Album captures variety show spirit
Tom Petty’s pianist plays “Tennessee Waltz,” an Ernest Tubb classic rides a Bo Diddley beat, and a deep cut by the ’60s band the Zombies becomes a Disney-style lullaby.
The latest album from Watkins Family Hour lasts just 39 minutes, but that’s not to say it falls short.
Like its 2015 predecessor, “Vol. II” captures the adventurous spirit of the musical variety shows hosted by siblings Sara and Sean Watkins during their residency at the Los Angeles club Largo. The stellar new set is more consistently engaging than the first, thanks to a range of styles and collaborators. Among those featured are Benmont Tench, best known for his work with Petty, and Jackson Browne, who sings harmony on a stirring rendition of his tune “The Late Show.”
Tubb’s “Thanks a
Lot” sounds grateful for the Watkins’ rhythmic tweak and Jon Brion’s cool guitar work. Sara’s supple soprano anchors four-part harmony that features Lucius on the Zombies’ “The Way I Feel Inside.” Sean and Sara tap into their bluegrass roots on Jim and Jesse’s “She Left Me Standing on the Mountain,” and also excel at bouncy pop on TuneYards’ “Hypnotized.”
The final cut benefits from a large choir that includes Madison Cunningham, Fiona Apple, the Milk Carton Kids and Ed Helms, and they elevate Glen Phillips’ “Grief and Praise” into a moving benediction. “Sing loud while you’re able,” goes the chorus as Watkins Family Hour hits just the right closing note. — Steven Wine, Associated Press
Fiery fretboard master Marcus King is out with his
new album “Young Blood,” and his guitar skills on full display — but diverging some from his blues-heavy themes of the past.
King goes into high gear immediately on this, scorching his way through the opening tracks, including “Lie, Lie, Lie,” on which he bends and shreds his strings into submission.
“Pain” is another standout effort. “I used to be a diamond/ Now I’m just a rolled-up dollar bill,” King sings in his trademark throaty voice. The guitar solo is a bit more bluesinfused, with a massive amount of overdrive effect and speed.
King has been public about his bouts of depression and says this work is what has been going on inside of him. The lyrics here are deeply personal to King and his emotions.
If there’s a weak spot on “Young Blood,” it’s that the vocals are tracked much cleaner and quieter than the raucous instrumentals. This feels like a bit of a disservice to the energy of the artist.
Still, Marcus King serves notice that high-powered blues rock is in good hands. — Ron Harris, Associated Press
‘Young Blood’
Marcus King (American Records/Republic Records)
Maggie Rogers’ 12-track ‘Surrender’ is the followup to “Heard It in a Past Life,” her 2019 debut album. The new album only solidifies Rogers as one of the most interesting singer-songwriters out there. It’s less tentative or dreamy than her debut, more brash, confident, compelling and occasionally profane.
From the bubblegum pop of “Want Want” to the soaring ballad “Begging For Rain,” the album consistently sparkles and, in a sign of Rogers’ increasing clout, includes contributions from Florence Welch, Jon Batiste and Mumford & Sons’ Ben Lovett. Rogers’ voice is unfettered, cascading — running wild like the animals in her single “Horses” — and soars deliriously, sometimes to the point of almost cracking.
“Surrender” is a fraught album of love, with many songs seeming to concern the push-pull of reconnecting with a former crush and finally submitting to love.
“Surrender,” co-produced by Rogers and Kid Harpoon, has many interesting loops and repeating sound effects, but it’s not always perfect, with many songs overproduced.
“Be Cool” has weird breaks and an irritating shard of electronica, and “I’ve Got a Friend” loads up dialogue and too much plump piano. Rogers’ songs don’t need any extra flourishes, but often there is one garnish too many.
On the last track, “Different Kind of World,” Rogers is restrained at first, almost drowsy, then flowers into a rocking crescendo. “I’m a different kind of girl,” she sings. Thank goodness.