| Musical Style: Progressive Metal/Hard Rock | Produced By: Sam Taylor |
| Record Label: Metal Blade / Brutal Planet | Country Of Origin: USA |
| Year Released: 1990 / 2024 | Artist Website: |
| Tracks: 8 | Rating: 85% |
| Running Time: 48:31 |
On its eponymous Metal Blade Records 1990 debut, The Awful Truth combine the best virtues of progressive rock, metallic hard rock and underpinning groove, which makes it a perfect candidate for fans of the ‘Houston sound’ of the time. For those in the know from back in the day, the ‘Houston sound’ attributes to producer Sam Taylor, whom worked with King’s X on its first four albums. A striking resemblance between The Awful Truth and King’s X reveals as a result, found in a similar emphasis on rich harmonies, rumbling bass and lyrical Christian imagery. Yet, The Awful Truth is also its own band in that I find it more progressive - the White Throne magazine review back in the day that described the group as ‘King’s X meets Pink Floyd’ had the right idea - and perhaps somewhat more consistently heavier and metal riff driven.
One of the groups claim to fame is from featuring bassist Monty Colvin and drummer Alan Doss, whom went on to form the Galactic Cowboys. Co-founding The Awful Truth member, and vocalist and guitarist David Von Ohlerking, who reportedly named the group after the 1937 movie of the same name, later worked with In The Garden and From Now On. Prior to that, however, the power trio recorded a series of demos, which made their way to Metal Blade Records, whom condensed them to the eight songs making up The Awful Truth. Sadly, The Awful Truth broke up before the album saw release.
My lone complaint regarding The Awful Truth is a somewhat thin production. Good news is the July of 2024 Brutal Planet Records re-issue rectifies any production misgivings, noting manner in which the Rob Colwell (Bombworks Sound) re-mastering imbues an added layer of polish allowing fine details to separate in the form of a more powerful drum sound, added bass presence and better defined guitars. Also of note is improved packaging, referencing the work of Scott Waters (No Life Til Metal Graphics) to include lyrics, which were missing from the Metal Blade release.
Opener “It Takes So Long” bounds out of the gate to impactful momentum, not tapering until big King’s X style harmonies take over at the start of the verse sections and carry over to the dreamy landscape interweaving the atmospheric refrain. One of the groups underrated calling cards is its first rate musicianship, which it puts on display for the final two-minute instrumental run upheld by throttling bass and flowing guitar rhythms.
Whereas “It Takes So Long” reflects a laid-back aspect to The Awful Truth, follow up cut “Circle Of Pain” manifests its heavier side. The song is powered its distance by metal edged guitars that lead the way at a near speed-based clip, with a contrasting environment prevailing to see hard-hitting overtures playing off Von Ohlerking’s even, classic tenor vocal delivery and added doses of the groups abundant harmonies. Von Ohlerking proves every bit adept guitar wise throughout the mid-point instrumental run, which gives way to some thrash like riffs that point to Space In Your Face era Galactic Cowboys. Lyric snippet:
Dark of night
Guiding light my spirits
Keep the young ones afraid
Too small to fight
Fire that burns inside of them
The ones you betray
Where is God?
Where?
Circle of Pain
(In the) Circle of Pain
(Circle of Pain)
The Awful Truth progressive aspect reveals on the pair of seven-minute cuts to ensue beginning with “I Should Have Known All Along”. Song captures the reserved aspect to “It Takes So Long” as a wistful ballad, calmly introspective with its layered King’s X style vocal harmonies and reflective melody but also insistent from the occasional bursts of rhythm guitar. Further upholding the progressive nuances is the daring two-minute instrumental interlude closing things out.
Second seven minute cut “Higher” is one of my favorites. It returns to heavier territory, with brazen bass and curtly done riffs to start only lightening for its initial verse sections but elevating as rhythm guitar assertively returns and powers the way to a refrain repeating songs title in emphatic fashion. True highlight is the straight from the King’s X school of progressive rock instrumental section in which dominant riffing gives way to melodic soloing which gives way to atmospheric moments, which give way to Doss’ double kick drum. Brilliant. Lyric snippet:
This is me - I'm in my own way
Sometimes mine is the darkest parade
The casting of pearls before swine
The piles of things I left behind
Eyes stare back down at me
How can a man made of dust become clean?
Breathe on me - My windows all break
All this bleeding just for my sake
The day that I left you behind
Promised you still could be mine
Your eyes stare back down at me
How can a man made of dust become clean?
“Ghost Of Heaven” represents albums shortest at just under five minutes. It builds upon the up-tempo momentum, carried its span by one of the most keyed up (and catchy!) bass lines you will hear, referencing Colvin’s epic work, but also interwoven with airy rhythm guitar emanating a cool U2-ish feel. The melodic vocal melodies touch upon a lightly done commercial element that potentially might have allowed radio play back in the day. Lyric snippet:
High above the highest star
Songs of You the angels sing
Only You could fill my heart
Only You could bring me where You are
Ghost of Heaven hear my plea
Holy Voice, won't You speak to me?
My mind is cold and gray
Angry voices call my name
It's hard to move these feet of clay
Let me hear Your voice today
Back to progressive territory with “No Good Reason”. Song proves a non-stop jam session, with drum and distorted bass covering the first minute and Von Ohlerking’s jazzy soloing highlighting the extended mid-point instrumental run. In between, the song plays up a freely flowing mid-paced demeanor with more breezy U2-sih guitars and echoing vocal melodies.
Von Ohlerking attributes with composing majority of The Awful Truth material with exception of “Drowning Man”, which he co-wrote with Dross. Song gives prominence to its share of chugging riffs and rhythms akin to Galactic Cowboys accordingly, as revealed in some of albums heavier moments as resounding guitar walls periodically maneuver to the forefront of the mix. Yet, a delicate side reveals in lighter guitar to play an equally signature role. Lyric snippet:
I can see the lifeguard on the shore, and he sees me
My waving arms he just ignores, but I know he sees
I'm going under for the last time
I'm sinking down - Can't they see?
I can't breathe!
Oh God, help me! Take my hand! (Help me...Take my hand)
Please save this drowning man! (Save me...I'm a drowning man)
(Please save me!)
Closer “Mary” is one of the groups most haunting and pensive. Perhaps this is where the Pink Floyd comparison comes into play, but the song proves eerie throughout with creepy elements, off kilter harmonies and cinematic bass. Building upon the plodding scene are the emotional vocals, which cannot but magnify the pointed questions at hand:
Can you feel it, Mary? Hands reach for your grace
Is there power in your name?
Do their prayers surround you? Do they light up your face?
Does this cover you with shame?
Mary, can you hear these people pray?
Mary, someone's calling on your name
Mary, can you hear these people pray?
I always have identified with The Awful Truth as outside the box and inventive in the most positive sense. Yes, the group is progressive as found in lengthy songwriting and manifold time signatures, but it also cleverly stays true to the song to extent individual tracks remain surprisingly fresh with repeat listen. Which leads to my main point: no disrespect to Galactic Cowboys - I’m as big a fan you will find - but I wish Von Ohlerking, Colvin and Doss had stuck together to record an additional album or two. The synergy between the three is such I see the ceiling of potential to be near unlimited. Likewise, it is disappointing Von Ohlerking did not remain more active in light of his significant songwriting and guitar abilities. Regardless, if a fan of the ‘Houston sound’ or any of the acts mentioned, then The Awful Truth comes with the strongest recommendation. Give credit to Brutal Planet Records for making the album available again in such a highly upgraded format.
Review by Andrew Rockwell
Track Listing: “It Takes So Long” (5:47), “Circle Of Pain” (5:22), “I Should Have Known All Along” (7:32), “Higher” (7:17), “Ghost Of Heaven” (4:42), “No Good Reason” (6:17), “Drowning Man” (6:00), “Mary” (5:33)
Musicians
David Von Ohlerking - Lead Vocals & Guitars
Monty Colvin - Bass
Alan Doss - Drums
