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King's X is an American rock band formed in Springfield, Missouri, in 1979. They were first called the Edge and later became Sneak Preview before settling on its current name in 1985.[4] The band's current lineup has remained intact for more than four decades, consisting of vocalist and bassist Doug Pinnick, drummer Jerry Gaskill and guitarist Ty Tabor. Their music combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. Despite a largely underground reputation as the "musician's musicians", King's X was pivotal in the early development of progressive metal, and produced a series of early records considered essential within the genre.[5][6] The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock.[7]

Key Information

King's X has released thirteen studio albums, two official live albums, and several independent releases. After signing to both Atlantic and Megaforce Records in 1987, they broke into the mainstream with their first six albums, including their only top 100 charting albums Faith Hope Love (1990) and Dogman (1994).[8] The band's most recent studio album, Three Sides of One, was released in 2022 on the InsideOut Music label. Since leaving Atlantic Records, following the release of Ear Candy (1996), King's X has released albums through Metal Blade Records, InsideOut Music and independently, respectively. Each member of the group has recorded several solo albums and has made numerous guest appearances on other artists' albums, as well as participated in numerous compilation projects. Pinnick and Tabor also have many albums released with side bands in which they participate.[7]

The spiritual nature of the band's lyrics, particularly on their first four albums, has often led to them being labeled a Christian rock band, a label that the members have rejected.[9]

History

[edit]

Early years (1979–1984)

[edit]

The group traces its beginnings to 1979 in Springfield, Missouri, when bassist Doug Pinnick and drummer Jerry Gaskill were brought together to take part in a musical project coordinated by Greg X. Volz of the Christian rock band Petra. Within a month of Pinnick's arrival from Illinois, the project folded and he and Gaskill were left without a band. They soon landed a job as rhythm section for guitarist Phil Keaggy's live band. The two toured the country for several months in support of Keaggy's album Ph'lip Side. During the group's show in Springfield, Gaskill was approached by Ty Tabor who was a member of the opening band that night. The drummer for Tabor's band had quit the night before the show and Tabor had volunteered to take over on drums for the gig. However, seeing as he had no drums, he was forced to ask Gaskill if he could borrow his kit for the show. Gaskill obliged and the show went on.[10]

When the tour ended, Pinnick and Gaskill returned to Springfield and set about looking for more work. Gaskill landed a job doing demo work for the Tracy Zinn Band that happened to include Ty Tabor on guitar. The two became friends and were involved off and on together in different musical projects.

In early 1980, Pinnick attended a music show at Evangel College and watched a set by another of Tabor's bands. Pinnick was impressed with Tabor's skills and the two soon began collaborating musically.[11]

Eventually Gaskill, Pinnick, and Tabor decided to pool their talents into a single outlet. Calling themselves the Edge, they initially were a four-piece with the inclusion of Dan McCollam on rhythm guitar. McCollam quit after only a brief time and was replaced by Kirk Henderson, who was a friend of Tabor's from Jackson, Mississippi. The group performed extensively on the Springfield bar and club circuit specializing in classic rock and Top 40 covers at the time.

By 1983, Henderson had quit the band and Pinnick, Tabor, and Gaskill decided to continue on as a trio. They also decided to change the name of the band, and settled on calling themselves Sneak Preview.

The group had been writing and recording many original songs up to this point. They chose ten of these songs to record for an independently released self-titled album in 1983. After the album's release, the band continued to tour and hone their songwriting skills.

Move to Houston (1985–1987)

[edit]

By 1985, the group had made connections at Star Song Records based in Houston, Texas and were encouraged to move the band there. The first order of business for the three was to become part of a touring band for CCM artist Morgan Cryar. Tabor and Pinnick are also credited for co-writing several songs on Cryar's second album Fuel on the Fire in 1986. Tabor also performed some guitar parts on the album and both he and Pinnick are credited with background vocals.

However, when it came to signing Sneak Preview to a recording contract with Star Song, negotiations broke down and the deal came to a halt.

Megaforce era (1988–1991)

[edit]

The group released its debut album as King's X, Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. King's X promoted Out of the Silent Planet with its first major tour, playing with the likes of Cheap Trick, Blue Öyster Cult, Robert Plant and Hurricane,[12][13] as well as Megaforce labelmates Anthrax, Testament, M.O.D., and Overkill.[14]

In 1989, the band released their second album Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder.[14][15][16] The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. 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 late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598).[17] Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group.

The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990,[18] and AC/DC on their Razors Edge tour in the U.S. and Europe for the first half of 1991.[19] In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.[20]

Atlantic era (1992–1997)

[edit]

The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs", the attention they deserved.[21] In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing.

With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge"[22] (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, with Pinnick now handling all lead vocals and the lyrics becoming less abstract and spiritual. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured with bands such as the Scorpions,[23] Pearl Jam,[24] Mötley Crüe[25] and Type O Negative,[26] but despite a return to the Top 100 for King's X, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded.

The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including the subsequent Best of King's X compilation album). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.

Metal Blade era (1998–2004)

[edit]

The group moved to Metal Blade Records in 1998. Their first album under the label, Tape Head, signaled a new era for the band. They modified their creative methods by writing and recording the album together in the studio, rather than coming together to record songs that the individual members had written separately. They also elected not to hire an outside producer and recorded the album at Pinnick's Hound Pound and Tabor's Alien Beans Studios, thus cutting production costs. Their next two albums, Please Come Home... Mr. Bulbous (2000) and Manic Moonlight (2001), were more or less created in the same way.

Manic Moonlight featured the band experimenting with electronic drum loops and other sounds for the first time on a record. The new direction, along with the relatively short length of the album, was generally not well received by longtime fans, but did get some positive critical reviews.

For their next album, 2003's Black Like Sunday, the group arranged and recorded an album of original songs that the band had regularly performed during The Edge and Sneak Preview days of the early 1980s. The cover art for this album was selected from artwork submitted by fans in an online contest.

The double-disc set Live All Over the Place (2004) was the band's final album for Metal Blade Records, and their first official live release.

Inside Out era (2005–present)

[edit]
The band in 2018
(L to R: Gaskill, Pinnick and Tabor)

In 2005, King's X signed to InsideOut Music, the label that had previously released some of Tabor's side projects. The album Ogre Tones was released in September 2005 and was described by many as a return to a more "classic" King's X sound. It was produced by famed rock producer Michael Wagener (Dokken, Extreme, Stryper, White Lion, Skid Row) and recorded at Wageners WireWorld Studio in Nashville, Tennessee. The tour for Ogre Tones featured the band playing every song from the album during shows.

King's X again worked with Michael Wagener on its second album for InsideOut Music titled XV, released in May 2008. They spent mid-2008 touring with the band Extreme as part of a travelling version of the Rock 'n Roll Fantasy Camp.[27] Live dates in the U.S. in December 2008 were followed by the band's first European tour in several years in early 2009.

Molken Music, an independent label started by Wally Farkas (ex-Galactic Cowboys) in 2005, has released several titles by King's X and its members. Live & Live Some More, a live concert recorded during the Dogman tour, is available there as well as demo compilations, rehearsal tapes, and other items. The label released the band's first live DVD, Gretchen Goes to London in November 2008. It was a live concert filmed in London in 1990.[28] On January 22, 2009, their concert at the Electric Ballroom in Camden, London, was filmed and released as a live DVD and CD entitled Live Love in London.[29]

On February 26, 2012, the 55-year-old Jerry Gaskill suffered a major heart attack, temporarily stopping the band's touring schedule. He was on a ventilator for several days while also suffering from pneumonia.[30] In response, King's X compiled an exclusive live release from their archives entitled Burning Down Boston: Live at The Channel 6.12.91.[31] The proceeds from the release went directly to Gaskill to help him offset his medical expenses. Gaskill posted a video message on Facebook on April 4, 2012, thanking everyone who had supported him during his illness.

The band went back to touring until Gaskill suffered another heart attack while recovering from a "scheduled minor procedure" on September 12, 2014, requiring him to undergo double-bypass surgery. King's X subsequently canceled all scheduled concerts, and announced an indefinite hiatus.[32][non-primary source needed]

In mid-2015, the band was back on tour, playing numerous dates on the east coast. They also played shows for July in Texas. In June 2015, Doug Pinnick announced that King's X were committed to begin work on a new studio album, their first since 2008's XV.[33] The band signed a world-wide record deal on October 8, 2018, with Australian independent record label, Golden Robot Records, who had planned to release their new album in the U.S, Australia and Europe sometime in 2019;[34] however, the project's release had faced myriad delays within the next few years, due to COVID-related manufacturing issues as well as the slow progress of the band working on the album,[35][36][37][38] which had been mastered by April 2022.[39] A month later, it was announced that King's X had signed again to Inside Out/Sony Music and their new album would be released on September 2, 2022.[40] The band revealed Three Sides of One as the album's title on June 24, 2022; released on September 2 of that year, three singles were released to support Three Sides of One: "Let It Rain",[41] "Give It Up",[42] and "All God's Children".[43]

Although Pinnick had initially stated that Three Side of One could be King's X's final studio album,[44] he mentioned in an August 2022 interview that there are numerous songs that did not make the cut and could be used for the band's next album: "Ty came in with four, Jerry came in with three, and I came in with 27." He added, "We would play one of mine, one of Ty's, and one of Jerry's, then do another round. Ty wanted to keep going until they ran out. We needed more songs, so we played more of mine. We recorded ten of my songs, and only some of them got on the record. We knew some of those weren't quite ready, and we had enough songs. Maybe we'll put them on the next record. I still have about 30 songs. I know Ty and Jerry both have some more songs to use on the next record."[45] In an October 2024 interview with Bravewords.com, Pinnick said that he has "submitted a handful of new songs" and "Ty and Jerry have both said they have a bunch of tunes" for the next King's X album, adding, "So, the next thing is to finally figure out when we want to get together and the whole thing you have to go through to make a record – because we live in three different parts of the country. So, sooner or later we'll get serious. We haven't yet really, but we talk about it – so that's a good thing."[46]

An authorized biography by Greg Prato, King's X: The Oral History, via Jawbone Press was released in February 2019.[47] In addition to extensive interviews with all three band members, the book included interviews with such rock musicians as Jeff Ament, Andy Summers, Mick Mars, Billy Corgan, and Eddie Trunk among others, and featured a foreword by Scott Ian.

Legacy

[edit]

The band's influence has been described as wide and diverse given "the impossible-to-categorize" nature of the genres and subgenres explored within King X's material, with the American popular culture publication D Magazine remarking in 2013 that "[t]heir fan base today is a mixture of prog-rock nerds and headbangers" while labeling the group itself as both "[f]ringe" and "[l]egends". The band has a particularly positive reputation among professional musicians. For instance, the performer Jeff Ament of groups such as Pearl Jam openly declared King's X as the true inventor of "grunge", as was mentioned above. In a retrospective interview with the news-magazine Billboard, Pinnick described an emotional, face-to-face moment with Dimebag Darrell, then of Pantera, in which the latter performer remarked "[d]ude, you know I love you" and "we love you" after the record industry controversy caused by Pinnick's coming out. Gaskill has stated that "I think I've come to realize that musicians do seem to be drawn to us," with him adding that he's "honored by it" and thinks that "it'll keep us around, because there's always going to be musicians."[48][49] Other bands who have cited King's X as an inspiration or influence include Alice in Chains, Soundgarden, The Smashing Pumpkins, Dream Theater, Skillet, Devin Townsend and Soil.[50][51][52][53][54]

During multiple decades of touring, King's X has performed with a number of prominent hard rock and heavy metal artists. Examples include past live efforts with opening slots for Sammy Hagar as well as a full touring bill with Krokus.[49] They have also opened for bands like Cheap Trick,[55] Iron Maiden, AC/DC, Scorpions, Pearl Jam and Mötley Crüe, and performed the first date of the Woodstock '94 festival.[56]

Solo and side projects

[edit]

The members of King's X have been musically prolific since their release from Atlantic in 1997, releasing a number of solo albums and participating in side bands.

Doug Pinnick

[edit]
Main article: Doug Pinnick

Pinnick recorded two solo albums under the name of Poundhound, Massive Grooves... (1997) and Pineappleskunk (2001), while his subsequent releases Emotional Animal (2005), Strum Sum Up (2007) and Naked (2013) were credited as dUg Pinnick.

He has also been a member of several bands outside of King's X:

  • Supershine featuring guitarist Bruce Franklin and drummer Jeff Olson both from the band Trouble. They released one self-titled album in 2000.
  • The Mob featuring Reb Beach from Winger, Kelly Keagy from Night Ranger, and keyboardist Timothy Drury. They released a self-titled album in 2006.
  • Razr13 is a project with members of the King's X road crew who released the album Reflections in 2009.
  • Tres Mtns. with Jeff Ament of Pearl Jam and drummer Richard Stuverud released an album in 2011.
  • Pinnick Gales Pridgen with Eric Gales and Thomas Pridgen released their debut album in 2013 and the follow-up album PGP 2 in July 2014.
  • 3rd Ear Experience with vocalist/guitarist Robbi Robb released the digital EP Peacock Black in 2013 followed by the full-length album Boi
  • KXM featuring guitarist George Lynch and drummer Ray Luzier
  • Grinder Blues with Jeff and Scot Bihlman released their self-titled debut album in 2014.

Pinnick has also made numerous guest appearances on albums by bands including Dream Theater, 24-7 Spyz, Steve Stevens, Metal Allegiance and others. Beyond that he has appeared on several tribute albums to the likes of Metallica, AC/DC, Van Halen and more.

In August 2006, Pinnick stood in for lead singer Corey Glover on Living Colour's European tour.

Jerry Gaskill

[edit]
Main article: Jerry Gaskill

Gaskill released a solo album in 2004 titled Come Somewhere which was produced by Ty Tabor.

He released his second solo album, Love and Scars, on October 30, 2015, which was produced by DA Karkos.[57]

He also played drums on the entire Let It Go album by Galactic Cowboys in 2000.

Ty Tabor

[edit]
Main article: Ty Tabor

Tabor has released seven solo albums to date: Naomi's Solar Pumpkin (1997), Moonflower Lane (1998), Safety (2002), Rock Garden (2006), Balance (2008), Something's Coming (2010), Trip Magnet EP (2010), Nobody Wins When Nobody Plays (2013), Alien Beans (2018), Angry Monk (2020), and Shades (2022).

Other bands Ty Tabor has been a member of are:

Like Doug Pinnick, Tabor has appeared on several albums as a guest performer by bands such as Ayreon, Lillian Axe, Queensrÿche and others.

Religious views

[edit]

All three members of King's X came from a background in Christianity and Christian rock (and, in Pinnick's case, church gospel singing) and have frequently been associated with the genre. This assumption has been reinforced by the Christian associations of the band's name, by the fact that King's X signed to Christian labels early in their career[22] and because the Faith Hope Love CD insert contained an entire chapter of the Bible.[20] However, the band have persistently resisted being identified or pigeonholed as a Christian rock or Christian metal band.[58]

While many of their early lyrics have a clear spiritual influence, this came from the individual faith of the members rather than an explicit attempt to tap into the contemporary Christian music market in the way groups such as Petra did.[20] Initially, many King's X albums were marketed through Christian book stores, but most of these stores refused to sell them following Pinnick's 1998 announcement of his homosexuality. Even at the time, the band welcomed this development as an opportunity to get away from the Christian rock "stigma".[59][60]

A former Protestant, Pinnick has since openly discussed his agnosticism and his belief that Jesus Christ was not truly the Son of God.[61] Gaskill has also disassociated himself from Christianity. During interviews in the early 2000s, Tabor continued to identify as a Christian, but referred to the Christian music industry as "vile".[62][63]

In an interview in late 2021, Pinnick stated "For some reason, King's X [was considered] a Christian band. Maybe because that was our faith at the time; none of us are any more."[64]

Band members

[edit]

Current members

  • Doug Pinnick – bass, lead vocals (1979–present)
  • Jerry Gaskill – drums, percussion, backing vocals (1979–present)
  • Ty Tabor – guitars, backing vocals (1980–present)

Former members

  • Dan McCollam – rhythm guitar, backing vocals (1980)
  • Kirk Henderson – rhythm guitar, backing vocals (1980–1983)

Discography

[edit]

Studio albums

[edit]
Year Album US
[8] 		US Christian US Indie UK
[65]
1983 Sneak Preview (as Sneak Preview) — — — —
1988 Out of the Silent Planet 144 — — —
1989 Gretchen Goes to Nebraska 123 — — 52
1990 Faith Hope Love 85 31 — 70
1992 King's X 138 — — 46
1994 Dogman 88 — — 49
1996 Ear Candy 105 4 — —
1998 Tape Head — — — —
2000 Please Come Home... Mr. Bulbous — — — —
2001 Manic Moonlight — — 19 —
2003 Black Like Sunday — — 13 —
2005 Ogre Tones — — 30 —
2008 XV 145 167 12 —
2022 Three Sides of One — — — —

Live albums

[edit]
Year Album
2004 Live All Over the Place
2007 Live & Live Some More
2009 Tales from the Empire[66][67]
2010 Live Love in London
2012 Burning Down Boston[31][68]

Compilation albums

[edit]
Year Album
1994 Building Blox
1997 Best of King's X
2023 In the New Age: The Atlantic Recordings 1988–1995

Singles

[edit]
Year Song US Rock
[69] 		Album
1988 "Goldilox"[70] – Out of the Silent Planet
"King"[71][deprecated source] –
"Shot of Love" –
1989 "Over My Head"[70] – Gretchen Goes to Nebraska
"Summerland" –
1990 "It's Love"[71][deprecated source] 6 Faith Hope Love
"I'll Never Get Tired of You"[71][deprecated source] –
"We Are Finding Who We Are"[72] –
1991 "Junior's Gone Wild"[70] – Bill & Ted's Bogus Journey: Music from the Motion Picture
1992 "Black Flag"[71][deprecated source] 17 King's X
"Dream in My Life"[71][deprecated source] –
"World Around Me"[70] –
1994 "Dogman"[71][deprecated source] 20 Dogman
"Fool You"[73] –
"Pillow"[71][deprecated source] –
"Pretend" –
1996 "Sometime"[71][deprecated source] – Ear Candy
"A Box"[71][deprecated source] –
"Looking for Love"[71][deprecated source] –
1998 "Fade"[71][deprecated source] – Tape Head
2000 "Marsh Mellow Field"[74] – Please Come Home... Mr. Bulbous
2001 "False Alarm"[70] – Manic Moonlight
2005 "If"/"Alone"[71][deprecated source] 40 Ogre Tones
2022 "Let It Rain" – Three Sides of One
"Give It Up" –

DVD

[edit]
  • Gretchen Goes to London (2008 Molken Music)
  • Live Love in London (2010 Inside Out/EMI)

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

King's X

View on Grokipedia
from Grokipedia
King's X is an American band formed in , in 1979 by vocalist/bassist dUg Pinnick, vocalist/guitarist , and vocalist/drummer Jerry Gaskill. The trio's sound fuses , funk grooves, and intricate three-part vocal harmonies reminiscent of , drawing influences from classic rock acts like and . King's X signed with in 1987, releasing their debut album in 1988, followed by twelve more studio albums over four decades, with their most recent, , issued in 2022 after a fourteen-year gap. Despite achieving only modest commercial success and facing label transitions and personal challenges—including Pinnick's public disclosure of his amid the band's early Christian-oriented themes—the group has cultivated a loyal and earned recognition as the 83rd greatest artist by VH1. Their heavy, riff-driven style reportedly influenced early bands such as , though mainstream acclaim eluded them as musical trends shifted.

Musical style and influences

Core characteristics

King's X's distinctive sound centers on intricate three-part vocal harmonies delivered by all three members—, , and Jerry Gaskill—which infuse their heavy, riff-based rock with melodic accessibility and pop sensibility. These harmonies, often compared to gospel or influences in arrangement, contrast sharply with the band's dense, progressive-leaning guitar layers and rhythmic complexity, creating a signature blend of aggression and tunefulness. Ty Tabor's guitar approach emphasizes layered arrangements and resonant tones, frequently incorporating psychedelic textures through techniques like backwards guitar effects and single-coil clarity amid dropped tunings for fat, powerful riffs. This results in a sonic depth that evokes swirling, indebted psychedelic melodies without sacrificing the punch of foundations. Jerry Gaskill's drumming provides a groove-oriented backbone, characterized by tight with bass lines and versatile dynamics that enable abrupt shifts and maintain propulsion across the band's evolving structures. The trio's production choices prioritize organic tones and live-recorded energy, favoring analog-inspired clarity over digital processing to capture raw instrumental interplay.

Key influences and evolution

King's X's sound emerged from a fusion of 1970s riffing and progressive complexity, with bassist/vocalist citing influences like Black Sabbath's heaviness and Jimi Hendrix's guitar style, while guitarist drew from Hendrix, Rush's , and Queen’s for tonal and riff-based elements. Pinnick also acknowledged borrowing his bass tone directly from Yes's , reflecting the band's absorption of intricacies from acts like Yes, Rush, , and Genesis. Harmonies and melodic structures echoed The ' , as Pinnick noted the trio's vocal blend often yielded a bright, Beatles-like quality despite intentions for darker tones. Funk grooves from Sly & further underpinned their rhythmic foundation, blending soulful syncopation with heavy riffs to avoid the excesses of hair metal. The band's early sound, evident in 1988's Out of the Silent Planet, featured raw, demo-like production that captured unpolished energy from their formative years, refined through persistent performances in Houston's local scene after relocating there in 1985. This evolution maintained 1970s causality—direct, groove-oriented riffs meeting 1980s without glam theatrics—while progressive elements like odd time signatures and layered arrangements persisted into albums like 1991's . By the mid-1990s, amid grunge's rise, King's X incorporated darker, down-tuned textures on 1996's Ear Candy but resisted full stylistic co-opting, preserving vocal harmonies and funk propulsion despite superficial parallels in heaviness. Over decades, their approach simplified, with Pinnick attributing reduced prog complexity to age—"we’re older and lazier"—shifting from intricate early works to more straightforward structures by the 2022 album , while retaining core melodic and rhythmic signatures.

History

Formation and early years (1979–1984)

King's X originated in , where bassist and vocalist and drummer Jerry Gaskill met in 1979 while involved in the local community, including studies at Evangel College and backing the guitarist . Both had been approached to join the band but declined, instead recruiting guitarist to form the trio initially known as . The band focused on original material blending rock, funk, and progressive elements, though early sets often included Top 40 covers to secure gigs in the bar and club scene. During 1980–1982, The Edge built a modest following through local performances and self-released demos, such as multi-track recordings captured in home studios and live tapes from venues like the Hanger. These efforts provided exposure in Christian coffeehouses and youth-oriented events, aligning with the members' shared evangelical faith, which motivated their music as a form of personal expression and ministry rather than commercial pursuit. Internal dynamics emphasized collaborative songwriting and spiritual camaraderie, though the group experienced limited regional success amid competition from established acts and the challenges of a small-market scene. By 1983, the band rebranded as Sneak Preview to avoid conflicts with another group named and recorded a self-titled featuring new wave-influenced tracks with Pinnick's layered vocals and Tabor's intricate guitar work. This release, produced independently and distributed locally, highlighted their evolving sound but yielded no major breakthroughs, sustaining their commitment through persistent gigs and demo refinements into 1984. The period underscored a tension between artistic ambition and faith-based restraint, as the trio prioritized integrity over mainstream appeal in an era dominated by hair metal and pop-rock trends.

Relocation to Houston and initial recordings (1985–1987)

In 1985, the band, then known as Sneak Preview, relocated from , to , , enticed by the prospect of a with the Christian label Star Song Records. The promised deal ultimately failed to materialize, leaving the trio—Doug , Jerry Gaskill, and Ty —to establish themselves in the local scene amid financial hardship. This move positioned them within Houston's burgeoning music community, including connections to producer and manager Sam Taylor, who encouraged a to King's X to better reflect their evolving sound and identity. Under Taylor's guidance, King's X focused on refining their material through local rehearsals and recordings, producing key demos that captured their signature blend of , , and gospel-infused harmonies. A notable "finished demo" was tracked in on February 26, 1987, featuring early versions of songs that would shape their debut album, demonstrating improved production quality via Taylor's engineering networks. These sessions emphasized self-produced efforts without major label backing, prioritizing live energy and vocal layering over polished studio effects. The band built a following through Houston-area performances, including club gigs at venues like Cardi's, often aligning with the circuit to open for or share bills with like-minded acts. This period fostered a dedicated local audience via word-of-mouth and tape trading of demos, laying groundwork for wider exposure while navigating the challenges of independent operation in a competitive market.

Megaforce Records breakthrough (1988–1991)

King's X achieved their initial breakthrough with the release of their debut album under the band's name, , on March 22, 1988, via , distributed by Atlantic. The album featured the band's signature blend of heavy riffs, intricate harmonies, and psychedelic elements, drawing from influences like and , and was produced by the band alongside manager Sam Taylor. It received praise from metal critics for its originality and technical prowess, with tracks like "In the Kingdom" and "Goldilox, Sane" highlighting bassist/vocalist Doug Pinnick's soulful delivery and guitarist Ty Tabor's innovative tones. To promote the record, the band toured extensively in the U.S., including opening slots for acts like , which helped build a dedicated following in the underground metal scene despite limited radio play. The momentum continued with the second album, Gretchen Goes to , released on June 27, 1989, also on Megaforce/Atlantic. This , inspired by Jerry Gaskill's about a girl's Midwestern upbringing, expanded on the debut's sound with more melodic structures and storytelling, as heard in songs like "Over My Head" and "." Critics acclaimed its ambitious songwriting and refusal to conform to trends, positioning King's X as innovators amid the late-1980s metal landscape. Faith Hope Love, issued in 1990, marked the trilogy's conclusion and the band's commercial peak on , approaching gold certification through strong fan support and tour sales. The album refined their progressive hard rock style with accessible hooks and spiritual undertones, earning reviews for its vibrant energy and genre-blending—fusing metal aggression with pop sensibilities—while tracks like "" and "We Are Finding Who We Are" showcased evolving lyrical depth. However, the band's overt Christian faith led to as a "" act by some industry observers and media, restricting mainstream crossover despite critical endorsements of their broader rock credentials; King's X consistently rejected this narrow label, emphasizing their music's universal themes over doctrinal marketing. This perception, compounded by the era's shifting tastes toward , posed promotional hurdles even as live performances solidified their cult status.

Atlantic Records era (1992–1997)

King's X released their self-titled album in 1992 through , marking a period of intensified major-label promotion aimed at broadening their appeal beyond the underground circuit. The record maintained the band's signature blend of progressive structures, harmonies, and heavy riffs, but with polished production to align with commercial radio expectations. Sales hovered around 150,000 units, consistent with prior releases yet underscoring limited mainstream penetration compared to Atlantic's more formulaic acts like Winger. The band's sound evolved toward a heavier, more aggressive tone on Dogman (1994), produced by Brendan O'Brien, featuring rawer guitar tones and introspective lyrics addressing personal struggles. This shift responded partly to the era's surge, though it retained King's X's melodic core, with tracks like "Shoes" and "Pretend" gaining some radio airplay. Touring intensified, including opening slots for in 1994, which introduced them to younger audiences and fostered mutual respect—Pearl Jam's bassist later credited King's X with pioneering elements of grunge's heaviness. Label executives, however, exerted pressure for further concessions to hit-driven formats, creating tensions between artistic autonomy and sales demands, as the band resisted simplifying their complex arrangements. By Ear Candy (1996), King's X leaned into a more accessible, radio-oriented polish while grappling with themes of disillusionment, but the album underperformed relative to expectations, with sales reflecting the broader marginalization of their prog-infused amid grunge's market saturation. This decline stemmed causally from shifting tastes favoring raw minimalism over layered harmonies and odd time signatures, despite King's X's earlier sonic precedents influencing acts like and . Atlantic's final King's X release highlighted these commercial frustrations, paving the way for their label exit, as the trio prioritized creative control over chasing fleeting trends.

Metal Blade transition (1998–2004)

Following the release of Ear Candy in 1996, King's X parted ways with amid shifting industry priorities for acts. The band signed with in 1998, marking a shift to a more specialized metal label that aligned better with their . This transition allowed greater creative control, though it came with reduced promotional resources compared to major-label support. Metal Blade's first King's X release was the compilation Tape Head on October 20, 1998, featuring previously unreleased demos and outtakes from sessions dating back to the early , including tracks like "Groove Machine" and "Ono." The album served as a bridge to new material, highlighting the band's archival depth without commercial pressure. In 2000, they issued their first proper studio album for the label, Please Come Home...Mr. Bulbous, released on May 22, which blended psychedelic experimentation with signature harmonies on songs such as "" and "In the Kingdom." This was followed by Manic Moonlight in 2001, emphasizing shorter, punchier tracks like "I Am" amid producer Randy Staub's involvement. The band maintained touring momentum, supporting these releases with U.S. and European dates that reinforced loyalty among progressive and metal fans, even as mainstream radio access waned. In 2003, Black Like Sunday arrived, showcasing refined songcraft on cuts like "Screaming for Help," further solidifying their output under Metal Blade. The era culminated with the double live album Live All Over the Place on November 2, 2004—their first official concert recording—capturing performances from various tours and signaling the end of this label phase with raw energy on staples like "Dogman" and "Believe." Despite modest sales, the period demonstrated resilience, with the trio—Doug Pinnick, Ty Tabor, and Jerry Gaskill—prioritizing artistic consistency over chart aspirations.

Independent phase and Inside Out Records (2005–2022)

Following the end of their tenure with Metal Blade Records, King's X signed a worldwide deal with Inside Out Music in May 2005. Their first release under the label, the album Ogre Tones, arrived on September 27, 2005, marking a return to production by Michael Wagener, who had previously helmed some of their earlier work. This was followed by their twelfth studio album, XV, released on May 20, 2008, also produced by Wagener and recorded in Nashville. After XV, the band experienced an extended hiatus from studio recordings, lasting 14 years until their next release, with activity limited primarily to touring and individual pursuits. Drummer Jerry Gaskill suffered a heart attack in February 2012, leading to tour cancellations and requiring ongoing health management. Gaskill endured additional cardiac issues, including another heart attack and complications that forced the postponement of shows in 2019. These health setbacks, combined with the members' ages and shifting personal motivations, contributed to the delay in new material, as the trio focused on recovery and side projects such as dUg Pinnick's solo efforts and Ty Tabor's collaborations in bands like The Jelly Jam. In May 2022, King's X re-signed with under worldwide, signaling renewed commitment. This culminated in the release of on September 2, 2022, their thirteenth studio album and first in over a decade, reflecting a resurgence amid the challenges of the intervening years.

Recent activities (2023–present)

In 2023, King's X embarked on the tour to support their 2022 album of the same name, performing a series of U.S. dates that included shows in , on May 25 and , on October 28. The tour featured sets drawing heavily from their catalog, maintaining their reputation for tight, harmony-driven live performances amid a dedicated fanbase. The band joined the Summerland package tour in 2024, sharing stages with other acts at venues such as the Neighborhood Theatre in , on June 19 and 89 North Music Venue in , on August 11. These appearances underscored their continued activity in the rock festival circuit, appealing to longtime supporters through selections like "Summerland" from their repertoire. Into 2025, King's X scheduled performances including dates at The Vogel in , on August 7 and in on August 8, with additional shows listed for such as Tupelo Music Hall on October 17. In June 2025, vocalist and bassist dUg Pinnick appeared on the True Tunes Podcast, discussing over 50 years of his musical career and the band's enduring creative process. As of February 2025, the group had discussed potential new material but made no formal album announcement by . Their persistent touring reflects a sustained , with consistent venue bookings despite the absence of major label promotion.

Band members

Current lineup

Doug Pinnick – bass, lead vocals (1979–present)
dUg Pinnick, born September 3, 1950, co-founded King's X in 1979 as bassist and lead vocalist, emerging as the band's primary creative force through songwriting and vocal arrangements influenced by and traditions. His tenure spans the group's entire , contributing to 13 with a focus on layered harmonies and thematic depth drawn from personal and spiritual experiences. Jerry Gaskill – drums, backing vocals (1979–present)
Jerry Gaskill joined as co-founder and drummer in 1979, providing rhythmic foundation and vocal harmonies essential to King's X's style. He endured severe health setbacks, including heart attacks on February 25, 2012, and September 12, 2014, followed by cardiac issues diagnosed October 14, 2019, that prompted tour postponements; by June 2019, he reported improved condition post-recovery, enabling continued performances. Ty Tabor – guitar, backing vocals (1980–present)
Ty Tabor, born September 17, 1961, integrated into the lineup around 1980, delivering intricate guitar work and co-vocals that define the band's fusion of metal, funk, and . In July 2022, he faced an unspecified serious illness necessitating vigilant monitoring and treatment, resulting in canceled European dates but no long-term disruption to the trio's activities as of 2025 tours.

Former members and touring personnel

In the band's formative years as The Edge, formed in Springfield, Missouri, in 1979, rhythm guitarist Dan McCollam provided additional guitar and backing vocals during 1980. McCollam's tenure was brief, preceding a shift toward original material. Kirk Henderson then assumed rhythm guitar and backing vocals duties from 1980 to 1983, contributing to early performances and the transition to the Sneak Preview moniker. Henderson departed in 1983, after which the group streamlined to its enduring trio of , , and Jerry Gaskill, with no further core membership changes upon adopting the King's X name in 1985. No dedicated touring personnel have been employed, as the band has consistently performed as a trio without supplemental musicians for live dates. Occasional guest appearances, such as contributions or one-off collaborations, have not involved recurring roles.

Religious views and controversies

Christian influences in music and identity

, King's X's bassist and lead vocalist, grew up in a strict Southern Baptist household in , where he participated in church singing and promoted events during his formative years in local bands. This upbringing instilled a foundational that permeated his songwriting, blending overt scriptural references with abstract explorations of and human struggle. The band's music integrates Christian motifs empirically through lyrics that draw from biblical language, as seen in tracks like "In the Kingdom" from their 1988 debut album, which invokes imagery of heavenly kingship and redemption—", the angels sing / I think the sky has cracked"—reflecting Pinnick's early faith-driven creative process. Other songs employ metaphorical allusions to and moral introspection, such as pleas for amid chaos, without adhering to conventional (CCM) structures. Guitarist and drummer Jerry Gaskill, also from evangelical Christian roots, contributed harmonies and rhythms informed by influences, fostering the band's signature layered vocal style rooted in church choir traditions. Early in their trajectory, King's X performed at church venues and events tied to the scene, leveraging Pinnick's connections to build an initial audience before relocating to in 1985. However, the trio consciously distanced themselves from CCM circuits by the late , prioritizing artistic autonomy in mainstream rock over genre-specific marketing, as Tabor emphasized avoiding "the game of using the right words here and there" to fit evangelical expectations. This stance stemmed from a commitment to unfiltered expression, where served as personal resilience against industry skepticism rather than a marketable identity. Pinnick has described itself as inherently spiritual, attributing the band's harmonic innovations and thematic depth to a transcendent source beyond doctrinal confines.

Doug Pinnick's sexuality revelation and reactions

In a 1998 interview with the Christian publication Regeneration Quarterly, King's X frontman publicly disclosed his , stating, "I never denied being gay. Nobody asked," and describing lifelong same-sex attraction that he had attempted to suppress through , , and a period of , which he found "miserable and lonely." He expressed frustration with unfulfilled efforts to change his orientation, noting, "I fasted and prayed, begged God to change me, did everything I could," while critiquing perceived inconsistencies in Christian responses to his struggles. Pinnick reflected on this disclosure in a 2021 , attributing his decision to speak openly in a Christian outlet to exhaustion with "the whole " of religious institutions that condemned while failing to address personal pain adequately. By then, he had distanced himself from organized , describing relief after severing ties with its doctrines, though he retained belief in ; he did not reaffirm ongoing , having previously indicated its unsustainability. Bandmates Ty Tabor and Jerry Gaskill, both practicing Christians, responded supportively without altering their collaboration, affirming their longstanding friendship and shared musical vision amid the revelation. The disclosure prompted alienation from segments of King's X's conservative Christian fanbase, which had previously embraced the band within circles, leading to radio bans and accusations of betraying faith-based expectations. Conversely, broader progressive and metal communities offered embrace, viewing Pinnick's candor as authentic rather than contradictory to the band's artistic integrity. The event did not precipitate a band breakup or thematic shift; King's X continued releasing albums such as Faith Hope Love (1998, predating the interview's full impact) and Ogre Tones (2005), maintaining lyrics centered on personal faith, relationships, and existential themes without explicit references to Pinnick's sexuality or alterations in style.

Impact on career and fanbase

The association of King's X with Christian rock in the late 1980s and early 1990s restricted their access to mainstream rock radio, as programmers often viewed the band as too overtly spiritual for secular audiences while deeming their sound insufficiently evangelical for contemporary Christian music (CCM) outlets. Despite critical acclaim for albums like Out of the Silent Planet (1988) and Gretchen Goes to Nebraska (1989), which featured explicit biblical references and themes of faith, the band experienced limited airplay; for instance, the single "It's Love" from their 1990 major-label debut received modest video rotation but failed to propel them to broad commercial success, partly due to industry reluctance to cross-promote "Christian" acts into general rotation. Doug Pinnick's public of his in a with CCM exacerbated tensions with conservative Christian sectors, leading to the band's albums being pulled from Christian bookstores and the termination of distribution deals with faith-based retailers. This event caused an immediate backlash among some evangelical fans, who disavowed the band overnight, perceiving Pinnick's disclosure as incompatible with their interpretation of biblical teachings on sexuality. However, the causal impact on overall career trajectory was contained: King's X had already distanced themselves from strict CCM affiliation, and the revelation did not precipitate a collapse in secular support or touring viability, as the band continued releasing albums and maintaining a dedicated following through independent and niche labels thereafter. Within the fanbase, Pinnick's produced a bifurcation: traditionalist listeners rooted in evangelical communities largely withdrew, prioritizing doctrinal conformity, while a core contingent—often drawn to the band's ethos and lyrical emphasis on personal redemption over institutional —embraced the disclosure as an act of authenticity amid perceived Christian hypocrisy. This split reinforced King's X's status, fostering enduring loyalty among fans who valued the musicians' unfiltered realism over , but it yielded no resurgence in mainstream appeal or radio play, as broader cultural shifts toward did not align with the band's apolitical, introspective style. Pinnick himself noted subsequent acceptance in and metal circles, where his orientation became secondary to musical output, sustaining niche devotion without translating to wider commercial revival.

Legacy and cultural impact

Influence on grunge and subsequent genres

King's X's heavy, groove-oriented riffs and use of drop-D tuning, pioneered in their 1988 debut Out of the Silent Planet, prefigured elements of grunge's sonic palette, including detuned guitars and rhythmic heft that emphasized feel over speed. Bassist Doug Pinnick attributed this approach to bluegrass influences adapted for rock, noting in a 2025 interview that it contributed to grunge's foundation despite limited acknowledgment. Pearl Jam bassist Jeff Ament explicitly credited the band in an early 1990s MTV appearance, stating that "King's X invented grunge," a claim echoed in subsequent discussions of their proto-grunge grooves. Guitarist Ty Tabor's layered, effects-heavy tone and riffing style drew admiration from ' , who cited King's X as a key influence on his own sound, particularly in harmonic structures and mid-tempo heaviness. King's X supported on tour legs in the early 1990s, fostering direct exposure that reinforced these connections, with Ament adopting a 12-string bass inspired by Pinnick's techniques, evident in tracks like Pearl Jam's "Jeremy." The band's impact extended to , where their fusion of complex harmonies, odd time signatures, and metal grooves informed acts like , who shared stylistic overlaps in technical proficiency and melodic density during the early scene. Pinnick reiterated in 2022 that King's X's uncredited role in shaping heavier persisted, influencing and prog-metal hybrids through their emphasis on ensemble interplay over virtuosic solos.

Critical reception and commercial challenges

King's X has received consistent praise from rock and metal critics for their innovative blend of progressive elements, intricate harmonies, and genre-defying songcraft, often earning descriptors as a "cult band" with exceptional musicianship despite limited mainstream breakthrough. Reviews frequently highlight albums like Dogman (1994) for its edgier, heavier production and raw energy, which marked a deliberate shift toward -influenced aggression while retaining the band's signature vocal stacks and rhythmic complexity, positioning it as a high point of creative risk-taking. However, some critiques noted the album's "inaccessibility" due to its abrasive tone and departure from earlier melodic accessibility, viewing it as a potential misstep in broadening appeal amid the 1990s explosion. Later works, such as (2022), continued this acclaim, with outlets lauding the band's enduring instrumental prowess and thematic depth, affirming their status among top-tier acts in progressive and heavy music circles. Commercially, King's X achieved modest peaks in the early , with (1990) reaching No. 85 on the , their highest chart position, followed by Dogman at No. 88, reflecting initial label support from but failing to translate critical buzz into sustained sales. Subsequent releases saw declining chart performance, such as (1988) at No. 144 and XV (2008) debuting at No. 145 with just 4,450 first-week U.S. copies sold, signaling a shift to independent distribution and niche markets after major-label drops. Recent efforts like fared better in specialty sales charts, hitting No. 10 on the U.S. Current Album Sales tally, underscoring steady cult-level demand rather than blockbuster viability. These commercial hurdles stemmed partly from the band's avoidance of mainstream trends and early associations with Christian rock labeling, which managers like Sam Taylor leveraged for initial deals but alienated broader audiences wary of faith-tinged acts during the secular grunge era. King's X's refusal to conform to radio-friendly formulas or explicitly market as a "Christian band"—despite lyrical spiritual undertones—preserved artistic integrity but clashed with industry pressures for trend alignment, contributing to their cult endurance over fleeting popularity. This principled non-conformity, rooted in first-principles commitment to sonic experimentation over commercial pandering, has sustained critical respect and fan loyalty into the 2020s, even as sales remained independent-scale.

Enduring appeal and tributes

King's X maintains a dedicated , evidenced by consistent touring and sold-out performances that draw fanatical audiences despite limited mainstream commercial success. In 2025, the band announced multiple U.S. tour dates, including shows at Sellersville Theater on October 14, Space Ballroom in on October 16, and Tupelo Music Hall in on October 17, alongside November dates in venues such as Culture Room in Fort Lauderdale on November 13. These events underscore the band's ongoing relevance among niche rock enthusiasts, who value their intricate harmonies and progressive style, often citing King's X as an underappreciated influence in heavy music circles. Fan-driven media further sustains interest, with publications like Greg Prato's 2019 King's X: The Oral History providing in-depth interviews from band members and supporters, chronicling their trajectory and religious underpinnings. Podcasts such as the True Tunes episode featuring on June 16, 2025, and The Groove Machine, dedicated to dissecting King's X tracks, reflect sustained discourse within progressive and communities. While some observers critique the band's cult status as inflated relative to broader impact—attributing persistent hype to insular fan networks rather than widespread innovation—these platforms highlight genuine appreciation for their songcraft amid evolving rock landscapes. Tributes include cover versions by metal acts and fan performers, such as Tourniquet's rendition of "Dogman" and young guitarist Dustin Tomsen's 2020 take on "Black Like Sunday" as a nod to Pinnick's milestone. Tribute projects like the emulate King's X's sound in live settings, perpetuating their harmonic and riff-driven appeal in underground scenes. This grassroots homage aligns with a revival of vocal layering in contemporary rock, where King's X's blend of Beatles-esque melodies and heavy riffs informs acts seeking textural depth beyond grunge-era .

Solo and side projects

Doug Pinnick

, performing under the moniker dUg Pinnick for much of his solo output, initiated his independent recording career with the Poundhound project, releasing Massive Grooves from the Electric Church of Psychofunkadelic Grungelism on , 1998, which featured collaborations with King's X bandmates and emphasized funk-infused rock explorations. This was followed by subsequent Poundhound efforts like Emotional Animal in 2006 and Songs from the Closet in 2007, the latter delving into introspective themes of personal struggle and spiritual searching through raw, blues-tinged compositions. Pinnick's solo discography expanded with Naked on July 30, 2013, a stripped-down effort highlighting vulnerability in and self-examination, produced with minimal instrumentation to underscore lyrical depth. In supergroup endeavors, Pinnick co-founded KXM in 2012 alongside Korn's George Lynch and ex-Dokken/Whitesnake drummer Mick Foxx, yielding albums such as KXM (2014), Scatterbrain (2017), and Circle of Dolls (2019), which blended heavy riffs with Pinnick's soulful vocals and bass grooves. He also formed Pinnick Gales Pridgen (PGP) in 2013 with guitarist Eric Gales and drummer Anup Sastry, releasing a self-titled debut that year focused on instrumental prowess and jam-oriented progressive rock, followed by live recordings capturing their improvisational energy. Additional collaborations include Grinder Blues, a blues-rock outfit with albums like Grinder Blues emphasizing Pinnick's guest vocal contributions rooted in traditional blues structures. Pinnick has made notable guest appearances, including vocals on Ministry's 1995 track "Reload" from the album Filth Pig, integrating his harmonic style into the industrial metal ensemble's aggressive sound. His solo themes often intertwine Christian faith with explorations of personal identity, as evident in lyrics addressing redemption and inner conflict, reflecting his public reconciliation of spirituality and life experiences without compromising doctrinal convictions. Post-2021 releases under dUg Pinnick include Joy Bomb on October 22, 2021, featuring tracks like "Key Changer" that convey uplifting, reflective messages on perseverance and joy amid adversity, and Thingamajigger on October 25, 2024, which draws from funk and rock influences while maintaining introspective tones on life's uncertainties and faith's role in navigation. These works, released via Rat Pak Records, underscore Pinnick's ongoing evolution, prioritizing authentic expression over commercial trends.

Jerry Gaskill

Jerry Gaskill released his debut solo album, Come Somewhere, in 2004, highlighting his skills as a , , and songwriter beyond King's X. The record featured original compositions that emphasized his melodic sensibilities and rhythmic precision, drawing from personal experiences. His second solo album, Love and Scars, followed in 2015, again showcasing Gaskill's songwriting and multi-instrumental contributions, with themes rooted in and resilience. Released through independent channels, it reflected a deliberate, low-key production approach amid his commitments to family and recovery from health setbacks. Gaskill has engaged sparingly in session drumming for other artists, including contributions to blues guitarist Jay Hooks' recordings and select side endeavors, prioritizing quality over volume. Multiple heart attacks—in February 2012, which required an induced coma, and September 2014—severely limited his physical capacity and output, forcing cancellations of King's X tours and shifting focus toward recuperation. By 2019, ongoing cardiac concerns further underscored a cautious pace, with Gaskill reporting improved health but emphasizing sustainable balance. Unlike his more prolific bandmates, Gaskill's side pursuits reflect restraint influenced by family priorities and Christian faith, shaped by his early enrollment in alongside . This approach aligns with a deliberate emphasis on personal stability over expansive collaborations, evident in occasional solo performances, such as live sets in 2005.

Ty Tabor

Ty Tabor has maintained a prolific solo career alongside his work with King's X, releasing numerous albums that emphasize his guitar work, often venturing into experimental and instrumental territories. His output includes dozens of recordings, ranging from full-length solo efforts to EPs and demos, many self-produced in his home studio and distributed independently or via niche labels. Early solo releases such as Naomi's Solar Pumpkin (1997, independent) and Moonflower Lane (1998, Metal Blade Records) showcased his songwriting and guitar layering, while later works like Safety (2002) and Rock Garden (2006) highlighted emotionally driven riffs and textures distinct from the band's collaborative dynamic. This volume of material underscores Tabor's relentless creative drive, with projects like Alien Beans (2018, Rat Pak Records) and Shades (2022) featuring raw, guitar-dominated tracks such as "Freight Train" and "Insane," where his signature dropped-D tunings and melodic phrasing take center stage. Tabor's instrumental and experimental endeavors provide a to King's X's vocal harmonies and groove-oriented rock, allowing exploration of ambient soundscapes and riff-based meditations. Notable examples include the EP Trip Magnet (), which delves into atmospheric guitar loops, and its follow-up Angry Monk (later release), an all-instrumental collection blending cosmic blues with Eastern-influenced modalities. These works complement the band's sound by amplifying Tabor's textural innovations—such as Hendrix-esque phrasing fused with unrelenting low-end drive—without the constraints of group composition, fostering a broader palette of progressive and psychedelic elements. His home-recorded demos, compiled in releases like Tacklebox - The Ty Tabor Demos Vol. I & II, further reveal iterative guitar experimentation, often prioritizing tonal depth over lyrical structure. In July 2022, Tabor was diagnosed with an unspecified illness requiring ongoing monitoring, leading King's X to cancel European tour dates, though he continued solo output amid health challenges. This period did not halt his guitar-focused pursuits, as evidenced by Shades, recorded prior but released shortly before the diagnosis, demonstrating resilience in channeling personal adversity through instrumental expression.

Discography

Studio albums

King's X has released thirteen studio albums since their formation, spanning from progressive influences in their early work to more experimental and introspective sounds in later releases. The band's initial output was issued through , followed by a major-label deal with that produced five albums characterized by heavier riffs and broader production, though commercial performance remained modest, with collective sales across their catalog estimated at under one million units by the mid-2000s. Subsequent independent and boutique label releases reflected creative autonomy amid fluctuating lineups and health challenges for members.
Album TitleRelease YearLabel
1988
Gretchen Goes to 1989
1990
King's X1992
Dogman1994
Tape Head1995
Ear Candy1996
Please Come Home... Mr. Bulbous2000Independent
Manic Moonlight2001
Black Like Sunday2003Independent
Ogre Tones2005InsideOut Music
XV2008InsideOut Music
2022InsideOut Music
The table above lists the band's studio discography in chronological order. Early albums like Out of the Silent Planet established their signature vocal harmonies and groove-oriented songwriting, while later efforts such as Three Sides of One, their thirteenth studio release, marked a return after a 14-year gap and emphasized collaborative songcraft. Commercial peaks were limited; for instance, XV debuted at No. 145 on the Billboard 200, reflecting persistent niche appeal despite critical favor in progressive and hard rock circles.

Live albums

Live All Over the Place, released on November 2, 2004, by , serves as King's X's inaugural official live album, comprising a double CD of recordings from diverse tour dates that underscore the trio's improvisational flair and vocal harmonies in a concert setting. The collection spans material from their early catalog through mid-period works, capturing the band's ability to translate studio complexity to stage dynamics without overdubs. Live & Live Some More, issued in 2007 via , documents a full 1994 performance at Trees in , , emphasizing raw, unpolished renditions of tracks like "Complain" and "Goldilox" from the band's formative tours supporting albums such as Dogman. Recorded during a period of label transitions and intensifying live circuit demands, it highlights Jerry Gaskill's drumming intensity and Doug Pinnick's bass-driven grooves amid audience interaction. Live Love in London, released on October 22, 2010, by InsideOut Music as a CD/DVD package, preserves a September 2009 show at The Underworld in Camden, , blending staples like "Groove Machine" with selections from the then-recent XV (2008), such as "Alright" and "Pray." The recording reflects the band's resilience post-hiatus, with Ty Tabor's guitar solos extending beyond studio lengths to convey sustained touring vigor. A 2024 remastered vinyl edition via Brutal Planet Records further attests to its archival value.

Compilation and other releases

King's X released Best of King's X, their principal , in 1997 via . The collection features 17 tracks, with the first 13 drawn from the band's studio albums (1988), Gretchen Goes to Nebraska (1989), (1990), King's X (1992), Dogman (1994), and Ear Candy (1996), representing key selections from their early career. It includes four previously unreleased recordings from 1997, among them a live rendition of "Over My Head" clocking in at over 10 minutes. Tracks 1 through 8 underwent remastering at Alien Beans Studios in Houston, , while tracks 14 through 16 were captured at the band's rehearsal studios. Issued in CD and cassette formats for markets including the , , , , and , the album encapsulates the group's progressive sound during their major-label tenure without introducing new original material. No additional official greatest hits or retrospective compilations have been issued by the band.

Notable singles and videos

King's X issued promotional singles primarily through during their major-label tenure in the late 1980s and 1990s, with modest radio airplay but limited success; their highest-charting track, "It's Love" from the self-titled , reached No. 6 on the Mainstream Rock Tracks chart in . "Black Flag," released as a single from the same (initially tied to the 1992 self-titled release), supported touring efforts and featured an official directed in a straightforward performance style, emphasizing the band's heavy riffing and vocal harmonies. "Dogman," the title track from their 1994 produced by Brendan O'Brien, served as a key promotional single and received rotation on rock radio, though it did not enter major charts; its official video, showcasing gritty live footage and studio cuts, aired on during the grunge-influenced mid-1990s. The band performed "Dogman" live on MTV's Headbangers Ball in 1994, a staple program for heavy rock acts, which helped sustain visibility amid shifting tastes toward alternative and nu-metal; this appearance, alongside "Complain," highlighted their fusion of prog-metal complexity and groove-oriented bass lines, drawing a niche audience despite commercial hurdles. Earlier, "Summerland" was issued as a single in 1989 from Gretchen Goes to Nebraska, capturing the band's optimistic, harmony-driven sound but garnering no significant positions or , functioning mainly as a live staple and fan favorite rather than a radio push. These efforts reflected King's X's emphasis on artistic integrity over pop accessibility, with videos often prioritizing raw energy over high-budget narratives, aligning with their underground appeal in the pre-internet era.

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  18. https://www.digmeoutpodcast.com/p/kings-x-history-of-the-band
  19. http://www.metalunderground.com/news/details.cfm?newsid=86249
  20. https://www.dugnation.net/bio.php
  21. https://everyrecordtellsastory.com/2017/06/15/kings-x-the-return-of-the-ultimate-cult-band/
  22. https://www.youtube.com/watch?v=JLrzUqFkaz0
  23. http://www.popculturebeast.com/cd-box-set-review-kings-x-in-the-new-age-the-atlantic-years/
  24. https://www.discogs.com/release/4508992-Sneak-Preview-Sneak-Preview
  25. https://www.loudersound.com/bands-artists/kings-x-story-of-the-cult-rock-band
  26. https://heavymetalrarities.com/forum/viewtopic.php?f=46&t=18721
  27. https://www.angelicwarlord.com/reviews/k/kingsx88.html
  28. https://www.progarchives.com/artist.asp?id=3969
  29. https://www.youtube.com/watch?v=lB-1fG4IhWM
  30. https://www.youtube.com/watch?v=Y_8Y7M9IPW0
  31. https://www.houstonpress.com/music/the-resurrection-of-sam-taylor-6571643/
  32. https://www.bullmoose.com/pid/72356/kings-x-out-of-the-silent-planet
  33. https://www.allmusic.com/album/out-of-the-silent-planet-mw0000195513
  34. https://www.concertarchives.org/concerts/living-colour-king-s-x-fe22910f-0242-4799-9a77-88185fda3a4b
  35. https://rateyourmusic.com/release/album/kings-x/gretchen-goes-to-nebraska-3/
  36. https://www.progarchives.com/album.asp?id=19625
  37. https://www.discogs.com/master/123982-Kings-X-Gretchen-Goes-To-Nebraska-
  38. https://progreport.com/kings-x-break-thru-faith-hope-love-26-years-ago/
  39. https://www.albumoftheyear.org/album/35923-kings-x-faith-hope-love.php
  40. https://www.rollingstone.com/music/music-news/kings-x-keeps-the-faith-186070/
  41. https://www.ever-metal.com/2023/05/01/kings-x-in-the-new-age/
  42. https://www.amazon.com/Original-Album-King%2560S-X/dp/B00DDVPXV4
  43. https://www.discogs.com/release/3113082-Kings-X-Dogman
  44. https://www.ebay.com/itm/126784185106
  45. https://tvtropes.org/pmwiki/pmwiki.php/Music/KingsX
  46. https://everyrecordtellsastory.com/2013/03/30/kings-x-this-band-was-once-the-future-of-rock/
  47. https://www.metalblade.com/us/releases/kings-x-tape-head/
  48. https://genius.com/albums/Kings-x/Please-come-home-mr-bulbous
  49. https://www.discogs.com/master/535136-Kings-X-Manic-Moonlight
  50. https://www.metalblade.com/us/releases/kings-x-live-all-over-the-place/
  51. https://blabbermouth.net/news/king-s-x-sign-worldwide-deal-with-insideout-music
  52. https://www.allmusic.com/album/ogre-tones-mw0000213784
  53. https://www.progarchives.com/album.asp?id=19622
  54. https://ultimateclassicrock.com/kings-x-cancel-tour/
  55. https://www.loudersound.com/news/kings-x-cancel-all-2019-shows-due-to-heart-issues-affecting-jerry-gaskill
  56. https://blabbermouth.net/news/kings-x-drummer-jerry-gaskill-says-hes-doing-better-than-ever-after-surviving-two-heart-attacks
  57. https://totalrock.com/kings-x-sign-with-insideoutmusic-sony-music/
  58. https://insideoutmusic.bandcamp.com/album/three-sides-of-one-24-bit-hd-audio
  59. https://www.ultimate-guitar.com/news/general_music_news/kings_x_announce_springsummer_2023_us_tour_dates.html
  60. https://www.setlist.fm/setlist/kings-x/2023/tupelo-music-hall-derry-nh-13a01979.html
  61. https://thefirenote.com/reviews/kings-x-three-sides-of-one-tour-concert-review/
  62. https://www.youtube.com/watch?v=f7qtuL0NRjQ
  63. https://www.youtube.com/watch?v=kMEAKCo4kU0
  64. https://guestpectacular.com/artists/kings-x/events/570043/song/summerland
  65. https://www.facebook.com/KingsXofficial/posts/new-jersey-and-nycthe-kings-are-coming-to-the-the-vogel-on-august-7th-and-the-gr/1277977597017888/
  66. https://www.concertarchives.org/bands/king-s-x
  67. https://truetunes.com/kingsx/
  68. https://blabbermouth.net/news/kings-x-has-been-talking-about-making-a-new-album-slowly-well-come-around-to-it
  69. https://www.discogs.com/artist/271293-Kings-X
  70. https://www.songfacts.com/blog/interviews/dug-pinnick-of-kings-x
  71. https://ultimateclassicrock.com/kings-x-drummer-jerry-gaskill-suffers-heart-attack/
  72. https://loudwire.com/kings-x-drummer-jerry-gaskill-heart-attack/
  73. https://www.coffeehouseguitars.co.uk/pages/guitarist/ty-tabor
  74. https://blabbermouth.net/news/kings-x-guitarist-ty-tabor-diagnosed-with-serious-illness-european-tour-canceled
  75. https://www.songkick.com/artists/502598-kings-x/calendar
  76. https://www.rollingstone.com/music/music-news/kings-x-keeps-the-faith-186070/2/
  77. http://www.musicstreetjournal.com/interviews_display.cfm?id=100587
  78. https://thezoorocks.com/the-zoo-kzew-radio/kings-x-over-my-head
  79. https://www.premierguitar.com/artists/kings-x-to-release-new-album-in-2019
  80. http://www.classicrockrevisited.com/show_interview.php?id=972
  81. https://www.inmusicwetrust.com/articles/46h07.html
  82. https://heavensmetalmagazine.com/index.php/2022/09/19/kings-x-three-sides-of-one/
  83. https://www.classicrockrevisited.com/show_interview.php?id=972
  84. https://www.crossrhythms.co.uk/articles/news/Kings_X_Man_Comes_Out_/31373/p1/
  85. https://www.loudersound.com/news/kings-xs-dug-pinnick-recalls-coming-out-as-gay-as-he-was-sick-of-christian-hypocrisy
  86. https://blabbermouth.net/news/kings-xs-gay-frontman-doug-pinnick-begged-god-to-make-him-straight
  87. https://www.ocweekly.com/metal-christian-gay-6384087/
  88. https://www.billboard.com/culture/pride/dug-pinnick-lgbtq-hard-rock-metal-7842062/
  89. https://www.houstonpress.com/music/on-beyond-christian-rock-6569441/
  90. https://prince.org/msg/8/335062
  91. https://www.dmagazine.com/arts-entertainment/2013/05/kings-x-important-enough-to-be-legends-fringe-enough-to-be-forgotten/
  92. https://blabbermouth.net/news/did-kings-xs-invent-grunge-doug-dug-pinnick-weighs-in
  93. https://www.vice.com/en/article/did-kings-x-invent-grunge-frontman-doug-pinnick-has-thoughts/
  94. https://metalverseforum.com/news/doug-pinnick-explains-how-kings-x-helped-shape-grunge-even-if-few-admit-it
  95. https://www.ultimate-guitar.com/articles/features/the_bassist_who_inspired_pearl_jam_and_kings_x_to_use_12-string_basses-164484
  96. https://www.goldminemag.com/music-history/top-20-albums-that-invented-progressive-metal/
  97. https://wrif.com/2022/08/15/dug-pinnick-of-kings-x-talks-of-his-bands-influence-on-grunge-meltdown/
  98. https://www.progradar.org/index.php/2023/05/17/review-kings-x-in-the-new-age-the-atlantic-recordings-1988-1995-by-john-wenlock-smith/
  99. https://metalinjection.net/reviews/album-review-kings-x-three-side-of-one
  100. https://www.dprp.net/reviews/2022/111
  101. https://www.billboard.com/music/music-news/kings-x-enjoys-best-album-chart-debut-since-96-1045215/
  102. https://www.reddit.com/r/kingsx/comments/1azbjsq/okay_serious_question_how_was_kings_x_not_huge/
  103. https://defendersofthefaithmetal.com/dug-pinnick-kings-x-interview/
  104. https://www.facebook.com/KingsXofficial/
  105. https://www.amazon.com/Kings-X-History-Greg-Prato/dp/1911036432
  106. https://open.spotify.com/show/0NOnasblT9QT71G4VBsgbJ
  107. https://secondhandsongs.com/artist/94868/all
  108. https://www.youtube.com/watch?v=LRp6pgB6WpY
  109. https://www.facebook.com/dogmenkxtribute/
  110. https://www.dugnation.net/discography.php
  111. https://www.dugnation.net/discography.php?id=5
  112. https://www.discogs.com/artist/399776-Doug-Pinnick
  113. https://www.goldminemag.com/articles/dug-pinnick-powers-through-2013-with-solo-album-side-projects/
  114. https://rateyourmusic.com/artist/dug-pinnick
  115. https://www.experiencehendrixtour.com/artists.php?id=0052
  116. https://www.allmusic.com/artist/dug-mn0000540408
  117. https://loudwire.com/dug-pinnick-key-changer-lyrics-video-joy-bomb-solo-album/
  118. https://blabbermouth.net/news/kings-xs-doug-dug-pinnick-shares-climbing-up-the-mountain-song-from-upcoming-thingamajigger-solo-album
  119. https://www.dugnation.net/news.php/dug-pinnick-solo.php
  120. https://www.amazon.com/Come-Somewhere-Jerry-Gaskill/dp/B0001VOPSQ
  121. https://vinylwritermusic.wordpress.com/2022/04/04/an-interview-with-jerry-gaskill-of-kings-x/
  122. https://www.loudersound.com/news/king-s-x-man-jerry-details-love-and-scars
  123. https://www.decibelgeek.com/album-review-jerry-gaskill-love-scars/
  124. https://bonavox.nl/2015/10/jerry-gaskill-drummer-from-kings-x-releasing-new-solo-album/
  125. https://music.apple.com/us/artist/jerry-gaskill/201639018
  126. https://loudwire.com/kings-x-drummer-jerry-gaskill-moved-out-of-intensive-care/
  127. https://www.youtube.com/watch?v=jPi9OHceUCQ
  128. https://www.qobuz.com/us-en/interpreter/ty-tabor/305221
  129. https://www.discogs.com/artist/391663-Ty-Tabor
  130. https://bravewords.com/news/king-s-x-guitarist-ty-tabor-debuts-freight-train-music-video/
  131. https://www.youtube.com/watch?v=btZhxkA_ato
  132. https://tytabor.bandcamp.com/album/angry-monk
  133. https://www.guitarplayer.com/lessons/exploring-ty-tabors-guitar-magic
  134. https://tytabor.bandcamp.com/album/tacklebox-the-ty-tabor-demos-vol-l-ll
  135. https://metalinjection.net/news/kings-x-guitarist-ty-tabor-diagnosed-with-unspecified-illness-band-cancels-european-tour-dates
  136. https://www.premierguitar.com/artists/interview-ty-tabor-kings-x
  137. https://www.facebook.com/groups/456615498028439/posts/1888390018184306/
  138. https://www.classicrockhistory.com/complete-list-of-kings-x-albums-and-songs/
  139. https://www.progradar.org/index.php/2022/06/24/kings-x-announce-three-sides-of-one-first-new-studio-album-in-14-years-launch-new-single-let-it-rain/
  140. https://www.qobuz.com/us-en/interpreter/king-s-x/305217
  141. https://www.progarchives.com/album.asp?id=2660
  142. https://www.discogs.com/master/503108-Kings-X-Live-Live-Some-More
  143. https://www.progarchives.com/album.asp?id=26609
  144. https://insideoutmusic.bandcamp.com/album/live-love-in-london
  145. https://www.discogs.com/master/894772-Kings-X-Live-Love-In-London
  146. https://girdermusic.com/products/kings-x-live-love-in-london-3-lp-triple-orange-vinyl-2024-brutal-planet-remastered
  147. https://www.discogs.com/master/810512-Kings-X-Best-Of
  148. https://www.discogs.com/release/6784554-Kings-X-Best-Of
  149. https://www.metalblade.com/us/news/kings-x-reissues-available-now-on-cd-and-vinyl/
  150. https://www.youtube.com/watch?v=RR0G9XKuHdE
  151. https://www.youtube.com/watch?v=xgPkTIRrk7E
  152. https://www.youtube.com/watch?v=nY-Sex2BS9I
  153. https://www.discogs.com/release/19466299-Kings-X-Summerland
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