Showing posts with label Kingdom Come. Show all posts
Showing posts with label Kingdom Come. Show all posts

Best of 2013 in Hard Rock and Heavy Metal ... Part 4

It's the final countdown 
By Peter Lindblad

And so, it's come to this. The final five. The best of the best.

2013 turned out some truly monstrous and carnivorous hard rock and heavy metal, as All Pigs Must Die's Nothing Violates This Nature simply devoured the competition. Motorhead did what it always does, but somehow, Lemmy Kilmister and the boys did it better than they have in a long time.

ASG took a great leap forward, Michael Monroe made people forget about Hanoi Rocks, and Clutch stopped messing around and made the most direct and gripping appeal for a rock 'n' roll revival of anybody in the last decade.

But, before we dig into the five courses set on this table, what about some great records that didn't make the top 20 cut? Stryper's utterly compelling No More Hell to Pay and Kingdom Come's moody Outlier deserve something more than honorable mention, as do Stone Sour's House of Gold & Bones Vol. 2 and Bad Religion's Due North.

Alas, choices had to be made. So, read on, and see if you agree with them.

All Pigs Must Die - Nothing Violates
This Nature 2013
5. All Pigs Must Die: Nothing Violates This Nature Take members of Converge, the Hope Conspiracy and other merchants of death metal. Throw them together into the deepest, darkest pit of inhumanity, let them paint on the walls scenes of violence and murderous madness with their own filth and give them guitars, bass and drums. They will marry blistering hardcore and extreme metal in the unholiest of ceremonies, creating one of the most ferocious and aggressive albums of the year. Rampaging riffs and crazed, writhing rhythms get all gnarled and twisted by backbreaking shifts in dynamics, as All Pigs Must Die turn heavy, bringing about immense power surges, or speeding headlong into scenes of unimaginable brutality. Few entities have ever spewed this much hatred with such exacting and raging articulation.


ASG - Blood Drive 2013
4. ASG: Blood Drive – Once upon a time, ASG stood for All Systems Go. Copyright issues forced these North Carolina stoner metal/Southern rock mystics to shorten the name, but with Blood Drive, ASG has shown it is ready for launch. Mammoth riffs and tantalizingly slow tempos bid you to follow, becoming sirens that lure listeners into towering forests and craggy mountains of sound. Occasionally, ASG flies to celestial realms, gazing about in wonder as they try to comprehend just where they ended up. More often than not, though, ASG knows exactly where they're going, and they are unafraid. A cookie or some orange juice is needed after this Blood Drive.

Motorhead - Aftershock 2013
3. Motorhead: Aftershock –Contrary to popular belief, Lemmy is not indestructible, as his recent health scares have so frighteningly illustrated. Aftershock, on the other hand, could never be destroyed. It's that cockroach of an album that would live through anything. Like all Motorhead efforts, Aftershock is audacious, high-octane rock 'n' roll, with some bluesy grit thrown in for good measure. Constantly in danger of going off the rails, it somehow manages to always stay on track, picking up speed and running over anything that gets in its way. 

Michael Monroe - Horns and Halos 2013
2. Michael Monroe: Horns and Halos – Thank God for Michael Monroe. Still making great rock 'n' roll that belongs in a gutter and looking fabulous in his tattered glam-rock garb, Monroe is on fire these days, having released in recent years not one, but two albums of rousing, straightjacket-tight rock anthems with hooks all over the place, energy to burn and a little bit of a punk sneer on their dirty faces. Horns and Halos didn't just give 2011's Sensory Overdrive a run for its money. It stole its wallet, ducked down an alleyway to escape and divvy up the loot, and then blew it all on prostitutes and drugs. " … Junkies, pimps and whores, hallelujah," indeed.


Clutch - Earth Rocker 2013
1. Clutch: Earth Rocker – Clutch trimmed the excess sonic fat, like any good studio butcher, leaving the lean meat of Earth Rocker, as Neil Fallon and company concoct a dish with this rock 'n' roll protein that couldn't have been more flavorful. Straightforward, never wandering off into places it shouldn't go, Earth Rocker was propelled by the force of its own sinewy momentum, its groove-metal engine always running clean and hot. Never has Clutch sounded this focused or this tight, Earth Rocker assuming even more power and ballsy drive than seemingly all of its past efforts combined. We all should be earth rockers.

Kingdom Come to 'Get It On' again with 'Outlier'

Lenny Wolf’s maturity shines on diverse new album
By Peter Lindblad

Kingdom Come's Lenny Wolf - 2013
Even now, after all these years, the furor over “Get It On,” that mysterious single leaked to radio in 1988 that was thought to be the work of the mighty Led Zeppelin, leaves Lenny Wolf with mixed feelings.

It all unraveled so fast for Kingdom Come. A year earlier, Wolf, having signed to Polydor Records, had recruited all the band’s original members. They’d hit the studio with producer Bob Rock, who would later work with the likes of Metallica and Bon Jovi, to record their debut LP.

Out of nowhere, the swaggering single “Get It On” made its way onto radio stations across the United States, but there was a great deal of uncertainty as to where it came from, even though it sounded remarkably like Zeppelin – heavy and bluesy, even Wolf’s vocals were eerily similar to those of Robert Plant.

And everybody wanted so badly to see the return of Led Zeppelin, who had been dormant since the 1980 death of John Bonham, that they seized upon the idea that it actually was Zeppelin. 

But it was somebody else that made “Get It On.” It was Kingdom Come.

At first, Wolf loved the comparisons, although he was a bit befuddled by them. And the meteoric AOR success of “Get It On” fueled sales of Kingdom Come’s self-titled debut album, which was afforded gold status upon it being shipped and eventually rose all the way to No. 12 on the U.S. album charts.

“In the beginning, it was a blessing, because people took notice who had never heard of us, and of course, we were flattered and hallelujah,” said Wolf, who has once again revived the Kingdom Come machine for his most recent album Outlier, released on May 7 via Steamhammer/SPV. “And being a big Zeppelin fan myself, I thought, ‘What the hell they were talking about.’ But hey, what do I care? Thank you very much. It’s nice to be compared to them, and it gives you a good amount of adrenaline, so I thought, ‘Okay.’”

Everything was more than just okay for Kingdom Come in the immediate aftermath. Comprised of guitarists Danny Stag and Rick Steier, drummer James Kottack, and Johnny B. Frank on keyboards and bass, Kingdom Come was tapped for the North American Monsters of Rock tour in 1988, opening for such legends as The Scorpions, Van Halen, Metallica and Dokken. Up to that point, Wolf had played guitar in all the bands he’d been in. He gave it up for Kingdom Come.

“Oh, God, it was so beautiful,” said Wolf. “It was just an unbelievably strong concentration of – not just beautiful ding-dongs – but beautiful and nice people in general – like before the show, after the show, etc. Because it was such a big production that we carried around, we very often had two or three days off before the next show. So we’d get into the town a day or two in advance, and we just hung out, and because there was some big press stuff going on – Yay! The Monsters of Rock are here for our big stadium tour – people were recognizing us and inviting us to all kinds of things.”

Wolf once got a birds-eye view of the whole Monsters of Rock experience away from the stage.

Lenny Wolf enjoyed the
Monsters of Rock experience. 
“I mean, taking a helicopter around for a tour of the town and leaving a trail of people on the ground, which was a very big f- -king concept for a guy who likes breaking all the laws in the town. That was fun,” Wolf laughed. “I mean, I wasn’t flying around with the sheriff (laughs). But he actually took us to a fairly big home and was so sweet – I mean, all over the States, whether we’re talking Pittsburgh or wherever, it was great. That’s why I can’t point out one particular thing, it was just an overall fantastic experience and one I’m very grateful for.”

Although, Wolf would have appreciated a later time slot for Kingdom Come. They usually went on a little early for his liking.

“It was almost like a secondary thing at the end, because we’d only play 45 minutes, but travel around with the whole circus for … well, I don’t know, how long did it last? I don’t know, four weeks or something?” said Wolf. “We had a lot of time on our hands, you know. So, yeah, I wasn’t too thrilled about having to sing my ass off at 2 o’clock in the afternoon. I had to learn our catalog on the plane in, because I’m a night owl, and I only start functioning at 7 p.m. So that was hard, singing the blues at that time. But hey, no complaints … it is what it is, and hallelujah.” 

Up to that point, Wolf had played guitar in every band he’d been in, but he gave it up for Kingdom Come. Still, Wolf had a great deal of influence on the musical direction of Kingdom Come, as did Rock.

“The bottom line was, he was not one of those control freaks who are going to make it theirs or make it their mission,” said Wolf, referring to the acclaimed producer. “It was mainly, ‘How can I get the best out of them and finding their uniqueness, their tone – just improving it, and like I said, getting the best out of you in terms of character and just the way we got along, it was fantastic. I mean, I would love to work with him anytime again – very professional, very nice, very cool. It is like, why do you love a particular woman, rather than any other adult? It is hard to put your finger on it sometimes – one can cook and the other will give you something else, but in the end, you love her. But he was one of those guys ... I just thank God for having met him and worked with him, just like he actually made Metallica. Otherwise, they do not become as huge as they are.

Kingdom Come had its time in the sun, too, although it ended all too quicklyWhile Wolf and Kingdom Come were having the time of their lives with the Monsters of Rock, their reputations were taking a beating in the press. Critics were lining up to bash their first record as a slavish rehash of everything Led Zeppelin had already done. And one of Wolf’s heroes was adding his voice to chorus of jeers directed at Kingdom Come.

Zeppelin guitarist Jimmy Page was quoted in 1988 as saying, “Obviously it can get to the point where it gets past being a compliment, and it can be rather annoying, when you’ve got things like Kingdom Come, actually ripping riffs right off, that’s a different thing altogether.”

Hearing Page call out Kingdom Come and accuse them of theft was difficult for Wolf.

“What made me very sad is that one of my biggest idols, namely Jimmy Page … I was kind of disillusioned by a living legend,” Wolf said. “To even be annoyed by mentioning it, I thought that was very sad, because he should be above it all and just smile at the whole blah, blah, blah blowing up, if you know what I mean. That was what Robert Plant did when I saw Robert Plant in London. He was joking. He was just like goofing around. He didn’t care. He was like, ‘No, I’m a living legend. Who the hell is Kingdom Come?’ And it was like, ‘Okay, yeah. You’re right.’”

Had everybody in Kingdom Come taken the criticism leveled at them in stride, perhaps it all would have blown over. Understandably though, they got defensive when bombarded with questions about whether they had, indeed, stolen their sound from Led Zeppelin.

“In the end, unfortunately, [that was] due to a mistaken remark from Denny Stag, our former guitar player, who was so annoyed by being confronted with that question all the time, and at a coffee shop said, ‘Who’s Jimmy Page?’” said Wolf. “Of course, it was an ironical statement, but some writer overhead it and they made a big fuss over it. The majority of the press was jumping on the same train as he did and basically wrote the same bullshit without even knowing what was going on. But then, of course, people get like, ‘Well, holy Zeppelin … how can you?’ And blah, blah, blah … everybody who has seen Kingdom Come from long ago knows that I am one of the biggest Zeppelin fans around.”

Accused of heresy, Kingdom Come began experiencing darker times. Although their second single, the power ballad “What Love Can Be,” received a great deal of airplay and their first album reached platinum status, the growing backlash from “Get It On” was hitting them full in the face. And even though they were chosen to be the support act on The Scorpions’ “Savage Amusement” tour after their Monsters of Rock triumph, Kingdom Come was about to get a dose of reality.

Their second album, 1989’s In Your Face, didn’t even go gold. Later that year, Kingdom Come, as they
Kingdom Come - Outlier 2013
were originally configured, was no more, having disbanded due to personal reasons. Left to his own devices, Wolf kept Kingdom Come alive, releasing 11 albums in the years between In Your Face and Outlier.


The name of Kingdom Come’s latest record holds special significance for Wolf. It was a suggestion from a family member.

“I was thinking back to my childhood, and now musically, once again, taking a different route stylistically, it just made perfect sense,” said Wolf. “So I fell in love with it.”

Rather gloomy and atmospheric, Outlier is, nonetheless, a fully realized Kingdom Come record, with big, flowing melodies, well-constructed, powerful songs ensconced in a variety of sonic moods and textures, and even some rich electronic flourishes to flesh out pieces like “Rough Ryde Rally.”

“Actually, there was no master plan,” said Wolf, referring to creative process that resulted in Outlier. “When I get in the studio, I’m like a 5-year-old sitting in a candy store, like plucking at a guitar chord, hoping to get a hot line to the almighty – or the cosmos or whatever you want to call it – and just trying to pick up something more interesting or cool.”

A track like “Skip the Cover and Feel,” with its raucous, blues-driven stomp and ‘70s classic-rock architecture, wouldn’t sound out of place on Kingdom Come’s debut LP, however.

“That song, ‘Skip the Cover and Feel,’ offers something different from the rest of the songs [on Outlier],” said Wolf. “It was one of the songs I definitely could have written in ’88 or whatever, definitely. And that shows once again that I’m still attached to some of the good old vibes Kingdom Come used to offer and still do, but then at the same time, I’m trying to build a bridge [between the old Kingdom Come and the new one]. The hardest part about the two songs you mentioned was not to overproduce them, which is difficult to do when you’re in the studio and you get very creative, you know what I mean? So just leaving them alone and rocking out was the main mission, and I think we did it.”

And if the skies of Outlier don’t exactly seem sunny, that just reflects Wolf’s personality.

“I think that’s just basically me, but I’m glad you brought it up,” explained Wolf, a native of Hamburg, Germany. “It’s a big part of me. No, seriously, I’m a guy from the streets. Growing up in the big city, you get a little bit of that street-wise guy attitude. It’s hard to put into words. But certainly, I’m more into the heartfelt, dark side of moody, emotional … blah, blah, output, you know? Kingdom Come is not really a party band. There’s nothing like ‘Cherry Pie,’ let’s party, let’s all get wasted … blah, blah, blah. It’s something to do at the right time, but it’s not exactly what Kingdom Come is all about, even though we do have a few songs which simply rock out and you can have a good time. But that’s not exactly my musical fulfillment. I like the deep shit (laughs), and I’m just hoping to do enough to get at people’s emotions and their hearts, and hoping for them to enjoy the ride.”

There’s plenty of philosophical musings on Outlier, the successor to 2009’s Magnified, to placate intellectuals – “God Does Not Sing Our Song,” for one, is a sharply worded treatise on the all-too-human failings of organized religion. An epic in every sense of the word, it’s indicative of the fresh, revitalized approach Wolf took to making Outlier. With the exception of a few guitar solos by Eric Forester, Wolf recorded all the instruments himself at his Hamburg studio, dubbed the Two Square Noise Factory, and produced, engineered, mixed and mastered the new record completely on his own. For all intents and purposes, this is who Wolf is as an artist.

“I’m not stuck in the past, you want to put it that way,” said Wolf. “I do love ‘60s and ‘70s hard rock, with The Beatles, Hendrix, Zeppelin, AC/DC – of course, I love that stuff. I still listen to it a lot, but I also get like a second heart beating in me which is stuck very much in new sound elements, if you want to put it this way. I mean, our hearing habits have changed over the years. Once again, we don’t have any master plan or commercial interests or whatever. It’s just that we’re bloody kids at work hoping something cool comes out.”

Outlier is cool, and it’s different. The songwriting is mature, producing epic songs that are dark, deeply personal and gripping in ways that the old Kingdom Come could never imagine, even if some of the past seeps into Outlier and reminds everyone why “Get It On” found such a receptive audience. And it wasn’t just the Zeppelin-esque sound.

“I can’t really change my vocal cords, so the basic tone, the basic height is still there,” said Wolf. “I started realizing, about 12 years ago, that my vocal cords had gotten a bit rougher, which I actually like. We all have done some maturing. It’s called growing up, I guess. So I think you can hear that right away when compared to the old records. There are some parts where it sounds rather cute and not like rocking or whatever, but that’s just part of growing up. I think the basic emotional output, to put it this way, it still kind of remains the same, but the packaging, of course, is what makes a product different, especially when it comes to any changes in audio packaging. You know, basically, it’s just like building frequencies and like gluing them together, and it can go from very poppy to a little bit aggressive; it could be good. And I think we’ve reached a much, much more mature approach now than we had like in the early ‘80s, not like when you’re 22 and the hormones are really getting in the way.”

Having sown his wild oats a long time ago, that’s no longer a problem for Wolf. 

CD Review: Kingdom Come – Outlier


Kingdom Come – Outlier
Steamhammer/SPV
All Access Review: B+

Kingdom Come - Outlier 2013
He is, in essence, now a lone Wolf – that’s Lenny Wolf, as in the mastermind behind Kingdom Come. As in the band that was first mistaken for Led Zeppelin in 1988 and then savaged by critics for sounding a little too much like them on the single “Get it On,” as well as on the self-titled debut album from whence came the track in question. As in the band that some waggish scribes dubbed “Kingdom Clone” and was taken to task by none other than Zeppelin guitarist Jimmy Page as rip-off artists and forgers.

That was a quarter century ago, and while they still unapologetically wear their ‘70s hard-rock influences on the project’s tattered sleeves, Kingdom Come – basically, a solo project for Wolf these days, seeing as how he produced, engineered, mixed and mastered Outlier, in addition to playing all the instruments, with the exception of Eric Forster’s guitar solos – isn’t inextricably bound to them. Wolf has come into his own as a recording artist, becoming more assured as a songwriter and sonic architect. And his designs are more dramatic and impactful than ever.

Dark and moody, with Wolf often looking inward for lyrical inspiration and his passionate, slightly worn voice a blazing beacon, the sprawling Outlier – out now on Steamhammer/SPV – is awash in murky atmospherics, its expansive soundscapes stretching out far and wide on “Don’t Want You to Wait” and “When Colors Break the Grey.” The sweeping epic “Rough Ride Rallye” practically lives in Wolf’s shadowy synthesizers before growing in a full-blown supernova. Another silvery, cinematic production, with tendrils of distortion floating through the air, “God Does Not Sing Our Song” is similarly cast, enveloped in billowing guitar blackness and angelic melodies. Far more rugged, though just as starry and cosmic, “Running High Distortion” drives on through the night with drums bashing away and guitars flashing like lightning. These are beautiful sonic constellations, almost divine in their own way.

However, there is no God in “Let the Silence Talk” or the slow-burning, ballad-like “Holy Curtain,” both of them constructed according to more standard, earthbound metal blueprints. And with “Skip the Cover and Feel,” Wolf decides he can no longer keep his love for Zeppelin hidden, turning a gritty blues riffs inside-out, much as Jimmy Page once did, before a melodic flood rushes in. Outlier is a stylish album – even heavy, hook-filled hitters like “Such a Shame” and “The Trap is Alive” have their moments of dreamy transcendence, although the verses of the latter are somewhat clumsy in their movements.

Solidly built and ambitious, Outlier has a smoky quality and pulse-quickening tempos that make it perfect for moonlit caravans in fast convertibles. In the harsh light of day, few of its tracks beat their chests and demand to be singled out, but Outlier certainly is pretty and full of meaningful reflections on life and love. The echoes of past criticisms aimed at Kingdom Come are starting to fade. http://www.spv.de/
-        – Peter Lindblad