FOR THE RECORD: Kings Of Leon 'Aha Shake Heartbreak'

This November will mark the 10th anniversary of Kings of Leon’s second studio album, ‘Aha shake heartbreak’. To this day, this album is still my favorite from the Deep South, rockabilly tearaways. Sporting mum’s DIY haircuts, bushy beards and super skinny jeans, the band’s image was grabbing people’s attention. Teamed with lead singer Caleb’s raucous vocals and a hint of cowbell from drumming brother Nathan, their unique take on the current rock and roll scene was hauling listeners in too. ‘Aha shake heartbreak’ attained platinum sales in 2008 and they were ranked number 39 in Rolling Stone’s top 100 albums of the decade. Not bad for a bunch of devout God botherers who started out singing at Sunday service!

The album reeks of youth (and young manhood… Sorry, I couldn’t resist) and their lyrics are reminiscent of their evolution into the spotlight. It showcases their naivety and reckless attitude towards money, fame, drug abuse and the effect it has on the ones closest to them.

‘Slow night so long’ opens the album with sporadic guitar chords thrown upon distant drums and melodic bass. You get the feeling that this tells the story of a heavy night out full of lust and temptation. The sudden shift in tempo and melody is undoubtedly the morning after. “Rise and shine all you gold digging mothers.” Clearly this is the realisation that their status as young rock and rollers has earned them nothing but fake friends and fame hungry tagalongs. Or could it be a nod to their trips into the city to dapple with the well heeled girls?

Every time I listen to ‘Taper Jean Girl’ (album title influencer), I can’t help but drum along. It’s one of the most recognisable Kings of Leon songs from their whole back catalogue and nicely encapsulates their sound. Caleb’s vocals are pushed in to the spotlight in ‘Milk’ where the welcome change of tempo and simplistic acoustic guitar showcases his overpowering (but irresistible) Nashville twang. If ever it was possible to fall in love with someone from listening to their voice. Raw and unprocessed, ‘Milk’ is a classic that deep cut fans yearn to hear at a live shows, me being one of many.

‘The Bucket’ gives fans an insight into the unity between brothers Caleb and Nathan, via their harmonies. “Always remember the pact that we made, too young to die but old is the grave”. Layers of simple, upbeat guitar constantly swirl and tail off with each chorus. However, in an intense band environment, sibling stand-offs will inevitably occur; aptly described in track title ‘Pistol of Fire’. The build up of guitar and Caleb’s confrontational vocals show the tensions of touring and how being on the road forced them to grow up. ‘Day Old Blues’ and ‘Rememo’ are slow, comforting reminders that they will always return to their deep southern roots; “Only bringing what to carry on, so that you know I won’t be long.” It’s a reassurance to loved ones back home and infused with romance and longing.

The album as a whole is a real mixed bag in the most captivating sense. Read the lyrics and you’ll see hints to future direction, the themes of sex, drink, drugs and fighting, a beautifully painted canvas of their life back home, that sell so well to these shores, as Caleb acknowledged with ‘Fans’ on ‘Because of The Times’. Musically, from hard hitting fast tempo singles such as ‘King Of The Rodeo’, ‘Four Kicks’ – an ode to what some young men love to do, drink and square up in the spit n sawdust , and ‘The Bucket’ – a really raw depiction of the beginnings of life in a rock n roll fish bowl “I hate the way you talk your Japanese scream”, to mellower pieces with simpler percussion and guitar melodies, like ‘Milk’. It’s a sound that they have truly mastered and can begin to harbor as their own.

As their distinctive appearance has changed over the years, so has their distinctive sound. Long, flowing hair has now become short and scruffy, and unruly beards appear tamer. Unpredictable percussion has developed into a less erratic spectacle, guitar solos more linear and vocals more decipherable. A slow convergence towards a sound that would appeal to a wider audience whilst seemingly trying to stay true to what has made them successful, Kings of Leon have become a diluted version of their former selves. Regardless of how chart topping subsequent albums have succeeded, it is songs like ‘King Of The Rodeo,’ ‘The Bucket’ and ‘Four Kicks’ that still get the biggest reactions from long standing fans! Often much to the band’s obvious chagrin.

Kings of Leon long ago established themselves among the higher rungs of the crazy rock n roll ladder and you are more likely to see them selling out arenas than playing the smaller stage. Though, I certainly think that if it weren’t for their individuality in debut ‘Youth and Young Manhood’ and ‘Aha Shake Heartbreak’, they wouldn’t embody the success story they are today. As much as I love every one of their albums, old and new, ‘Aha Shake Heartbreak’ gets that desert island disc, stamp of approval from me every time. But there is just one last thing…bring back the beards!