Tag: Curtis Mayfield

Single Review by William Ruben Helms

Over the past handful of months, I’ve written quite a bit about  The Midnight Hour, a 10 member ensemble founded and led by A Tribe Called Quest’s Ali Shaheed Muhammad and Adrian Younge, a Los Angeles-based composer, multi-instrumentalist, arranger, producer and Linear Labs founder. Now, as you may recall, the project prominently features singer/songwriter and guitarist Jack Waterson, singer/songwriter and multi-instrumentalist Loren Oden — and , singer/songwriter, multi-instrumentalist and 18 year old Los Angeles-born and-based phenom, Angela Munoz.

The 10 member ensemble released their self-titled debut in 2018 — and the effort firmly established their sound: jazz and orchestral inspired soul and hip-hop heavily influenced by  David Axelrod, Quincy Jones, Curtis Mayfield, Barry White and Jazzmatazz-era Gang Starr. Since the release of their debut, Muhammad, Younge and the rest of the Linear Labs crew have been extremely busy: last year saw the release of Jack Waterson’s psych rock, solo debut Adrian Younge Presents Jack Waterson, and a lengthy tour that included a Brooklyn Bowl stop last September — and this year will see three releases from the collective and its members: the ensemble’s highly-anticipated sophomore album and solo efforts from Loren Oden and Angela Munoz.

The young, Los Angeles-born and-based singer/songwriter, multi-instrumentalist and phenom has a beguiling voice and mature presence that belies her relative youth, who recalls that Guns ‘N’ Roses’ “Welcome to The Jungle” was the catalyst that sparked her desire to play music and become a star. As a girl, she learned to play guitar and piano — and with practice, she began to dominate singing competitions, leaving unexpected audiences in a trance.

Interestingly, a few years ago Munoz’s brother Brandon introduced her to the Adrian Younge-produced Something About April. Munoz was intrigued by the quality of the music, and as a result, she found herself thinking about how it would be interesting to create music that encompassed various perspectives — similar to how Younge does so with his analog recordings. Shortly after being introduced to Something About April, the Los Angeles-born and-based phenom serendipitously found herself working with The Midnight Hour, who recorded her song “Bitches Do Voodoo” on their full-length debut. They’ve since took Munoz on tour, where she’s blown away audiences with her self-assured stage presence, her dexterous musicianship and her soulful vocals.

Earlier this month, I wrote about Munoz’s neo-soul meets Quiet Storm-like debut single “I Don’t Care,” which featured her remarkably self-assured and effortlessly soulful vocals over an arrangement of twinkling keys and harp, soaring strings, a sinuous bass line, wah wah pedaled guitar and an enormous hook paired with an underlying youthful brashness. “In My Mind” the second single off full-length debut Introspection is a gorgeous and cinematic track centered around a pop standard-like arrangement featuring soaring and fluttering strings, a sinuous bass line, some expressive bursts of guitar, twinkling harp and Munoz’s expressive vocal. Sonically, the song manages to recall George Gershwin and jazz ballads. From her first two singles, Munoz is a certifiable star in the making.

“I wrote this song thinking about the journey of love,” Munoz explains. “Despite my age, I have an awareness of what expressing love looks like. As I was writing this song, I wanted to challenge myself as a songwriter. This led me to imagine myself in the place of George Gershwin. If I could choose anyone to interpret this song it would be Sarah Vaughan. Ultimately, love can manifest itself in many ways.”

Munoz’s full-length debut Introspection is slated for a May 19, 2020 release through Linear Labs.

 

Video by William Ruben Helms

New Video: Los Angeles-based Phenom Angela Munoz Reveals Her True Self in Visuals for “I Don’t Care”

Founded and led by A Tribe Called Quest’s Ali Shaheed Muhammad and Adrian Younge, a Los Angeles-based composer, multi-instrumentalist, arranger, producer and Linear Labs founder, The Midnight Hour is a 10 member ensemble that also prominently singer/songwriter and guitarist Jack Waterson, singer/songwriter and multi-instrumentalist Loren Oden — and , singer/songwriter, multi-instrumentalist and 18 year old Los Angeles-born and-based phenom, Angela Munoz. 

The Midnight Hour released their self-titled debut back in 2018, an effort that established their sound: jazz and orchestral inspired soul and hip-hop heavily influenced by  David Axelrod, Quincy Jones, Curtis Mayfield, Barry White and Jazzmatazz-era Gang Starr. Now, as you may recall, since the release of  the ensemble’s full-length debut, Muhammad, Younge and and the Linear Labs crew have been extremely busy: last year saw the release of Jack Waterson’s psych rock, solo debut Adrian Younge Presents JackWaterson, and a lengthy tour that included a Brooklyn Bowl stop last September. This year will see the release of the ensemble’s highly-anticipated sophomore album, as well as solo efforts from Loren Oden and Angela Munoz.

The young, Los Angeles-born and-based singer/songwriter and multi-instrumentalist phenom has a beguiling voice and mature presence that belie her relative youth. Munoz recalls Guns ‘N’ Roses’ “Welcome to The Jungle” as the catalyst that sparked her desire to play music and to become a star. As a girl, she learned to play guitar and piano — and with practice, she began to dominate singing competitions, leaving unexpected audiences in a trance. Interestingly, a few years ago Munoz’s brother Brandon introduced her to the Adrian Younge-produced Something About April. Munoz was intrigued by the quality of the music, and as a result, she found herself thinking about how it would be interesting to create music that encompassed various perspectives — similar to how Younge does so with his analog recordings.

Shortly after being introduced to Something About April, the Los Angeles-born and-based phenom serendipitously found self working with The Midnight Hour, who recorded her song “Bitches Do Voodoo” on their full-length debut. They’ve since took Munoz on tour, where she’s blown away audiences with her self-assured stage presence, a maturity that belies her age, some dexterous musicianship and her soulful vocals. 

Munoz’s debut single “I Don’t Care” features the Los Angeles-born and-based phenom’s remarkably self-assured and effortlessly soulful vocals over a gorgeous arrangement of twinkling keys and harp, soaring strings, a sinuous bass line, wah wah pedaled guitar and an enormous hook.  And while the material is deceptively anachronistic sonically with the song drawing from classic Quiet Storm soul and 90s neo soul, there’s an underlying youthful brashness that’s beguiling and infectious. Munoz wrote “I Don’t Care” about how difficult staying true to who you are can be, especially as an artist, and ultimately realizing that she doesn’t need to fit into a mold — or be something that she never wanted to be. Unsurprisingly, she’s been told since she was a child that, in order to succeed as a musician she needed to change herself to look like a “superstar.” 

Directed by Adrian Younge, the recently released, gorgeously cinematic video sees Munoz peeling back the layers of the glamorous look that is expected of her to reveal her true self — and by doing so, we wind up seeing how truly beguiling the young artist really is.  “I knew that my purpose in life isn’t to be anyone’s object, it’s to share my experiences and impact people in the most positive way,” Munoz says in press notes. “I hope the song and video helps people realize that they don’t need to change the way they are to feel accepted.” 

Video by William Ruben Helms

New Video: Loren Oden Releases a Gorgeously Shot and Intimate Visual for Slow-burning “Is There A Way”

Founded and led by A Tribe Called Quest’s Ali Shaheed Muhammad and Adrian Younge, a Los Angeles-based composer, multi-instrumentalist, arranger, producer and Linear Labs founder, The Midnight Hour is a 10 member ensemble that also prominently singer/songwriter and guitarist Jack Waterson,  singer/songwriter, multi-instrumentalist and 18 year old Los Angeles-born and-based phenom, Angela Munoz — and Compton-born, Los Angeles-based singer/songwriter and multi-instrumentalist Loren Oden.

The Midnight Hour released their self-titled debut back in 2018, an effort that established their sound: jazz and orchestral inspired soul and hip-hop heavily influenced by  David Axelrod, Quincy Jones, Curtis Mayfield, Barry White and Jazzmatazz-era Gang Starr. Now, as you may recall, since the release of  the ensemble’s full-length debut, Muhammad, Younge and and the Linear Labs crew have been extremely busy: last year saw the release of Jack Waterson’s psych rock, solo debut Adrian Younge Presents Jack Waterson, and a lengthy tour that included a Brooklyn Bowl stop last September. This year will see the release of the ensemble’s highly-anticipated sophomore album, as well as solo efforts from Loren Oden and Angela Munoz.

Oden was born into a musical family and grew up in the church, studying gospel, as well as Marvin Gaye and Sam Cook. Throughout the years, he developed an affinity for vocal arrangements and earnest lyricism, which caught the attention of Younge, who’s a a long-time friend.  Slated for a May 1, 2020 release through Linear Labs, My Heart, My Love finds Oden sharing a uniquely curated sound with the listener: pairing lyrical transparency and vulnerability with orchestral arrangements and production by Adrian Younge — with the material being reminiscent of classic soul and progressive R&B. “This album is an amalgamation of my life in love: the ups, the downs, the good, the bad and the heartbreak,” Loren Oden says in press notes. “I strive to be transparent in my songwriting and I hope that the listener can hear and feel all the emotions that I’ve poured into this album.” As a result, the album is specifically written for the sophisticated, grown and sexy lovers out there, with the material delving into the guarded emotions we feel so deeply but try to avoid. 

Earlier this week, I wrote about Angela Munoz’s incredibly self-assured debut  “I Don’t Care” and interestingly enough, the Linear Labs collective end the week with the Valentine’s Day themed “Is There A Way,” the first single off Loren Oden’s forthcoming debut album My Heart, My Love. Centered around fluttering beats, a shimmering and gorgeous orchestral arrangement and Oden’s plaintive falsetto, the song balances a cinematic sound with an intimate feel. Recalling Al B. Sure! (in particular “Night and Day”) and Maxwell, the song is deceptively anachronistic Quiet Storm-era soul.

“‘Is There A Way’ is an optimistic song about love, romance, and true happiness with a person that you feel soulmate status with,” Oden explains in press notes. “‘Is There A Way’ is a simple melody taking the listener on a journey with me in my quest to rekindle love’s first spark. It’s that spark that sets everything in motion, and breathes life back into a failing love.” The song was written after Oden reconnected with an old love that he had a deep connection and very loving relationship with. And as a result, the song is Oden pouring his heart out to her as a way to try to find a way back to the love they once had.

Directed by Adrian Younge, the recently released video is a gorgeously shot visual, capturing the intimate moments of a couple — one-half of which is Oden. Throughout the video, Oden pours his heart out to his lover. 

Single Review by William Ruben Helms

New Audio: Introducing Los Angeles-based Phenom Angela Munoz

Founded and led by A Tribe Called Quest’s Ali Shaheed Muhammad and Adrian Younge, a Los Angeles-based composer, multi-instrumentalist, arranger, producer and Linear Labs founder, The Midnight Hour is a 10 member ensemble that also prominently singer/songwriter and guitarist Jack Waterson, singer/songwriter and multi-instrumentalist Loren Oden — and , singer/songwriter, multi-instrumentalist and 18 year old Los Angeles-born and-based phenom, Angela Munoz. 

The Midnight Hour released their self-titled debut back in 2018, an effort that established their sound: jazz and orchestral inspired soul and hip-hop heavily influenced by  David Axelrod, Quincy Jones, Curtis Mayfield, Barry White and Jazzmatazz-era Gang Starr. Now, as you may recall, since the release of  the ensemble’s full-length debut, Muhammad, Younge and and the Linear Labs crew have been extremely busy: last year saw the release of Jack Waterson’s psych rock, solo debut Adrian Younge Presents Jack Waterson, and a lengthy tour that included a Brooklyn Bowl stop last September. This year will see the release of the ensemble’s highly-anticipated sophomore album, as well as solo efforts from Loren Oden and Angela Munoz. 

The young, Los Angeles-born and-based singer/songwriter and multi-instrumentalist phenom has a beguiling voice and mature presence that belie her relative youth. Munoz recalls Guns ‘N’ Roses’ “Welcome to The Jungle” as the catalyst that sparked her desire to play music and to become a star. As a girl, she learned to play guitar and piano — and with practice, she began to dominate singing competitions, leaving unexpected audiences in a trance. Interestingly, a few years ago Munoz’s brother Brandon introduced her to the Adrian Younge-produced Something About April. Munoz was intrigued by the quality of the music, and as a result, she found herself thinking about how it would be interesting to create music that encompassed various perspectives — similar to how Younge does so with his analog recordings. 

Shortly after being introduced to Something About April, the Los Angeles-born and-based phenom serendipitously found self working with The Midnight Hour, who recorded her song “Bitches Do Voodoo” on their full-length debut. They’ve since took Munoz on tour. where she’s blown audiences. 

Munoz’s debut single “I Don’t Care” features the Los Angeles-born and-based phenom’s remarkably self-assured and effortlessly soulful vocals over a gorgeous arrangement of twinkling keys and harp, soaring strings, a sinuous bass line, wah wah pedaled guitar and an enormous hook.  And while the material is deceptively anachronistic sonically with the song drawing from classic Quiet Storm soul and 90s neo soul, there’s an underlying youthful brashness that’s beguiling and infectious. 

Video by William Ruben Helms

New Video: Rising British Singer Songwriter Jordan Mackampa Releases an Ebullient Visual for “Magic”

Jordan Mackampa is a rising London-born and-based Congolese-British singer/songwriter. With the release of “Under,” 2016’s Physics EP, and 2017’s Tales From The Broken EP and Live from the Grand Cru EP, Mackampa has received critical praise from NME, The 405, The Line of Best Fit, Clash, Indie Shuffle, Wonderland and others while his work amassed over 50 million Spotify streams.

Mackampa’s work is inspired by his Congolese roots and his mother’s love of legendary soul singers like Marvin Gaye, Bill Withers and Curtis Mayfield. And as a result, the Congolese-British singer/songwriter has developed a reputation for pairing old-school singer/songwriter soul, earnest songwriting and catchy melodies with a modern songwriting approach. Now, if you’ve been frequenting this site over the past few months, you may recall that Mackampa’s highly anticipated, full-length debut Foreigner is slated for a March 13, 2020 release through AWAL.  

Reportedly, the album’s material draws from the sounds and stories of the cities he’s spent time in and inhabited over the years, and while documenting his life as an outsider, the material’s sound is a melting pot of cultures that draws from his birthplace in the Republic of the Congo, his mom’s classic soul record collection, hip-hop obsessed childhood in North London, and his Coventry, UK-based teen years, immersed in indie rock — and all of that meshes together to create a hybrid of alternative pop, soul and indie rock. 

Late last year, I wrote about “Parachutes,” a breezy and deliberately crafted track centered around a radio friendly yet loose arrangement of twinkling keys, shimmering guitars, a sinuous bass line and propulsive drumming pared with Mackampa’s easygoing vocals, evoking the soaring highs of being in love and the embittering low of heartache within the turn of a phrase.  The album’s latest single “Magic” is a breezy and swinging pop song that reveals Mackampa’s genre-defying sound: the song draws from old school soul, Bossa nova and samba simultaneously. “This is a bossa nova and samba-infused feel good kinda track about when you can’t get someone off your mind,” Mackampa says in press notes. “”You’ve had one taste and you want more!”

Directed by longtime collaborator Tom Ewbank and featuring choreography from Taali Kwaten, the recently released video for “Magic” was filmed in a South London underpass is centered around the Congolese-British singer/songwriter and his backing band performing the song in front of a collection of diverse partiers, who dance the night around.  The video manages to further emphasize the song’s ebullient joy of being infatuated by new love. 

Video by William Ruben Helms

Live Footage: Marcus King Teams Up with Dan Auerbach on a Live Acoustic Rendition of “Break” at Easy Eye Studio

Over the last handful of months, I’ve managed to write a bit about the rapidly rising Greenville, SC-born, Nashville-based singer/songwriter and guitarist, Marcus King. King is a fourth generation musician, who has followed in his family’s footsteps by becoming a musician and singer/songwriter of note itself.  Playing professionally since he was 11, King was discovered after a video of him performing at Norman’s Rare Guitars went viral. Now 23, King  has been performing for the past 15 years, establishing himself as a world class guitarist, vocalist and highly sought-after session player.

Since 2015, King has been relentlessly touring with his backing band The Marcus King Band — Jack Ryan (drums), Stephen Campbell (bass), Justin Johnson (trumpet, trombone) and Dean Mitchell (sax, still guitar) — playing 140 dates live shows last year alone. Adding to a breakthrough year, King and his backing band have played on The Late Show with Stephen Colbert, made his debut at The Grand Ole Opry — and he opened for Chris Stapleton during his last US arena tour, playing in front of 17,000 people every night.

King’s Dan Auerbach-produced full-length debut El Dorado was released earlier this month through Fantasy Records. And as you may recall, King’s debut continues his successful (and ongoing) collaboration with Auberach, which began with “How Long.” El Dorado was cowritten with the acclaimed singer/songwriter, guitarist and producer over three days at his Nashville-based Easy Eye Sound Studio. Much like Grammy Award-nominated, JOVM mainstay Yola’s Walk Through Fire, King’s debut is a contemporary sonic exploration of classic rock, blues, southern R&B and country soul.

“Marcus is known by so many as a phenom guitar player, and rightfully so,” Dan Auerbach says of his time working with Marcus King. “He’s regularly the best player in the room, hands down. I was equally blown away by the way he can sing — so effortless, so soulful, straight to the heart. He’s a naturally gifted writer too, which was clear right away. Everything for him is so innate — that’s why he can always go right to the heart of a song and connect in a deeper way. He’s really one of a king and I’m proud I got to work alongside him on this record.”

Last year, I wrote about three of El Dorado‘s singles: the slow-burning, one part Muscle Shoals soul, one part Southern rock, one part R&B, one part classic blues “Wildflowers and Wine,” the Slowhand-era Eric Clapton and Texas Flood-era Stevie Ray Vaughan-like “Say You Will,” and the Curtis Mayfield and 70s Motown-like “One Day She’s Here.” And earlier this month, I wrote about a gorgeous, live acoustic session of album single “Beautiful Stranger,” a drinking and love song centered around a familiar and age-old tale: lost and lonely souls in a dimly lit bar, desperately hoping to find that beautiful stranger before last call.

The latest footage from that live session is a slow-burning acoustic version of album single “Break.” As King explains the song tells a story about two dysfunctional and hurting people in a dysfunctional relationship in which they don’t know how to love — and worse, yet, in which one person knows they’ll do something to hurt the other, and the second person knows that they’ll be devastated by the actions of their lover. As a result, the song — and in turn, it’s narrator — are achingly self-aware and bittersweet, as its centered around a darkly ironic desire and acknowledgement: that if your heart was going to be broken anyway, at least let it be me. Much like its immediate predecessor, the song manages to portrait a familiar scenario with an unflinching honesty and empathy. 

Single Review by William Ruben Helms

New Audio: Monophonics Release a Swooning and Shimmering Ballad

Since their formation, the Bay Area-based soul outfit Monophonics — Austin Bohlman (drums), Ian McDonald (guitar, backing vocals), Ryan Scott (trumpet, backing vocals, percussion), Max Ramey (bass) and Kelly Finnigan (lead vocals, keys) –have developed an approach that continues in the classic and beloved tradition of Stax Records, Muscle Shoals, Daptone Records and Dunham Records: much like their influences, the Bay Area soul outfit’s material is centered by an incredibly cinematic sound that draws heavily from classic soul, heavy funk, psych rock  recorded on vintage analog recording gear. This is paired with a healthy amount of old-fashion woodshedding, crafting and McDonald’s and Finnigan’s late night overdubs and studio work. “We’re from the same school as the producers from the studios we love. We use the tools that we have to make the best records we can,” the band says in press notes. 

Monophonics’ third full-length album It’s Only Us is slated for a March 13, 2020 release though Colemine Records. While the album will further cement their long-held reputation for being an act that’s keen to creating and playing a heavier and edgier version of classic soul, and for arguably being one of the Bay Area’s best classic soul-inspired acts, the album reportedly is a reflection of what the band sees as the current, troubling direction of our world. Thematically, the album touches upon much-needed messages of unity in a fractious and divisive world, strength, resilience and acceptance. Also, sonically, It’s Only Us reportedly finds the rising soul act gently refining their signature sound with a healthy dose of new and warmer textures. 

Last year, I wrote about “Chances,” It’s Only Us’ lush and uptempo bit of two-step inducing soul that sounds like a crate digger’s dream of stumbling across some obscure and dusty Northern soul or classic American soul from the mid 60s. But at its core, the song warned empathetic lovers to think twice about giving that straying lover another chance, making the song an aching and age-old tale of the difficulties of saying goodbye to a no-good lover — even when it’s absolutely necessary.  It’s Only Us’ second and latest single, album title track “It’s Only Us” is a lush and swooning track, centered around an achingly gorgeous brass line, shimmering keys and guitars, a sinuous bass line and Finnigan’s soulful and vulnerable crooning — and while being both subtly psychedelic and cinematic in a way that recalls Curtis Mayfield, Issac Hayes and others, the song, as the band’s Kelly Finnigan explains “is about the first time you tell someone you love them. It’s that moment in life so many of us have had where we make ourselves our most vulnerable. While on the outside, it has the qualities of a traditional love song, underneath it is an anthem for humanity. Right now, we are witnessing a time where so many people feel polarized and there is a divisive mood in the country. inside the story is a message of unity, trust and acceptance that goes beyond falling in love.” 

Single Review by William Ruben Helms

Ben Williams is an acclaimed Washington DC-born and-based singer/songwriter, bassist, composer, bandleader and highly sought-after collaborator. Williams graduated from the Duke Ellington School of the Arts, Michigan State University and The Juilliard School, winning the Thelonious Monk International Jazz Competition(now known as the Herbie Hancock  International Jazz Competition) back in 2009 and a Grammy Award as a member of Pat Metheny‘s Unity Band. He has collaborated with an impressive and remarkably diverse array of artists including Wynton Marsalis, George Benson, Maxwell, Robert Glasper, Pharrell and a long list of others. (He also appeared in Don Cheadle’s Miles Davis biopic Miles Ahead.)

As a bandleader and composer, Williams has released two albums through renowned jazz label Concord Records — 2011’s State of Art and 2015’s Coming of Age. Slated for a February 7, 2020 release through Jose James‘, Talia Billig‘s and Brian Bender’s Rainbow Blonde Records, Williams third album I AM A MAN references Memphis‘ historic 1968 sanitation workers’ strike, during which African American men marched through the streets with picket signs that read “I Am A Man” in a boldface type. “The image of this long line of men, holding the picket signs, all saying the same thing — there’s something powerful about seeing this message over and over again,” Williams explains, before saying that the messaging reminded him of how we use hashtags today to help ignite and inspire activism today, such as the Black Lives Matter and MeToo movements. But there’s multiple subtle meanings to the album’s title: as Williams said during his performance at the Rainbow Blonde Records NYC Winter Jazz Fest last week the album wasn’t a typical protest album; that it was thematically an exploration of the black male psyche.

Sonically, the album reportedly meshes past, present and future, as it seemingly draws from The Roots, Erykah Badu, Bilal, D’Angelo, Common, Roy Hargrove‘s RH Factor as well as Marvin Gaye‘s What’s Going On, Curtis Mayfield and others.

Williams plays both double bass and electric bass throughout the album’s material, singing lead vocals on almost every single song on the album. He’s joined by an accomplished backing band of collaborators that includes Kris Bowers (keys), David Rosenthal (guitar), Marcus Strickland (tenor sax, bass clarinet), Bendji Allonce (percussion), Keyon Harrold (trumpet), Anne Drummond (flute), Jamire Williams (drums) and Justin Brown (drums). The album also features a handful of songs with  string arrangements performed by a string quartet — Justina Sullivan (cello), Celia Hatton  (viola), Maria Im (violin) and Chiara Fasi (violin), and vocals from Kendra Foster, Muhsimah, Wes Felton and Niles.

The album’s first single is the cinematic “If You Hear Me.” Centered around an spacious and cinematic arrangement featuring a shimmering and soaring string arrangement, African polyrhythm, Williams’ plaintive and soulful vocals, the track manages brings to Marvin Gaye, Curtis Mayfield and Landing on a Hundred-era Cody Chesnutt to mind. The album’s second single, fittingly released today is an atmospheric rendition of the civil rights-era classic “We Shall Overcome” that places the song’s timeless struggle and hope for a far better, more just world into a contemporary context:  reminding the listener that the struggle of MLK, Malcolm X,  The Black Panthers and others,  is the same struggle as Black Lives Matter and other movements.

Williams will be embarking on a handful of live dates that includes a February 8, 2020 album release show at Nublu 151. Check out the live dates below.

 

Tour Dates
2/8: New York, NY @ Nublu 151 (Album Release Show)
3/19: Washington, DC @ City Winery

Video by William Ruben Helms

Live Footage: Marcus King Teams Up with Dan Auerbach on an Acoustic Version of “Beautiful Stranger” at Easy Eye Studio

During the tail end of last year, I wrote a bit about the rapidly rising, Greenville, SC-born, Nashville-based singer/songwriter and guitarist, Marcus King. King is a fourth generation musician, who has followed in his family’s footsteps by becoming a musician and singer/songwriter of note itself.  Playing professionally since he was 11, King was discovered after a video of him performing at Norman’s Rare Guitars went viral. Now 23, King  has been performing for the past 15 years, establishing himself as a world class guitarist, vocalist and highly sought-after session player.

Since 2015, King has been relentlessly touring with his backing band The Marcus King Band — Jack Ryan (drums), Stephen Campbell (bass), Justin Johnson (trumpet, trombone) and Dean Mitchell (sax, still guitar) — playing 140 dates live shows last year alone. Adding to a breakthrough year, King and his backing band have played on The Late Show with Stephen Colbert, made his debut at The Grand Ole Opry — and he opened for Chris Stapleton during his last US arena tour, playing in front of 17,000 people every night.

King’s highly-anticipated , Dan Auerbach-produced full-length debut El Dorado sees its official release today through Fantasy Recordings. Now, as you may recall, King’s debut continues his successful (and ongoing) collaboration with Auberach, which began with “How Long,” with the album being co-written with the acclaimed singer/songwriter, guitarist and producer over three days at his Easy Eye Sound studio. And much like JOVM mainstay Yola, King’s album is  a contemporary sonic exploration of classic rock, blues, southern R&B and country soul.

“Marcus is known by so many as a phenom guitar player, and rightfully so,” Dan Auerbach says of his time working with Marcus King. “He’s regularly the best player in the room, hands down. I was equally blown away by the way he can sing — so effortless, so soulful, straight to the heart. He’s a naturally gifted writer too, which was clear right away. Everything for him is so innate — that’s why he can always go right to the heart of a song and connect in a deeper way. He’s really one of a king and I’m proud I got to work alongside him on this record.”

Last year, I wrote about three of El Dorado’s singles: the slow-burning, one part Muscle Shoals soul, one part Southern rock, one part R&B, one part classic blues “Wildflowers and Wine,” the Slowhand-era Eric Clapton and Texas Flood-era Stevie Ray Vaughan-like “Say You Will,” and the Curtis Mayfield and 70s Motown-like “One Day She’s Here.” Building upon the growing buzz surrounding him, King recently released a gorgeous, live acoustic session of album single “Beautiful Stranger” with Dan Auerbach.  The song as King says in his introduction to the song is a good drinking song and a good love song as it it tells a familiar and seemingly age-old tale: lost and lonely souls in a dimly lit bar, desperately hoping to find that beautiful stranger before last call. 

The songs finds King painting what may arguably one of the most empathetic and realistic portraits of loneliness, heartache, regret and desperate, last hopes that I’ve heard in some time. as its centered around a novelistic attention to psychological and emotional detail You can practically picture the song’s narrator with beer and shot, their bourbon, their vodka and tonic lost in their thoughts and hoping for someone to talk to, so they could escape themselves for a little while.