Beggar's Banquet, Appetite for Destruction, Me Hungry.
King Kong were formed in 1989 by Slint's then-bassist Ethan Buckler. While recording Slint's first LP Tweez, Ethan grew alarmed that the indie-rock scene was becoming distressingly "Albinized." Slint itself, in Ethan's view, had somehow been diverted musically away from a proper relationship with The Blues partially due to Albini-ism. Like a voodoo priest brewing a potion from a lock of his victim's hair, Ethan recorded the first King Kong single, "Movie Star," in Steve Albini's own house, while the proprietor was away. Additionally, King Kong's original lineup was identical to Slint's; its sound and mindframe were completely different. Although few contemporaneous listeners considered "Movie Star" a blues record, today it is clear that King Kong succeeded in reconstructing The Blues for the new youth of today (today being the early 90s). Fortunately, King Kong didn't stop there! Because the finest Blues must percolate naturally, King Kong took its own sweet time working on each of its (very occasional) releases. But every fifth or sixth year, like Old Faithful, King Kong has resurfaced to apply its unique reformulation of The Blues with awe-inspiring versatility addressing subjects ranging from space opera to bridgecraft to the elderly. And in its most successful outings of all (which include "Me Hungry"), King Kong has confronted a subject that has entranced great minds through the ages: anthropomorphism. "Me Hungry" has been described as a typical romance: boy meets girl, boy loses girl, boy meets yak. And it is that. But it is so much more!
— Ken Katkin, the man who discovered King Kong