Simon RushworthMarcus King — Darling Blue (American Records/Republic Records)
Child prodigy turned prolific guardian of all things rootsy, Southern and country, the royally talented Marcus King is on a roll.
Last year’s Mood Swings was all about the blues: the bittersweet affair left its mark as we described King’s voice ‘cracking under the weight of weary resilience’.
That prevailing sense of emotional exhaustion is still evident on the introspective Darling Blue.
But somehow King clings to something more optimistic during this deep dive into often difficult self-reflection.
Sonically, the Nashville-based songwriter cites Otis Redding, Marshall Tucker Band, Wet Willie and Charlie Daniels as key influences.
No wonder Darling Blue’s so joyously genuine in its scope and ambition.
Those four — and many, many more — contribute to a sizzling melting pot of Southern-fried flavours.
Nothing’s off limits as King channels Capricorn Studios’ unrivalled heritage and classic vibe to create something that’s quite compelling.
The Carolina native captures key moments in history — playing Redding’s battered old piano proved a stretch too far — and puts them through a fiery, modern filter.
It all adds up to a record that’s bursting with pride, soul and heartfelt passion.
Darling Blue’s a daring move. But King comes out swinging.
King goes On And On
Looking for the ultimate take on Marcus King as a musician worthy of serious attention?
Try the affecting outro to opener On And On.
As an instant classic reaches its memorable denouement, the song’s stripped right back to reveal King’s almost wavering voice.
The main man’s exposed in such a way that an incredibly moving song wraps on a gloriously unexpected high.
You can’t teach that sort of stuff. It’s inherent. In built. Inescapably intuitive.
Here Today — featuring Jamey Johnson and Kaitlin Butts — is the epitome of what creative art is all about when deadlines don’t matter.
Three like-minded musicians hit the perfect sweet spot, untroubled by the constraints of time or the demands of commercially-minded suits.
It’s rootsy Americana music like it used to be.
Stirring strings pace the moving Die Alone while gospel-tinged funk and subtle brass guarantee Carolina Honey takes the prize as best song here.
On Somebody Else (feat. Jesse Wells), King confesses: “Didn’t like who I was so I tried to be somebody else.”
Please no. Marcus, man, be yourself.
