It will be the group's first album of new material since 2008's XV.
(October 8, 2016) -- Australia's leading international independent record label, Golden Robot Records, continues to grow at an unprecedented pace. The label is absolutely thrilled to announce that globally revered, Billboard-charting rock icons King's X are now part of their ever-growing international roster. King's X recently signed a global deal with Golden Robot Records which will see their long-awaited forthcoming new album released worldwide in 2019 via Golden Robot Records' partners in the U.S., Europe and Japan.
"I'm really excited to release the next King's X album with Mark, Derek and the crew at Golden Robot! May the groove be with us all," says vocalist/bassist dUg Pinnick. Guitarist Ty Tabor adds, "I'm looking forward to working with Golden Robot Records!"
Drummer Jerry Gaskill adds, "It's been a while since we've made a record. During that time, I've been thinking, when and if we make a new record, I want it to be the best we can do. I want to believe in it. I want to make it great, whatever it takes. I don't want to just make another King's X record. I think and hope that we are in that place. I think and hope its time and I feel good about the team we'll be working with at Golden Robot Records. I'm going do my best. Let's do this thing."
"When we started to talk to King's X about signing with Golden Robot in the U.S. and we met dUg in LA a few times, I knew 100% that we would end up working with them. I'm loving the fact they are still the original members and I really believe this new album will be there best yet! It's incredible how many people inside the industry - and I'm talking about very well-known musicians - love these guys and can't wait for a new album. We are all very excited indeed," says Mark Alexander-Erber, Group Founder and President.
"I am delighted to finally be able to work with one the most respected, creative rock bands of the past 30+ years. King's X is not only a superb rock band with an ardent fan base, but are also a 'musician musicians' band. Golden Robot Records is determined to finally help King's X receive the worldwide recognition it fully deserves," says Derek Shulman, Executive Chairman of Worldwide Expansion.
Since the release of their debut record, Out Of The Silent Planet, in 1988, King's X released a dozen albums that have seen them rightfully earn their place on the rock royalty family tree. Fusing progressive metal, funk and soul grooves with vocal arrangements rooted in blues, gospel and even the British Invasion era influences, King's X created a style all their own which continues to be an inspiration for bands to this day.
Featuring vocalist and bassist Doug Pinnick, guitarist Ty Tabor and drummer Jerry Gaskill, King's X have never changed their line-up, a rarity in the music world and a testament to the band and musicians and friends.
Critically acclaimed from the start, King's X are musician's musicians, name-dropped by everyone from Anthrax and Suicidal Tendencies to Iron Maiden and Blue Murder for their instrumental prowess. Pearl Jam's bassist Jeff Ament even declared that "King's X invented grunge". They also enjoyed a long life via the David Letterman Show with their track, "We Were Born To Be Loved" (from 1990's Faith Hope Love), also a favorite of the Paul Shaffer's CBS Orchestra to play during commercial breaks.
In 1992, King's X signed to Atlantic Records/Megaforce Records, released three albums and toured with bands as diverse as Scorpions, Type O Negative and Pearl Jam. In the early 2000's, King's X released three studio albums and their first official live album via Metal Blade Records. In 2005, the band signed to German-based progressive music specialty label, InsideOut Music, and released Ogre Tones, an album described as a return to the bands classic sound. King's X forged ahead with new albums, DVD's and tours up until 2012, when drummer Jerry Gaskill suffered a major heart attack. The band then quickly compiled an exclusive live release from their archives entitled, Burning Down Boston. The proceeds of which went directly to assisting Gaskill with his medical expenses. They rolled on for two more years until Jerry suffered another heart attack, which resulted in him having a double bypass operation and ultimately led to the band taking an indefinite hiatus.
This break didn't last long, as they were back on the road in mid-2015, shortly afterward announcing they would begin work on a new studio album. This would be the band's first since 2008's XV. King's X began meetings with Golden Robot Records management in Los Angeles in early 2017, eventually signing a global deal in October 2018.
While it's been a decade since King's X have released a new record, the wait has definitely been worth it! Watch this space for news on the forthcoming album in the very near future.
For more information:
King's X
This PG exclusive shows new, behind-the-scenes studio footage of the prog-rock supergroup featuring Ty Tabor (King's X), Rod Morgentstein (Dixie Dregs, Winger), and John Myung (Dream Theater).
Trios rarely come as pedigreed as the Jelly Jam, which is comprised of bona fide progressive-rock royalty: King’s X guitarist-vocalist Ty Tabor, Dream Theater bassist John Myung, and Dixie Dregs/Winger drummer Rod Morgenstein. Since forming 14 years ago, the heavyweight collective has issued three enthusiastically received albums (2002’s The Jelly Jam, 2004’s The Jelly Jam 2, and Shall We Descend circa 2011), and on May 27 they return with their fourth release, Profit.
Belying their moniker, the Jelly Jam don’t trade in elongated jams. Rather, they specialize in a remarkably sophisticated and tuneful hybrid of classic and alternative rock, with Myung and Morgenstein powering the kind of earth-moving grooves that allow Tabor’s majestic vocal harmonies and widescreen guitar hooks to sail.
The cover image of Jelly Jam's new album Profit.
But the band hasn’t vanquished all traces of its proggy roots: True to form, Profit is a concept album. As Tabor explains, the album focuses on “a fight between progress and jobs at all cost and not thinking about any future payments that are going to have to be made.” Elaborating on how the group pieced the album together, the guitarist explains, “We recorded a lot of excess music and chose songs that work together towards the general story idea. Musically and sonically we started experimenting a lot further than we had before. It stands on its own as an album beginning to end, with a purpose.”
In a move sure to shock and awe, the album preview video we’re premiering here shows the Jelly Jam being interviewed by this writer during the tracking sessions for Profit. The band’s ebullient demeanor during the interview (sarcasm intended) is offset by Tabor’s bulldozer riffs on vicious alt-metal tracks like “Water,” “Mr. Man,” and “Memphis,” along with the hypnotic, bell-like arpeggios he weaves throughout the Beatles-esque “Heaven.” And if the studio footage has you salivating to see the Jelly Jam live, you’re in luck: In late July, the band is hitting the road to tour for the first time.
Learn how the King's X guitarist combined drop-tuned riffs with plenty of groove.
Chops: Intermediate
Theory: Intermediate
Lesson Overview:
• Create drop-tuned riffs.
• Explore arpeggio sequences.
• Understand how to combine the minor pentatonic and Dorian scales.
Click here to download MP3s and a printable PDF of this lesson's notation.
Throughout rock history there have been many genre-defining power trios. For example, the Jimi Hendrix Experience, the Police, Rush, and Cream each created a unique and singular sound. The Texas-based trio King’s X helped shape the sound of hard rock by blending crushing altered-tuned riffs with soulful vocals, funky grooves, and Beatles-inspired psychedelic sounds. The trio of bassist Doug “dUg” Pinnick, guitarist Ty Tabor, and drummer Jerry Gaskill are all about groove and melody.
Hailing from Mississippi, Ty Tabor began playing guitar in his early teens, and was influenced by the Beatles, Alice Cooper, Brian May, and Phil Keaggy. His early musical experiences were playing and touring in his father’s bluegrass band. After Tabor joined up with Pinnick and Gaskill, the band relocated to Texas and met with Sam Taylor, who later became their manager and producer.
In 1989 the band released their landmark album, Gretchen Goes to Nebraska. This album contained such classic King’s X tracks as “Summerland,” “The Burning Down,” “Over My Head,” and the epic “Pleiades.” It was a turning point for the band, and the album’s success offered King’s X the opportunity to embark on large-scale arena support tours with such acts as AC/DC.
King’s X continues to record and release amazing albums and tour regularly. Each member also enjoys a successful solo career, as well as various side projects with members of Dream Theater, Pearl Jam, and the Dixie Dregs.
Ty Tabor is an incomparable guitarist. He uses a variety of altered tunings, including the grunge-approved dropped-D and a custom dropped-B setup. Tabor’s approach to chord arpeggios emphasizes common tones, and he also makes great use of single-coil pickups in a hard rock setting.
King’s X is my favorite band of all time, and because Tabor has possibly had more impact on my playing than any other guitarist, this track was a joy to compose. I’ve focused on isolating elements of “Pleiades,” “It’s Love,” “Summerland,” “Over My Head,” “Faith Hope Love,” and “Dogman” for this lesson. Also, this whole piece is in dropped-D tuning, so make sure to tune that low 6th string down a whole-step.
Click here for Ex. 1
The track kicks off with an eight-measure verse progression that perfectly illustrates Tabor’s approach to arpeggios supported by a moving bass line. This results in a series of slash chords, based around the initial D5 chord. In the last few measures of this section, a three-against-four riff combines two open strings with an ascending line on the 5th string.
I pay tribute to ideas from “It’s Love,” “Faith Hope Love,” and “Dogman” in the next eight-measure section. The first two measures combine some sliding power chords over a syncopated open 5th string. We then move on to some grinding dropped-D chords before repeating the first two measures. Finally, this section ends with an ascending arpeggiated passage that sets up both the repeat and the variation that comes up next.
A double-time feel kicks in during the next four-measure riff. This is based around ideas drawn from “Over My Head” and uses a similar pattern of power chords against an open string. The twist comes during the last measure before the solo with a unison line that’s played with the bass ahead of the Bbm7 chord stabs.
The ripping solo combines Hendrix-style bends and double-stops with some over-the-top shredding. Things kick off with double-stops based around the D minor pentatonic (D–F–G–A–C) and D Dorian (D–E–F–G–A–B–C) scales. In the sixth measure of the solo, I pre-bend the C before launching into a furious legato passage. The trick here is to break it up into smaller pieces and play with a metronome. Take each group of slurred notes and work them out before connecting them.
Tabor’s original rig included an early ’80s Fender Elite Strat that featured a mid-boost circuit. His amps of choice were Gibson Lab Series, which were rack mounted and used only as a preamp. Those then ran into a Mesa/Boogie power amp. Currently, Tabor usually favors a Fractal Audio Systems Axe-FX running into a Randall RT2/50 power amp. For pedals, he uses a Line 6 DL-4 and a Seymour Duncan Pickup Booster.
This month’s track was recorded entirely using Cubasis, Steinberg’s iPad sequencer and recording software. For guitar and bass tones I used JamUp Pro with an Alesis iO Dock interface. I plugged in my Ernie Ball Music Man Axis Super Sport (on a single-coil setting), and then dialed up a Marshall JCM sound for the rhythm parts and a Mesa/Boogie sound for lead. On the solo, I added a touch of chorus and delay, and for the cleaner tones I simply backed down my guitar volume knob. The “acoustic” guitars on the backing track were produced with the piezo pickup on the Axis.