Biography
Despite evident skill, Shotgun Messiah members drew repeated charges of naked opportunism and earned the sarcastic tag “Bandwagon Messiah” for their relentless stylistic pivots. Whether driven by calculation or chance, the Swedish group lingered for years on the periphery of success without ever securing lasting rock acclaim.
Drawn to the flashy hard-rock scene emerging from Los Angeles in the early 1980s, bassist Tim Skold, guitarist Harry Cody, and drummer Stixx Galore launched the glam outfit King Pin in their hometown of Skovde, Sweden. They soon added vocalist Zinny J. San and issued the 7-inch single “Shout It Out” in 1987. Their Sweden-only debut album, Welcome to Bop City, arrived the next year and became a regional hit, spurring the musicians to relocate to L.A., adopt the name Shotgun Messiah, and remix the record for its 1989 international release under the same title.
San exited shortly afterward, yet the band pressed on by recruiting bassist Bobby Lycon and shifting vocal duties to Skold. This configuration delivered the 1991 album Second Coming, which critics greeted warmly, along with the punk-covers EP I Want More. The rhythm section then departed, halving the lineup. Skold and Cody quickly reshaped Shotgun Messiah into an industrial-metal project modeled on Ministry for the 1993 album Violent New Breed, but persistent lack of interest finally prompted them to disband. Skold subsequently launched a solo career.
Drawn to the flashy hard-rock scene emerging from Los Angeles in the early 1980s, bassist Tim Skold, guitarist Harry Cody, and drummer Stixx Galore launched the glam outfit King Pin in their hometown of Skovde, Sweden. They soon added vocalist Zinny J. San and issued the 7-inch single “Shout It Out” in 1987. Their Sweden-only debut album, Welcome to Bop City, arrived the next year and became a regional hit, spurring the musicians to relocate to L.A., adopt the name Shotgun Messiah, and remix the record for its 1989 international release under the same title.
San exited shortly afterward, yet the band pressed on by recruiting bassist Bobby Lycon and shifting vocal duties to Skold. This configuration delivered the 1991 album Second Coming, which critics greeted warmly, along with the punk-covers EP I Want More. The rhythm section then departed, halving the lineup. Skold and Cody quickly reshaped Shotgun Messiah into an industrial-metal project modeled on Ministry for the 1993 album Violent New Breed, but persistent lack of interest finally prompted them to disband. Skold subsequently launched a solo career.
Albums
