Tag Archives: because of the times

#1146: Kings of Leon – The Runner

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Can you believe Kings of Leons’ Because of the Times turns 20 in three years time? It just doesn’t seem right. I was alive and well during that whole era of the band, but it doesn’t feel like it was happening 17 years ago. In the place of the band’s discography, it sort of captures a transitional moment where the band were sticking to the rawer deal that people came to know them from their first two albums while exploring a wider territory, going bigger in their soundscapes that would fit in a stadium setting. Then they properly went for the latter on Only by the Night, and we all know how that went. The transitional aspect gives it a charm that I appreciate it for, even if it may not be my favourite album of the band’s. I’m one of those people who’ll say it’s probably their last great record though.

‘The Runner’ is the tenth song on Times. It’s only struck me now how quite similar it is to ‘Rememo’ from Aha Shake Heartbreak. They both depend on the 6/8 waltz time. They sort of have this Western-wandering-on-the-range atmosphere about them. Though while ‘Rememo’ is delivered with an intimacy that could lull you to sleep, ‘The Runner’ is handed a bigger soundscape that properly comes into life when the enveloping guitars enter the frame during the swaying choruses. It also doesn’t rely on a two-note melody, which makes things a lot more dynamic. I like that there are two guitar riffs the song revolves around. The first being Caleb Followill’s lone guitar that opens the track and then the acoustic guitar melody which is then mirrored by the vocal during the verses. Both memorable in their own respective ways.

The track, in my view, seems to be from the perspective of a narrator who tends to be on the move a lot of the time, having to spend large periods of it away from his lady as a result. The song’s title phrase doesn’t appear in the lyrics, but I usually assume it’s the nickname of this narrator. They handle whatever comes their way, whatever life brings them, praying to Jesus that they’ll be guided through hard times ahead. The first verse depicts the scene of ‘The Runner’ on the rails on their latest travel, with the second focusing on the lady left behind and giving the listener a little glimpse into her backstory. The choruses bring the two characters together, with the Runner detailing their worry about the lady’s whereabouts and implied infidelity. I mean, that’s what I get from it all, anyway. I’ve always enjoyed this one. It’s a little under the radar, but it’s very much rewarding after every listen.

#974: Kings of Leon – On Call

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Two and a bit years on from Aha Shake Heartbreak, the time had come around for a new Kings of Leon album. The music video for ‘On Call’ premiered in the UK on Channel 4. If anyone from the UK remembers when Channel 4 used to premiere brand new music videos, shout out to you. But they always showed them at the latest times of the day. I was 11 years old at the time, and didn’t have enough energy to stay up until 11:45pm or whenever time they were showing it. It was some ungodly time, for an 11-year-old at least. My sister, however, did. When I asked her how it was the next morning, though I can’t remember the specifics, I do recall her making a comment on how the camera zoomed on Caleb Followill’s face every time he sang, “Be there.” I asked, “Kinda like Kurt Cobain in the ‘Heart-Shaped Box’ video?” She said, “Something like that, sure.” It wasn’t too long until the video started regularly playing on MTV2. Followill isn’t as unhinged as Cobain was in that music video. But the similarity was there.

Gotta say, ‘On Call’ is quite a strange choice for a single. Especially the first one for an album that fans would have been eagerly anticipating. In a lot of ways, it shouldn’t work. There’s no guitar-led introduction like the other typical KoL singles. Instead, in came these slow ghostly keyboards, with which Caleb Followill joins in not too long after. Even he delivers his lines, one after the other, quite shyly with spaces in between to really make those keyboards heard. Then that ominous tape-echoed bassline comes in with that chugging guitar line on the right by Matthew Followill. All these elements make for quite the mysterious introduction to a song. Then Caleb really starts singing. The “I’m on call to BE THERE” line is one that has a melody that, again, should not work in any way. But then the band properly fall in at 1:18 and everything comes together, it all starts to make sense. Then by the time the guitar solo comes in, you’ve got yourself another classic KoL track.

Think I’ve made it clear in other posts concerning Kings of Leon, but after Because of the Times, things were just never the same. The video for ‘On Call’ sort of marked an end of an era. It was the last video of the band’s in which Caleb Followill had his long hair, something of a remainder from the Aha Shake era. The band released the track ‘Fans’ as a single, but the next music video they would make would be for ‘Charmer’, where those locks were chopped off. Amazing how he looked almost like a completely different person through that act. But I’m not afraid to say I’m one of those fans who think it all went wrong from ‘Sex on Fire’ onwards. I don’t cry and wish they’d go back to their old style though. No point. By this point I’ve made my peace with the matter. But for a while Kings of Leon had us all going.

#818: Kings of Leon – McFearless

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Kings of Leon released a new album quite recently. Their first in five years. As nice as that might be, I’m one of those who thought they were never the same post Because of the Times. To me it was the last record of theirs where they were a bit daring at the least, and had a bunch of songs on there that were exciting to listen to. I got my copy of The Times, quite soon after it was released actually. Came out three days before my 12th birthday, and ‘On Call’ was on there and to be able to hear that whenever I wanted to, I needed the CD.

‘McFearless’ comes straight after ‘On Call’ on the album. Caleb Followill sings the ‘be there’ lyric on there, and then ‘McFearless’ enters which this massive fuzz bazz in the centre, followed by this erratic, high-hat heavy drumming pattern by Nathan Followill and wah-wah drenched guitar riff. To an erratic 11 soon to be 12-year-old, these sounds were quite awe-inspiring. Because of C.Followill’s vocal delivery and cadence, I don’t think I’ve ever sang along to this one correctly. Except for the chorus. And even then. But I’ve looked at the lyrics. My interpretation is that the song is just about a man who’s trying to live his best life, keep on the straight and narrow and maintain their sanity in a crazy world. I think that’s fair.

Time’s gone by and sometimes I wonder whether the chorus to this is actually good. Caleb Followill’s clearly giving it his all, his voice is at the point of breaking many times during those repetitions, but I can’t help but find it funny sometimes. You might not feel the same, but that’s fine. I’ll still listen to this with great joy whenever it comes on.

My iPod #177: Kings of Leon – Charmer

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After the seven minute epic that opens the third album by Kings of Leon comes one of the hardest rockers that the band have produced to this day.

“Because of the Times” was allowed to be streamed on the band’s MySpace (remember that) before it was originally released. I couldn’t begin to tell you what I thought of the song when I first heard it; I was just waiting for “On Call” to start. I just remember it being very loud. I can tell you more now though.

“Charmer” begins with a looming and ominous bass which repeats its pattern throughout most of the song, whilst the guitars play various riffs which make the overall sound quite dissonant and strange. Caleb Followill screams a lot in the track which was compared to those of Black Francis from Pixies by critics, if I remember correctly.

My favourite part? The breakdown when the rhythm section plays, then Caleb joins in on guitar which ultimately segues into a piercing solo before the song ends on its final chorus.