WOW!!! I was there if in fact it is the "HOB" show. Right near the front, it was the second time I have seen them and the first of (many) "intimate" club settings. Much prefer that over a stadium concert any day of the week. I went to HS over in Cocoa Beach area that is an hour from Orlando and my family is still over there.
When You're Scared "When You're Scared" has a sort of psychedelic blues vibe that, like most of the songs on Bulbous, grew out of a jam. The main inspiration originated with Doug Pinnick. When it came time to write the lyrics, each band member contributed a line. "Everybody came up with a line", says Pinnick. "And I think every line has a different meaning to each of us." At first I wasn't that keen on this one, but it has grown on me over the years. I like Jerry's drum part. The lyrics are a little depressing, but then this whole album has a dark cloud hanging over it. And everything being tuned down to A only accentuates that. Anyway, "When You're Scared" is an interesting offering. It's really easy to hate everyone When you're scared Making comparisons Faking your friends When you're scared Then comes the day Everything's taken away Everyone's shame is the same If she gives me a sword and a lake Will I mistake it If she hands me my head on a plate How will I take it If I'm scared It's really easy to take all the blame When you're scared All of your ornaments fall to the floor When you're scared All the decisions to make All of your life is at stake Under your feet there's a quake If she gives me a sword and a lake Will I mistake it If she hands me my head on a plate How will I take it If I'm scared Love twisted to break And its your life that you hate Nothing is easy to take If she gives me a sword and a lake Will I mistake it When she hands me my head on a plate Then will I break it If I'm scared
I've been on vacation the last week and have not had a chance to weigh in on Bulbous yet, but this is my 2nd favorite King's X album. I loved it when it came out, and still love it today. It is "weird" and is a unique album in the KX discography, but I think all the songs are very strong and it just appeals to me greatly. I think my favorite King's X live show I ever saw was on this tour. I saw them at a small hole-in-the -wall club in Charlotte, NC on this tour. I remember "Smudge" in particular being played that evening and absolutely loving it live. "Fish Bowl Man" starts off as another strong rocker to open this album, but even I will admit that the stream of consciousness spoken-word bit in the song threw me for a loop the first time I heard it. Honestly, I could do without it in the song, but I also think that jolted the listener that this album was going to be different. I'd agree that "Julia" might have been better served being moved to a different point in the album, but I still really like the song and the contrast between the heavy parts and the clean parts with the guitar chord arpeggios. "She's Gone Away", ""Marsh Mellow Fields" and "When You're Scared" are all top-notch songs to me that round out "Side 1" of the album, but I do prefer "When You're Scared" the most followed by "Marsh Mellow Fields". I think this is a great 1-2 punch to close out the first half. I think the mix of the instruments and vocals on this album, and these songs in particular, are fist-rate. As good as the first half is....I think I like the second half even more.
Meh. Filler. I got nothing at this point. AKA this is where the emotional disconnection starts to take a toll for me. Maybe the band needed to take more time on these songs, like Doug said. I don't really know about that though, I think it's just a flaw in trying to further deconstruct their sound. I see the pieces here, but it just doesn't move me. Lyrics not helping in that matter. I need passion, and it's not on this record very often.
When You're Scared For this listener When You're Scared is the weakest song on the album. I like the instrumental break with Jerry's drum fills, and Ty's solo is good. But the verses and chorus are kind of ho hum IMHO. Overall, a C grade song among several grade A and B tracks.
Charlie Sheen It's not about the actor! That seems to be the biggest question about this song. Doug Pinnick: "I remember when we were making up lyrics, Ty kept coming back to, 'Are you my friend, Charlie Sheen?' And I'm going, 'What the **** is that?'". Ty Tabor: "I just happened to see [Sheen] on some tabloid TV show ... and just stuck him in the song. That's the honest truth ... I have no idea if Charlie has ever heard the song." Tabor also states that the lyrics reference his failing marriage. Definitely, for my money, the strongest track on Bulbous. Yea, the lyrics are weird, but it's great. I'm tempted to say this should have been released as a single, but Ty would have nixed that idea. This one is a keeper, though. It all works out It all works out It all works out It all works out I'm waiting for a word beyond our history And paper tigers dance about within the mystery Clover of substance I can't put my finger on And stepping over sidewalk cracks I'm catching the last one The silent waiting room, the padded soundproof wall Have become much more terrifying than the shadowed hall So you can have your reasons for the bloody war I know I don't want to hate you for what you're not sorry for Kill the king Strip the queen Are you a friend Dear Charlie Sheen Roll over Johnny boy Your song is on the tube And with it died a dream of mine Releasing the balloon It seems that lately nothing that I ever thought Can stand up to the pressure of the crap that I have bought So turn the page and be sure that you rip it out 'Cause it won't be there otherwise unless we figure out That there are reasons yet behind this bloody war And I don't want to hate you for what you're not sorry for Kill the king Strip the queen Are you my friend Dear Charlie Sheen
I think this song fits in very well with the concept of the album, and I like it here. It doesn't transcend the concept, and it's a little lacking in variety for me to see it as a single. Frankly, it sounds more like something that belongs on a Platypus or Jelly Jam album. I think Ty dominates the concept of this album. Doug is at his most muted here, seems along for the ride. Doesn't mean he wasn't trying, but if Ty is teaching Doug to sing his own song, this album is a lot more in Ty's wheelhouse than Doug's. Which maybe goes to my complaints about lack of emotional presence, since that is more Doug's wheelhouse than Ty's typically. Even something like We Were Born To Be Loved, with all of the changes, has a freakout element that isn't present here. YMMV.
Yea Ty doesn't typically step up like he does here. I think his divorce was a big part of it. Between this album and his solo Safety he was feeling the need to let it all out. So maybe Doug was willing to step back. Doug already had confidence issues anyway, so he was probably cool with it. And Doug has said that this period saw the band feeling a little lost. He probably felt a little lost, with what he had to deal with personally after his coming out. But it also might go a way towards explaining why the next album is so much funkier and bass and groove driven by comparison; maybe Ty let Doug drive that one more. I don't know. We will talk more in depth when we get to that one. But I do agree Bulbous is Ty's album.
Also to add to your point about lacking emotion on Bulbous; it's a valid point, and maybe that is one reason why - even though I dig this record - it remains for me 2nd tier KX. It's strange; I'm very much drawn to it, but it isn't perfect either. Perhaps the problem is that the concept sacrificed some of the emotion. I think it does contain heartfelt emotion - but maybe from only 1 member: Ty. Maybe the others were just along for the ride, in a sense. Had they made this record as a more successful band, or even a band who saw a chance still for mainstream success, maybe there would have been more of an emotional investment on the part of Doug and Jerry. Just something to think about I suppose.
Charlie Sheen When I was first exposed to this album Charlie Sheen was the most immediately likable song from Please Come Home...Mr. Bulbous. And it's still the best track of the bunch. The (finger-picked?) guitar part opening adds a different flavor to the sonic stew. In fact, there really isn't a main riff on this one--which just elevates it above the pack. Regarding the topic of emotion--or lack thereof--in this album, I think the emotion shows up on the closing song. It's not histrionic nor over the top, but it's real nonetheless. I imagine the losing of one's faith can be quite emotional for the person involved.
Smudge Things get funky with "Smudge", a song I suppose is best described as a psychedelic / hip hop hybrid? The song's lyrics were written by all three band members, each taking a different line. Doug Pinnick: "There are four lines on every verse, and I would make up the first, Jerry would make up the second, and Ty would make up the third one, and we'd all make the fourth one up ... And every line is about something that happened to us in our past." One example of this is the line "Hey Betty May, it's summertime in Jersey / Don't you know the kids will freeze"; this referenced Jerry's grandmother, who would yell at his mother to bring the children inside or they would freeze, even though it would be in the middle of the summer. Another example is the line "Two-dimensional Satan on the wall", which is a reference to a painting hanging on the wall in Ty's home as a child. He feared that a demon was in the picture and would abduct him when he fell asleep. "Smudge" also makes reference to their Faith Hope Love track "Mr. Wilson". Christian Nesmith followed the group around on their European tour and put together a video for "Smudge". The band loved it. Tabor told Nesmith that of all their videos, the video for "Smudge" was the most representative of who they were. I'm not sure how I feel about "Smudge". Like all the songs here, I appreciate that they were trying to do different things, but psychedelic rap? They do a good enough job blending the various elements together and creating a sinister vibe I guess. But ... it may be a bit too weird. I think this and "When You're Scared" are the weakest links on this record. Ever since I was a little baby Had the devil on my mind Two-dimensional Satan on the wall And the thread would start to wind Hold me closer (Move aside Mr. Wilson Please move aside) In the sand the circle getting bigger Till it all gets out of hand On the mountain let go of the angel And to my mom I ran Hold me closer Any day yesterday There's tomorrow to say Let's forget it anyway Can you try to understand What's this mark upon my hand My nose was held shut and my mouth open With a spoon shoved down my throat One little piggy walking with a pumpkin And a mustard headed goat Hold me closer (Please move aside Mr. Wilson Would you please move aside) Hey Betty May it's summertime in Jersey Don't you know the kids will freeze Please don't pop your eyes out for me deary 'Cause the man behind you sees Hold me closer Anyday yesterday There's tomorrow to say Let's forget it anyway Can you try to understand What's this mark upon my hand At the bottom of a box of five black markers Is a buried Swedish pen If at Thanksgiving if you want to see me Then you better be my kin Hold me closer (For the love of God Mr. Wilson For the love of God) Anyday yesterday There's tomorrow to say Let's forget it anyway Can you try to understand What's this mark upon my hand Would you sing a song for me 'Cause I broke your rosary
"Charlie Sheen" is such a unique and catchy song to me. I can't really think of another King's X song that sounds similar to it. I like the guitar chord progression in this one with the bass line that propels it along. Despite all these songs being different and somewhat odd in their structure, the vocal melodies all stick with me and I hum/sing along with this album when listening to it.
"Smudge" is my 2nd favorite song on this album. I don't really hear the verses as rap, even though Doug is somewhat monotone in his delivery of it. I love the whole vibe of this song, with the somewhat evil sounding verses followed by the more upbeat chorus sections. Based on the discussion of this album, Bulbous is definitely appearing to be an album with songs that draw different reactions from all of us that are across the board, whereas fans seem to have more consistent views of most of the other albums. I think "When You're Scared" and "Smudge" are 2 great songs on this album, whereas many here think these are weak. I am not trying to convert anyone to my view though, as we all like what we like, which is the nature of music.
Sorry, I've been gone away for a few days. I'll ty to get back on the train later on when I have to listen to the last 4 songs for writing inspiration.
I noticed the same thing, this is a pretty divisive album. Even song to song. I guess this would be the first. It won't be the last I'm sure with what is coming.
It has been several years since I last listened to the next couple album releases coming up, 'Manic Moonlight' and 'Black Like Sunday', so I will definitely have to do some listening to those to prepare ahead of time. Just going off my memory though, I would say these two albums were a step down and the only real "lull" in the recording history of King's X. I think they got back on track again with "Ogre Tones", but I'll have to listen to all these albums again a couple of times at least to see whether I still feel this way in 2021.
I still listen to a few Manic Moonlight tracks on a regular basis but Black like Sunday I only listen to the title track and sometimes "Two". So it will be the only album I need to go back and refresh my memory on.
Smudge What a weird little song what with it's Twilight Zone vibe during the verses giving way to a bridge that sounds like one is moving into yet another dimension only to be hit head-on by the crushing wall of sound that is the chorus. I like this one. It's not a top tier track, but I do enjoy its differentness.
Bitter Sweet This short, Beatle-esque track originated with Ty Tabor and is about, you guessed it, his marriage falling apart. As such, the song was nearly written entirely by Tabor. There is a live version of this played during that House of Blues show removed from YouTube. It features an extended opening section which Ty totally botches. They have to stop and start the song over. It is a really funny moment because of Ty's reaction. Was going to share it but ... At any rate, I love this one. Great vocals. My only complaint is that it is too short. It needs another verse. Thumbs up though. Killing a bird with a knife Turning away from her life All that I do isn't right Losing my way in the night Ever reading something's bleeding in my soul And I can't seem to fill up the hole And I love you, thinking of you bitter sweet So I bury the feeling and empty my head Just to sleep too deep Watch me suffer try to cover up the pain And I stand on the roof in the rain And I love you thinking of you bitter sweet So I bury the feeling and empty my head Just to sleep too deep
Catching up: I really like Marsh Mellow Field. The way they use the initial riff to set up the first verse, then the guitar solo over the chorus riff, and finally using it as the outro is nice. I love the interplay between the guitar and bass parts on the verses and the back and forth vocal between Doug and Ty. The unison riff during the heavier chorus is cool. The guitar solo is a good one. A lot of the solos on this album are on fire. I wish there were more vocal harmonies, but we don't get any until the ending. The title is an obvious nod to The Beatles and the lyrics reflect a Lennonesque vibe. I think I generally prefer their more obscure lyrics, so these work for me.
When You're Scared isn't one of my favorite tracks on this album, but I like it more than nost everyone else it seems. The vocal harmonies on here are cool with some interesting twists. Are the lyrics about the sword and a lake a reference to King Arthur and the head on a plate a reference to Salome and John the Baptist? I don't know, but I like weirdness of the lyrics on this song. The collaborative lyric writing involving Jerry seems to take things a bit more outside. Also another nice solo turned in by Ty as well.
Charlie Sheen is an interesting one for me and I'm not sure exactly how I feel about it. I like how the drums and bass start out with a sense of menace and then Ty's sparkly guitar part makes it become upbeat. The next riff where vocals double the bass line while Ty's guitar has almost a mechanical feel is a different feel for them to me. This part later presents itself as the chorus and I like the interwoven vocal lines. The verse is good with really nice backing vocals. This song could almost be a Ty solo song in my opinion. I have to say that I have a better appreciation of it after listening to it a few times while writing this.
Smudge... what can I say... I dig the menace (there's that word again) of the initial riff... the sneering vocal delivery from Doug...the eerie harmonies.. the weird lyrics (once again a collaboration)... the lift into the chorus. And then there is the pummeling section. Another song that can't be played loud enough. I love it!
My only wish for this song is also that it was a little longer. I love the guitar parts here in this song again, along with the vocal melodies and Ty's layered vocal harmonies in the chorus. I never consciously paid attention to how much Ty is involved in this album, both in terms of writing and his singing, but others pointed this out earlier and it is now apparent to me just how much he influenced this album.
