I’ve reviewed a few Marcus King records over the years. In the summer of 2022 I did his last one and said: “This album is the best thing he’s ever done, for sure. And If I said something similar last time, then that’s because “Young Blood” is the work of an artist who is hitting new peaks as he matures and pours more of himself into this music”.
And I also wittered on about ZZ Top, CCR and such bands.
This brings us to “Mood Swings”, and whilst some of what I wrote is true – he’s maturing and sinking more of himself into the lyrics (hell, some of this is gut-wrenching like you’re intruding on his diaries), there’s nothing more true than the title.
And the mood has swung, baby, oh lord how it has swung.
First the good news: Marcus King has one of the great voices, he always did, and this time he’s decided it should be the main driver of the sound. But, dear reader, that sound….
“Mood Swings” is a soul record, and can I be honest with you? I don’t like soul music.
But, well, here’s another but. I’d never review a record I didn’t like because someone has worked tirelessly on everything and who am I to criticise them? Thankfully, there’s enough here to get on board with, even if to be totally honest, you aren’t totally sold on it.
The title track is enough to tell you it’s a brave new world, Pulsing rhythms, disconcerting sounds and very little guitar. It sets the tone.
You knew it was coming if you’d heard the first single “Fuck My Life Up Again”, and the strings are more Curtis Mayfield, than John Fogerty while the words, my god! It’s harrowing. Anyone who has suffered mental health issues will understand.
The acoustics are out for the back porch strum of “Soul It Screams” – but even here it doesn’t fully commit to the “blues”, and “Save Me” tries to beguile rather than bludgeon.
“Hero” is a lovely song, while “Deliah” (not a Tom Jones cover, thank Christ) does have a proper lead solo, which is pleasing, in the context. Oh and he’s just performed it on the Jimmy Fallon show in the US.
The songs are lengthy on occasion too. And nothing better underlines the new direction than “Inglewood Motel (Halestorm)”. “This Far Gone” performs the neat trick of sounding gorgeous, until you peel a layer off and its dark as a December night.
There’s jazz here, there’s hip-hop, there’s all sorts. You can’t help but think of Prince as “Bipolar Love” hits, just because it does what it pleases. The organ on “Me Or Tennessee” gives it a proper foundation but the backing vocals make it what it is, but as it ends in mournful fashion with “Cadillac”, are pleased for King in a way.
He’s working with his self proclaimed hero Rick Rubin, he’s bared his soul as never before, and you suspect that “Mood Swings” is the record he wanted to make, and to hell with what anyone thinks.
Good luck to him. There are going to be people that like it a lot more than I do, but I still admire Marcus King for doing it his way.
Rating 7/10
