In 2022 Marcus King released a driving, classic rock-soaked album Young Blood. His follow-up is titled Mood Swings, and it does just that, completely shifting his sound towards soul, stripping out his blazing guitar playing, substituting electro keys and orchestral string work to support his fluid vocals as lyrical pain pours out.
Produced by Rick Rubin (whom King credits immensely), Mood Swings finds King constantly turning that pain into art as he courageously confronts his mental health, lyrically addressing heartbreak, confused lapses, and depression in gut-wrenching fashion while the smooth sounds envelop him. The shift away from rock has put an added emphasis on his vocals which are the real star of the album with King singing passionately, channeling CeeLo Green and Paul Janeway.
A repetitive sample stating that depression is hell in its hopelessness sets the tone as a drum machine beat opens the title track. Electro keys and light guitar strums color the edges as King’s heartfelt vocals are pushed front and center during the affecting effort. Things move into lush orchestrated retro soul directions after the more modern sounding opener as both “F*ck My Life Up Again” and “Bipolar Love” winningly use congas, gorgeously swelling strings, warm electro keys and a solid groove as King’s lyrical directness and ear gripping vocals command attention.
There are touches of easy rolling country grooves sprinkled into “Soul It Screams” and “Hero” both of which contain restrained guitar work, but it is on a pair of ballads, the pleading “Save Me” and the dramatic “Delilah”, where King is focused. Both are presented straight ahead with urgency as warbling guitar, background vocals, and keys ease “Save Me” along, while “Delilah” deploys gospel tone, a distorted solo, and piano theatrics in Elton John-like fashion.
“Inglewood Motel (Halestorm)” starts with an extended jazzy interlude before fresh horns and strong singing take over while “Me or Tennessee” channels classic Leon Russell working in a soul revival vein, but never goes over the top. “This Far Gone” brings in some pop-friendly grooves that work delightfully before dour closer “Cadillac” finds solace behind layered acoustic strings and a steering wheel.
It remains to be seen if this is a transitional album for King, a one-off experiment, or if he will combine his love of 70’s hard rock with retro-soul on the next outing. His major shift in styles may not be for all of King’s fans, but it is hard to find much fault in his new, raw, soul-drenched efforts, as King clearly has struck a rich vein when it comes to his songwriting and recording style on Mood Swings.
