temple Pilots and Pearl Jam. The ensuing release, “Dogman,” performed respectfully on the charts. This success resulted in the band opening shows for Pearl Jam and a show-stopping performance on the opening night of the mammoth Woodstock ’94 festival

King’s X completed their contract with Atlantic Records with “Ear Candy” in 1996, before moving to Metal Blade Records where they released four studio albums and one live release. The band’s latest studio albums, “Ogre Tones” (2005) and “XV” (2008), were released on the InsideOut label. “XV” was their first album since “Ear Candy” to chart on the Billboard Top 200. A book, called “King’s X: The Oral History,” was recently released and the band will enter the studio to record a new album this spring.

The Vault Music Hall at Greasy Luck is located at 791 Purchase Street in New Bedford. The venue is set within a former bank building featuring original vault doors and a truly historic feel. Patrons have raved about the superior acoustics and intimate setting.

 

 

Music and entertainment coverage since October 2006!