Kings of Leon Tickets - From Southern-Fried to Anthem-Sized by Brent Warnken
When the Kings of Leon broke onto the scene in 2003 with their debut release, Youth and Young Manhood, and their brand of southern-fried rock, it was a breath of fresh for those longing for a throwback to the days of Lynryd Skynyrd and Creedence Clearwater Revival. It wasn't that the Kings emulated the styles of those groups so much, but there were just enough similarities to quench the thirst of fans looking for something to bring them back to the rock of the '70s.
Youth and Young Manhood is filled with raucous tracks like "Molly's Chambers," spliced with the occasional catchy tune such as "California Waiting," a delicate balance that drifted more towards the rough side. The group followed it up with what, in my opinion, is their finest effort o date, Aha Shake Heartbreak. On this record, the Kings seemed to blend the raucous tracks with the catchy ones, instead of the style varying from track to track. This album seemed to signal a young band really coming into their own and finding their style. The record touched on subjects as raunchy as some of their guitar work.
The album opens up with one of its more toned-down tracks, "Slow Night, So Long," but the toned-down nature stops at the sound. "Slow night so long, she's frenching out the flavor; She's 17 but I done went an plum forgot it; No tears are gone they're pooling on the table; No tears are gone they're leaving their mark behind; So far so good she's absolutely wasted; She's hanging up and changing her story around; I just don't know where leading ladies come from; I just don't know where they can be found; She's opened up just like she really knows me; I hate her face, but enjoy the company," croons lead singer Caleb Followill on the opening cut.
At this point, the Kings seemed to epitomize rock in its truest and most raunchy form, a throwback to the days of old when every band performed hard, partied hard and basically lived hard. Kings of Leon tickets were beginning to gain popularity and the group began to build a reputation as a show worth seeing, even if you were unfamiliar with their work.
Just when it seemed like we'd figured out this band, though, came Because of the Times. The band's third album completely changed gears, trading in the dance-inducing southern rock for a more aesthetic brand of dark anthem rock. For me, it was a departure from everything I loved about the band and I was on the verge of abandoning the group from a fan standpoint. You can't give up on a band because of one subpar effort, though, even though the change in style seemed more like a permanent alteration than a blip on their catalog's radar.
In 2008 the group released their latest record, Only by the Night. Just as I'd feared, the album sounded more like Because of the Times than Aha Shake. This time, however, things were different. The Kings had abandoned the artsy feel of Because of the Times that just rang false to me and delved deeper into the anthemic direction. Instead of trying to do too much on this record, the group worked in some catchy licks and a more mainstream feel. While it wasn't as great the Kings of old, it enabled me to accept this group for what they've become.
With Only by the Night has come much more popularity for the Kings as they break into the mainstream with a more conventional style. They're still unleashing some raunchy lyrics, though, like on "17." "Oh she's only seventeen; Whine whine whine, weep over everything; Bloody Mary breakfast busting up the street; Brothers fighting, when's the baby gonna sleep," the song begins. It's lyrics like those that invoke memories of the Kings of old. They may not sound like the raucous, dirty, fun-filled band that I remember and miss, but they've found something that works as well as something that I can accept and enjoy.
This article was sponsored by StubHub. StubHub sells Kings of Leon tickets, sports tickets, concert tickets, theater tickets and more to just about any event in the world.
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When the Kings of Leon broke onto the scene in 2003 with their debut release, Youth and Young Manhood, and their brand of southern-fried rock, it was a breath of fresh for those longing for a throwback to the days of Lynryd Skynyrd and Creedence Clearwater Revival. It wasn't that the Kings emulated the styles of those groups so much, but there were just enough similarities to quench the thirst of fans looking for something to bring them back to the rock of the '70s.
Youth and Young Manhood is filled with raucous tracks like "Molly's Chambers," spliced with the occasional catchy tune such as "California Waiting," a delicate balance that drifted more towards the rough side. The group followed it up with what, in my opinion, is their finest effort o date, Aha Shake Heartbreak. On this record, the Kings seemed to blend the raucous tracks with the catchy ones, instead of the style varying from track to track. This album seemed to signal a young band really coming into their own and finding their style. The record touched on subjects as raunchy as some of their guitar work.
The album opens up with one of its more toned-down tracks, "Slow Night, So Long," but the toned-down nature stops at the sound. "Slow night so long, she's frenching out the flavor; She's 17 but I done went an plum forgot it; No tears are gone they're pooling on the table; No tears are gone they're leaving their mark behind; So far so good she's absolutely wasted; She's hanging up and changing her story around; I just don't know where leading ladies come from; I just don't know where they can be found; She's opened up just like she really knows me; I hate her face, but enjoy the company," croons lead singer Caleb Followill on the opening cut.
At this point, the Kings seemed to epitomize rock in its truest and most raunchy form, a throwback to the days of old when every band performed hard, partied hard and basically lived hard. Kings of Leon tickets were beginning to gain popularity and the group began to build a reputation as a show worth seeing, even if you were unfamiliar with their work.
Just when it seemed like we'd figured out this band, though, came Because of the Times. The band's third album completely changed gears, trading in the dance-inducing southern rock for a more aesthetic brand of dark anthem rock. For me, it was a departure from everything I loved about the band and I was on the verge of abandoning the group from a fan standpoint. You can't give up on a band because of one subpar effort, though, even though the change in style seemed more like a permanent alteration than a blip on their catalog's radar.
In 2008 the group released their latest record, Only by the Night. Just as I'd feared, the album sounded more like Because of the Times than Aha Shake. This time, however, things were different. The Kings had abandoned the artsy feel of Because of the Times that just rang false to me and delved deeper into the anthemic direction. Instead of trying to do too much on this record, the group worked in some catchy licks and a more mainstream feel. While it wasn't as great the Kings of old, it enabled me to accept this group for what they've become.
With Only by the Night has come much more popularity for the Kings as they break into the mainstream with a more conventional style. They're still unleashing some raunchy lyrics, though, like on "17." "Oh she's only seventeen; Whine whine whine, weep over everything; Bloody Mary breakfast busting up the street; Brothers fighting, when's the baby gonna sleep," the song begins. It's lyrics like those that invoke memories of the Kings of old. They may not sound like the raucous, dirty, fun-filled band that I remember and miss, but they've found something that works as well as something that I can accept and enjoy.
This article was sponsored by StubHub. StubHub sells Kings of Leon tickets, sports tickets, concert tickets, theater tickets and more to just about any event in the world.
Article Source: ArticleSnatch Free Article Directory