12 Songs, 42 Minutes

EDITORS’ NOTES

Any young musicians who wanted to establish themselves as guitar phenoms during the 2010s faced an uncertain path. Long gone were the days when shredding was a mainstream rock draw. Third-generation guitarist Marcus King veered toward the jam scene first, finding an early advocate in Warren Haynes, but King’s singing and songwriting define his debut album just as much as his playing. He made the dozen-song set with Dan Auerbach, whose approach to production often involves crafting material in collaboration with the artist and a small circle of songwriting veterans. In King’s case, that meant getting the assistance of Nashville fixtures Pat McLaughlin, Ronnie Bowman, and Paul Overstreet. A few tracks, like “The Well” and “Say You Will,” feature tuneful, red-blooded riffs front and center; during others, King applies an elegantly earthy and still youthful touch to time-tested forms. “Sweet Mariona” is his slice of country sentimentality, “One Day She’s Here” is his version of silken, discofied soul, and “Break” is his chance to delivery pillowy melodies in a woolen, wistful falsetto.

EDITORS’ NOTES

Any young musicians who wanted to establish themselves as guitar phenoms during the 2010s faced an uncertain path. Long gone were the days when shredding was a mainstream rock draw. Third-generation guitarist Marcus King veered toward the jam scene first, finding an early advocate in Warren Haynes, but King’s singing and songwriting define his debut album just as much as his playing. He made the dozen-song set with Dan Auerbach, whose approach to production often involves crafting material in collaboration with the artist and a small circle of songwriting veterans. In King’s case, that meant getting the assistance of Nashville fixtures Pat McLaughlin, Ronnie Bowman, and Paul Overstreet. A few tracks, like “The Well” and “Say You Will,” feature tuneful, red-blooded riffs front and center; during others, King applies an elegantly earthy and still youthful touch to time-tested forms. “Sweet Mariona” is his slice of country sentimentality, “One Day She’s Here” is his version of silken, discofied soul, and “Break” is his chance to delivery pillowy melodies in a woolen, wistful falsetto.

TITLE TIME