Bob Paré of Kix: 13 Albums That Changed My Life

Feature Photo coutesy of Bob Paré

As the second guitarist alongside Brian “Damage” Forsythe in Maryland’s favorite sons, Kix, during its final two years from 2021 through 2023, Bob Paré proved essential. Coming in behind an ailing Ronnie “10/10” Younkins, without Paré, Kix might not have been able to soldier on.

Now that Kix is done (their final show was in September of ‘23), Paré can focus on his teaching and other endeavors. During some downtime, Paré beamed in with ClassicRockHistory.com to recount the ten albums that changed his life.

But not before saying, “These aren’t in any particular order. These records were instilled into my DNA as a youngster and a budding guitarist. All these records made me what I am today, and the influences they had before them; obviously the Rolling Stones, Led Zeppelin, Aerosmith, etc.”

He continues, “As a touring guitarist for Kix, the past several years reminded me of how much these records meant to me as Kix shared many of the same characteristics listed below. The novelty of ’80s shred guitar had an impact, but eventually, that novelty wore off, and my true influences became more evident.”

The Wall – Pink Floyd (1979)

This record came out in 1979 when 50 of the #1 songs on the charts were disco. Bob Ezrin co-produced a groundbreaking record that included unheard-of techniques, both cutting-edge and primitive. David Gilmour’s performance and vast spectrum of guitar tones are so satisfying to my ears. As a guitarist, this record instilled the idea of letting notes breathe, something I still firmly believe in today. The older I become, the more I appreciate this record.

So What – Joe Walsh (1974)

Released in 1974, every track on this record is stellar. My personal favorites are “Turn to Stone” and “County Fair.” Joe’s band might have been a simple rock band with simple songs, but they hit like a heavy-weight boxer. As a guitarist, Joe Walsh might have been one of my earliest influences that affected my vibrato and string bending techniques. He’s smooth as silk.

Footloose & Fancy Free – Rod Stewart (1977)

Gary Grainger’s guitar work on “Hot Legs” and Keep Me Hangin’ On” is on point, and the songwriting on this record was just flat-out killer. There’s nothing negative anyone can ever say about the legacy of this record and its lineup. Of course, I’m a Jeff Beck fan, but his stuff is far too difficult to understand. The licks on this record were more to my ability, and I still steal them today!

Close Enough for Rock ‘n’ Roll – Nazareth (1976)

The opening track, “Telegram,” was as heavy as it could get. When I first heard it, it hit me hard in the chest. This was heavy metal before that was a widely accepted genre during the year of our bi-centennial, 1976. I can listen to this record every day. The vocals are more metal than most!

Moving Pictures – Rush (1981)

This is a sensational album, top to bottom. The production is so thick! Alex [Lifeson] ‘s guitar tone on this record influenced my choice to use an analog chorus on many of my guitar parts. I listen to this often, to this day, and find inspiration each time. Alex was the first reason I now play many semi-hollow guitars, chasing that tone all the way!

For Those About to Rock (We Salute You) – AC/DC (1981)

This is the perfect rock record. Released in 1981, I remember hearing those guitars on the opening title track, and I thought, “Man, this makes sense.” There aren’t too many records that make ya want to fuck and fight at the same time, but this record does. Back In Black was amazing, but this one was deep. The tuning and guitar tones remind me that things don’t need to be complicated; just be fucking good. And [producer] Mutt Lange knocked this record out of the park.

Boston – Boston (1976)

Again, in 1976, disco was kinda making things weird. Tom Scholz comes along and annihilates the planet with a debut record that made FM music great. There are no grungy or sticky performances anywhere. Everything about this record screams polished, which was hard to do with tape back then.

Aside from the obvious groundbreaking techniques as a producer, Tom was a guitarist, and his major key melodies were perfect. To this day, there isn’t much that can compare and stand up. I remember listening to it on LP with my crappy Koss headphones, and it still sounded incredible. It’s easy to get lost in this record, as I did for much of my life.

Screaming for Vengeance – Judas Priest (1982)

This 1982 release just flat-out kicked my ass. I didn’t find much as a guitarist in terms of influence; although Ken [K.K. Downing] and Glenn [Tipton] are incredible, it was more of a feel. The songs, as a whole, created a vibe that defined the time. When I was younger, I spent a great deal of time trying to emulate their writing style. The compositions from top to bottom are just flawless.

Damn the Torpedoes – Tom Petty and the Heartbreakers (1979)

It’s simple: if you don’t like this record, you’re an asshole. No one tells a story better than Tom Petty except Willie fucking Nelson! The guitars here are so primitive sounding, yet they fit the songs. Mike [Campbell] didn’t play any crazy solos, but what he did play was perfect for the song, which is something I feel is missing from many of the Artists out today. Every track is a classic!

Frampton Comes Alive! – Peter Frampton (1976)

This 1976 release was extremely influential on how I approach guitar playing as a whole. Peter Frampton builds songs, as with his solos, with one thing in mind—they are engraved in our minds. I’ll never forget an article I read about him discussing the music industry and how it’s evolved from nature / nurture an Artist to, well, whatever you want to call it nowadays.

The Game – Queen (1980)

When I first heard the singles aired on my little FM radio in my bedroom, I was like, “This is a killer rock guitar sound.” I had no idea how to get that sound, but I knew I liked it! Brian May’s touch and vibrato left a mark on me as a guitarist, for sure.

Business as Usual – Men at Work (1982)

This might seem weird to many folks, but this record was fascinating to me. The rhythms and arrangements, much like reggae, were very different sounding. In 1981, I was listening to a lot of The Knack and others, but Colin Hay just struck a nerve in my being. The two singles were monster hits, and FM radio had them in heavy rotation, and it was hard to avoid. But I liked it!

Desolation Angels – Bad Company (1979)

The opening track, “Rock ‘n’ Roll Fantasy,” smashed me in the face when I first heard it. All the prior records released by Bad Company and Free significantly influenced me later as a guitarist, but this one kicked the door down initially. If I could ever jam with one lead singer for the rest of my life, it would be Paul Rodgers. That would be a dream come true!

Classicrockhistory.com claims ownership of all its original content and Intellectual property under United States Copyright laws and those of all other foreign countries. No one person, business, or organization is allowed to re-publish any of our original content anywhere on the web or in print without our permission. All photos used are either supplied by the artists, public domain Creative Commons photos, or licensed officially from Shutterstock under license with ClassicRockHistory.com.