Belly’s debut album, Star, released in 1993, was an unqualified crossover success. The Rhode Island-based dream pop band, fronted by Tanya Donelly, who had spent time in both the Breeders and Throwing Muses, broke through in a big way. Belly‘s dreamy alternative rock connected with audiences in the United States and the United Kingdom, driven by the success of the single “Feed the Tree” featured in the coveted MTV Buzz Bin.
Star sold around 800,000 copies in the United States, hitting #2 on the UK albums chart. Belly were nominated for two Grammys–Best New Artist and Best Alternative Music Performance. They were on top of the world, touring with new bassist Gail Greenwood. Expectations were high for the follow-up.
Two years later, Belly released the follow-up, King, and while most critics were kind, it simply didn’t sell as well as Star. By then, alternative radio was dominated by more aggressive guitars, and the singles were largely ignored. In addition, the band had largely dispensed with their debut’s dreamy, gauzy sounds in favor of louder guitars.
However, the more rock-centered King, produced by Glyn Johns, wasn’t heavy enough to get radio play but was probably too electric guitar-centered for many fans drawn in by Star‘s dreamy quality. Reportedly, the group weren’t too surprised that King underperformed. They have shared in interviews since that recording it was not a fun experience.
Thirty years on, King deserves reconsideration. It is an unfairly forgotten, solid follow-up that shouldn’t have been so quickly relegated to the cut-out bin. Its sales of over 350,000 probably don’t sound too much like a disaster for a rising band today. While King is not giving more of the same in terms of songwriting, it is the sound of a road-tested group circumventing expectations a little and still writing several memorable tracks. If listened to without the weight of expectation, this is a solid 1990s alternative rock record with several winning songs. It’s odd to say, but this record might have done better if a different band made it, one not carrying the weight of expectation Belly were laboring under.
Belly moved toward louder guitars when they hit the road to support Star. When original bassist Fred Abong quit just after it was released, Gail Greenwood replaced him just in time for the tour, and her metal past influenced the group to emphasize more electric guitar on stage. That influence certainly carried over into the songs on King.
The opener, “Puberty”, retains Donelly’s ethereal vocals, but it is a straightforward rock song with a massive chorus. With its big riff and overtly flirty lyrics, the title track is arguably the song that typifies how different King is from Star. It diverges from their sound. Producer Glyn Johns, whose resume includes legendary records by the Beatles, the Rolling Stones, and the Who, seemed to be the right person to helm the more rocking material Belly had written.
Where Star’s songs were filled with dark lyrics that skirted fairy tale territory, such as” Angel”, “Gepetto”, and “Slow Dog”, musically, they were bright, driving pop songs. Many of the darkest moments, such as the opener, “Someone to Die For”, were quiet and eerie. Like it or not, Belly sound more like a rock band on King. The darker themes are more rooted in real life and somewhat mismatched with the big rock aesthetic.
The lead single, “Now They’ll Sleep”, failed to ignite radio, but it has the makings of a hit song. It begins with a classic riff but shortly bursts into an up-tempo, anthemic rocker written to be played in an arena. I recall seeing the video for the first time and feeling caught off guard by the change in sound, but I came around. Regardless, it seemed tailor-made for radio in 1995, and it might have found more success if it wasn’t Belly.
The second single, “Superconnected”, is the catchiest moment on King, but it’s a grim tale of addiction. “Untitled and Unsung” details a toxic, alcohol-fueled relationship in a catchy package. One of the finest songs, “Judas My Heart”, is a beautiful, sullen ballad but another example of Belly’s growth more than their signature sound.
Nothing they were doing on King should have locked them out the way they were locked out. Many women in alternative rock were still making waves and selling records. However, Belly’s biggest single and signature song was named for a euphemism for dying. “Red” recaptures some of that languid quality of Star in its verses but rallies for a twitchy chorus and big finish.
“Silverfish” and “The Bees” are probably closest to Star, but they seem dull compared to the chances the band take elsewhere. That might be a more reasonable explanation. The songs that people came to King expecting were not the best moments. These dark themes, even when cloaked in catchy, bright rock, were a tough sell.
Belly were running out of gas by the time they recorded King, and it wasn’t a surprise that they broke up after touring it. Donelly went on to record as a solo artist. Greenwood spent some time in L7 and will be on bass for the upcoming final tour for post-punk legends Gang of Four. The brothers Tom and Chris Gorman left music altogether. However, the group reformed to play some shows in Europe in 2106, and they even released their belated third record, Dove, in 2018. There hasn’t been any new music since, but the band play a handful of shows this year.
King is less compelling than Star, but it didn’t deserve its fate. It is a quality release showcasing a talented group stretching their sound. Belly are not alone in this boat; many 1990s artists strayed from their signature approach and alienated fans. However, you can hear their weariness in several tracks, and it wasn’t surprising that they called it quits. King is best heard without expectations carried over from the band’s singular debut. On those terms, it is an imperfect but unjustly maligned snapshot of 1990s alternative rock.