Kings of Leon Album Review

Kings of Leon, the American rock band idolized it seems everywhere except for in the United States, released an album last October titled, “Only By The Night.”
This album has been a monster in Australia and especially the U.K. and the rest of Europe over the last six months. Since its debut, it has sold more than 1.7 million copies in the United Kingdom alone, and achieved 5x Platinum status there.
In Australia, the album has achieved 8x Platinum status, selling more than 550,000 copies. The album peaked at the number one-selling album in both nations. You would think with those kind of numbers, there is something to this band.
The album “Only By The Night” is Kings of Leon’s fourth studio album. The band has only been around for a little more than six years, and has risen very quickly to a position of high prominence. They went on the Vertigo tour with U2 in 2005 to open for the Irish powerhouse, which not only increased their popularity amongst U2 fans, but also gave great publicity for a band that now seems to be in the position for greatness if it can produce.
So, is “Only By The Night” the key that will unlock super-stardom for the Kings? There’s at least one super-hit on this album, but I have mixed feelings of doubt and weariness about it
Kings of Leon is certainly no U2, but you can feel the heavy influence that is infused in their sound. Airy guitars lay the foundation for a slow progression and high-pitched, sliding vocals by the band’s lead singer Caleb Fallowill. That’s basically the sound you’ll be hearing if you listen to it – lots of airy guitar and keyboard highlighted by Fallowill’s falsetto. However, lack of variety in the album can leave the listener a bit bored and signify that the band could be a bit aimless at this point with little motivation to innovate a new style or spin to their eclectic sound.
The opening track, “Closer,” is pretty good, but quite repetitive. The guitar sequence with which the song opens is sustained throughout the entire song, and the rest of the song just goes around and around and around. By far, the highlight to this track is Fallowill, whose lyrics provide the only source of originality and difference to the track. If you’re a big fan of Snow Patrol, you’ll like this track.
The second track, “Crawl,” starts off with a grunge riff that reminded me of the chorus line in Steve Miller Band’s “Keep On Rocking Me Baby.” In contrast to the first track, Fallowill takes a lot away from what this track could have been.
If Fallowill had taken this song and given it a major inflection instead of the minor tone it takes, I would be totally on board for it, and probably but for the rest of the album. In all honesty and sincerity, this track is best when it’s in its instrumental sections. I’m also not too fond of the lyrics. “Crucified USA?” Come on.
Of the third track, “Sex on Fire,” Harry Dunne’s words ring loud and clear at times.
“Just when I thought you couldn’t possibly be any dumber, you go and do something like this ... and totally redeem yourself.”
“Sex on Fire” is the super-hit of this album. Although it is cyclical, the song has a terrific hook. The chorus is sung three or four times, and Fallowill uses his voice better in this track than in any other. Listen to it a couple times and see if the tune doesn’t get stuck in your head.
Some might argue the title is a bit racy. I’ve looked up the lyrics, and I think it should be concluded that yes, the word sex is in the song, and it definitely could be considered a racy song, but the song is not explicit really in any detectable sense.
The lyrics will have a different meaning to every individual that hears and reads them. The Kings use the lyrics to catch the attention of the listener. I don’t believe their purpose goes much beyond that. I suppose you can take that for what it’s worth. The album isn’t an obscene one to me.
The rest of the album follows along the trail that the first three forge. None of the other tracks really stray far from that trail, and I would surmise that if you like the first three, you’ll love the rest. I, however, give this album a C+. It has its strengths, but it also has its definite weaknesses.
–la.hem@aggiemail.usu.edu