This came out in 2005 — or at least that’s when I got it. Here’s what I said about it back then (with some minor editing):
Success has not spoiled Kings of Leon. Then again, it hasn’t really improved these Nashville roots-rockers any either. On their sophomore CD Aha Shake Heartbreak, this hirsute band of brothers (and one cousin) make it clear they haven’t grown up much since their 2003 debut Youth And Young Manhood.
That’s not necessarily a bad thing. If you dug their distinctive sound — a mutant hybrid of blues, boogie, pop and psychedelia, with dashes of Tom Petty, Creedence Clearwater Revival and even The Strokes tossed in for good measure — you probably won’t be disappointed by the dozen short, sharp shots of solidly groovy southern rock on this 35-minute set. If, on the other hand, you’ve been waiting for mush-mouthed drawler Caleb Followill and his kinfolk to take it to the next level, you might be a tad, well, heartbroken by this similar-sounding set of tracks about sex and sin and rock ’n’ roll. My advice: Take the album one song at a time. That’s what we did. Here’s how it worked out.
Slow Night, So Long | 3:54
The da-da-da-da-DUM bassline recalls Gimme Some Lovin’ — until it swoops up the neck to give a funky backbone to this dark-hearted look at the mechanics of a barroom pickup. “She’s opened up just like she really knows me,” slurs Caleb over the chiming guitar melody. “I hate her face, but enjoy the company.”
King Of The Rodeo | 2:25
Two guitars — one high and jingly, the other low and rumbly — intertwine like kudzu while a ropy bassline dances with a lumpy groove on this choppy little number about the right time to roll on.
Taper Jean Girl | 3:05
Another low-riding bassline holds down the bottom end for some gritty guitars and Caleb’s voyeuristic lyrics about the “taper jean girl with the motel face.”
Pistol of Fire | 2:20
“You’re gonna giggle, it’s gonna tickle,” flirts Caleb over a jumpy upbeat midway between a country blues and a ’70s boogie — until the Beefhearty slide guitar lick takes it to the juke joint as Caleb mewls “higher” like Tina Turner in heat.
Milk | 4:00
Out come the acoustic guitars and the tom-tom fills for this atmospheric tale of a man with a combover yearning for a girl with an hourglass body.
The Bucket | 2:55
The main riff chimes and chugs a little like the Faces, but once the drums and Caleb’s lyrics about being “too young to die, but old as the grave” kick in, the Followills claim it for their own.
Soft | 2:59
A vaguely Latin offbeat gives this a Talking Heads-meets-Lou Reed New York groove at first. Then the gait jumps to double-time, Caleb pitches a fit and the guitars ping-pong across your speakers.
Razz | 2:15
Another offbeat groover, fuelled by a finger-funking bassline and a reggaefied guitar chop that slowly builds to a raucous bridge.
Day Old Blues | 3:32
Turn down the lights and fire up the incense for this weary lament that features a “who-hooo” refrain — whose vibrating falsetto sounds a little too much like Tiny Tim for its own good.
Four Kicks | 2:09
A snarling garage riff, a lick of feedback, a bouncing beat, a gnarly little solo and some expletive-laced lyrics about how “she’s a-loving on the boy from the city (but) I’ll be loving him under my shoe.” No fat, no frills, no fuss, no muss.
Velvet Snow | 2:11
The boys shift into high gear with this hard-driving 12-bar blues-rocker. Another late-album standout. At least you can’t accuse the Followills of front-loading their disc.
Rememo | 3:20
A dreamy last waltz complete with mournful melody, reverb-soaked calliope and a lightly psychedelic vibe.
