Marcus King reveals Rick Rubin produced album, Mood Swings, and 2024 headlining tour.
Mood Swings is set to bereleased on April 5 via American/Republic Records. In support of this new album, King also announced his 2024 headlining tour across North America and Europe produced by Live Nation and FPC Live!, in addition to dates supporting Chris Stapleton. More information available on https://www.marcuskingofficial.com/.
Combining elements of modern pop, R&B, aughts hip hop, piano driven classic rock and the warm production and symphonic instrumentation of classic era soul, R&B and jazz. Previously released song “F*ck My Life Up Again” is a considerable departure stadium sized rock, with strings that accent over a smoky jazz beat, while his soulful delivery booms, “Come f*ck my life up again, don’t deserve to live without pain.” A guitar solo “played backwards” channels stark confusion offset by the unshakable hook. On “Hero,” his croon rises over acoustic guitar towards a fluttering crescendo. The same naked emotion defines “Delilah” where over piano led pop rock and innovative tracks such as “Inglewood Motel (Halestorm)” are an alt R&B masterpiece. The album closes with “Cadillac,” steeped in psychedelic symphonic soul it is an arresting tale of dark desires and suicidal ideation.
Tracklist
- Mood Swings
- F*ck My Life Up Again
- Soul It Screams
- Save Me
- Hero
- Delilah
- Inglewood Motel (Halestorm)
- This Far Gone
- Bipolar Love
- Me Or Tennessee
- Cadillac
Legendary producer Rick Rubin who has worked with everyone from Adele to Johnny Cash, was instantly drawn to King’s guitar playing, singular voice and songwriting, and after witnessing a King live performance, one day randomly cold-called him to float the idea of working together.
Rick Rubin stated, “I love the way listening to this album makes me feel. I can’t think of another project quite like this one. Marcus’s playing and singing are from another planet.”
The pair secretly holed up for sessions in Italy and Malibu during the promotion of King’s critically acclaimed album, Young Blood. The result is King’s most sonically astute and personal album to date and a landmark moment for Marcus who for the first time lets his voice take center stage. “There was no hiding behind the guitar at all,” he grins. His smoldering country soul vocal, part Al Green, Bobby Womack, Marvin Gaye, Adele and Chris Stapleton, is set to establish him as one of the greatest vocalists of our time, no longer in the shadow of his own guitar greatness.
Marcus King didn’t plan on making his new album Mood Swings.
He didn’t even plan on living much longer before he started working on it. Heartache, addiction, and mental health brought him to the brink and during a North American tour, Marcus had designs to drink himself to death. He admits, “I had an escape route already decided for myself and a backup if that didn’t work.”
Around the same time, King went into Dan Auerbach studio and despite his mental health, drinking and substance abuse reaching untenable limits, he was able to create the critically acclaimed album Young Blood. There is consequently an ocean of depth to King’s lyrics. Mood Swings once again takes us back to that dark period of King’s life where he was on the brink, firmly believing that he was destined to die young, most likely at his own hand. Despite its often bleak subject matter, Mood Swings is an album with a message of hope. Rubin helped King find a new personal and sonic approach and instead of crumbling under the weight of his anxiety, Rubin inspired him to shift his perspective. “He helped me view mental health as a writing partner in a way,” recalls Marcus. “I’ve learned it can give me that creative spark.”
2024 World Tour Dates
March 7, 2024 - Love Rocks NYC - New York, NY
March 9, 2024 - The Capitol Theatre - Port Chester, NY
April 6, 2024 – U.S. Bank Stadium - Minneapolis, MN w/ Chris Stapleton
April 13, 2024 – 10 Annual Major Rager - Augusta, GA
April 19, 2024 - Moon Crush “Pink Moon” Festival - Miramar Beach, FL
May 06, 2024 - The Moore Theater - Seattle, WA
May 07, 2024 - Crystal Ballroom - Portland, OR
May 08, 2024 - Crystal Ballroom - Portland, OR
May 10, 2024 - The Masonic - San Francisco, CA
May 11, 2024 - Grand Sierra Ballroom - Reno, NV
May 14, 2024 - The Wiltern - Los Angeles, CA
May 15, 2024 - The Van Buren - Phoenix, AZ
May 17, 2024 - The Complex - Salt Lake City, UT
May 18, 2024 - Fillmore Auditorium - Denver, CO
May 22, 2024 - The Monument - Rapid City, SD w/ Chris Stapleton
May 24, 2024 - Denny Sanford PREMIER Center - Sioux Falls, SD w/ Chris Stapleton
May 25, 2024 - Harrah’s Stir Cove - Council Bluffs, IA
May 26, 2024 - EPIC Event Center - Green Bay, WI*
May 29, 2024 - The Pageant - St Louis, MO
May 30, 2024 - GLC Live at 20 Monroe - Grand Rapids, MI
May 31, 2024 - Blossom Music Center - Cleveland OH w/ Chris Stapleton
June 01, 2024 - Railbird Festival - Lexington, KY
June 02, 2024 - Salt Shed - Chicago, IL
June 04, 2024 - College Street Music Hall - New Haven, CT*
June 06, 2024 - Freedom Mortgage Pavilion - Philadelphia, PA w/ Chris Stapleton
June 07, 2024 - Jiffy Lube Live - Bristow, VA w/ Chris Stapleton
June 08, 2024 - Landmark Theatre - Syracuse, NY
June 10, 2024 - Ruby Amphitheater - Morgantown, WV*
June 12, 2024 - T-Mobile Center - Kansas City, MO w/ Chris Stapleton
June 13, 2024 - Thunder Ridge Nature Arena - Ridgefield, MO w/ Chris Stapleton
June 14, 2024 - The Criterion - Oklahoma City, OK
June 15, 2024 - Globe Life Field - Arlington, TX w/ Chris Stapleton
July 11, 2024 - Darien Lake Amphitheater - Darien Center, NY w/ Chris Stapleton
July 12, 2024 - The Pavilion at Star Lake - Pittsburgh, PA w/ Chris Stapleton
July 13, 2024 - Palace Theatre - Albany, NY
July 16, 2024 - Egyptian Room - Indianapolis, IN
July 18, 2024 - Huntington Center - Toledo, OH w/ Chris Stapleton
July 19, 2024 - Schottenstein Center - Columbus, OH w/ Chris Stapleton
July 20, 2024 - The Fillmore Detroit - Detroit, MI
September 04, 2024 - Orpheum - Vancouver, BC
September 06, 2024 - Grey Eagle Event Center - Calgary, AB
September 07, 2024 - Midway Music Hall - Edmonton, AB
September 09, 2024 - Burton Cummings Theatre - Winnipeg, MB
September 13, 2024 - Massey Hall - Toronto, ON
September 14, 2024 - London Music Hall - London, ON
September 17, 2024 - Kemba Live! - Columbus, OH
September 19, 2024 - Warner Theatre - Washington, D.C.
September 20, 2024 - Warner Theatre - Washington, D.C.
September 21, 2024 - The Ritz - Raleigh, NC
September 24, 2024 - Avondale Brewing - Birmingham, AL
September 26, 2024 - Riverside Theater - Milwaukee, WI
September 28, 2024 - The Sylvee, Madison, WI
September 29, 2024 - Vibrant Music Hall - Des Moines, IA
October 07, 2024 - Roxian Theatre - Pittsburgh, PA
October 09, 2024 - State Theatre - Portland, ME
October 11, 2024 - House of Blues Boston - Boston, MA
October 12, 2024 - The Fillmore - Philadelphia, PA
October 13, 2024 - Brooklyn Paramount – Brooklyn, NY
October 17, 2024 - La Riviera - Madrid, Spain
October 18, 2024 - Sala Apolo - Barcelona, Spain
October 20, 2024 - Fabrique Milano - Milan, Italy
October 21, 2024 - Komplex 457 - Zurich, Switzerland
October 23, 2024 – Le Transbordeur – Lyon, France
October 25, 2024 - Essigfabrik - Cologne, Germany
October 27, 2024 - Markthalle - Hamburg, Germany
October 28, 2024 - De Roma - Antwerp, Belgium
October 29, 2024 - AFAS Live - Amsterdam, Netherlands
October 31, 2024 - Metropol - Berlin, Germany
November 01, 2024 – The Grey Hall - Copenhagen, Denmark
November 03, 2024 - Bataclan - Paris, France
November 05, 2024 - Eventim Apollo - London, UK
November 06, 2024 - Albert Hall - Manchester, UK
November 07, 2024 - Barrowland Ballroom - Glasgow, UK
November 09, 2024 - O2 Institute - Birmingham, UK
November 10, 2024 - The Great Hall - Cardiff, UK
November 12, 2024 - Olympia - Dublin, Ireland
*No Citi Presale
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A dual-channel tube preamp and overdrive pedal inspired by the Top Boost channel of vintage VOX amps.
ROY is designed to deliver sweet, ringing cleans and the "shattered" upper-mid breakup tones without sounding harsh or brittle. It is built around a 12AX7 tube that operates internally at 260VDC, providing natural tube compression and a slightly "spongy" amp-like response.
ROY features two identical channels, each with separate gain and volume controls. This design allows you to switch from clean to overdrive with the press of a footswitch while maintaining control over the volume level. It's like having two separate preamps dialed in for clean and overdrive tones.
Much like the old amplifier, ROY includes a classic dual-band tone stack. This unique EQ features interactive Treble and Bass controls that inversely affect the Mids. Both channels share the EQ section.
Another notable feature of this circuit is the Tone Cut control: a master treble roll-off after the EQ. You can shape your tone using the EQ and then adjust the Tone Cut to reduce harshness in the top end while keeping your core sound.
ROY works well with other pedals and can serve as a clean tube platform at the end of your signal chain. It’s a simple and effective way to add a vintage British voice to any amp or direct rig setup.
ROY offers external channel switching and the option to turn the pedal on/off via a 3.5mm jack. The preamp comes with a wall-mount power supply and a country-specific plug.
Street price is 299 USD. It is available at select retailers and can also be purchased directly from the Tubesteader online store at www.tubesteader.com.
This hollowbody has been with Jack since the '90s purring and howling onstage for hundreds of shows.
Our columnist’s Greco 912, now out of his hands, but fondly remembered.
A flea-market find gave our Wizard of Odd years of squealing, garage-rock bliss in his university days.
Recently, I was touring college campuses with my daughter because she’s about to take the next step in her journey. Looking back, I’ve been writing this column for close to 10 years! When I started, my kids were both small, and now they’re all in high school, with my oldest about to move out. I’m pretty sure she’s going to choose the same university that I attended, which is really funny because she’s so much like me that the decision would be totally on point.
The campus looks way nicer than it did back in the ’90s, but there are similarities, like bars, shops, and record stores. Man, our visit took me back to when I was there, which was the last time I was active in bands. Many crash-and-burn groups came and went, and it was then that I started to collect cheap guitars, mainly because it was all I could afford at the time, and there were a lot of guitars to find.
In that era, I was using an old Harmony H420 amp (made by Valco), a Univox Super Fuzz, and whatever guitar I was digging at the time. I was so proud to pull out oddball guitars during shows and just have this totally trashy sound. Squealing and squeaking and noisy as heck, my style was reminiscent of Davie Allan, Ron Asheton, and Chuck Berry. Of course, I was way worse than all of them, but I did have a frenetic energy and I covered up my lack of skill with feedback. During the ’90s, there was a great punk revival, and I loved bands like the Mummies, Teengenerate, the Makers, the New Bomb Turks, and a bunch of others. Bands were embracing lo-fi, and I was planted firmly in that vein. Plus, the guitars I liked to use already sounded lo-fi.
“This was about the trashiest-sounding guitar, but in a good way!”
For a short spell I was using this Greco guitar and, man, this was about the trashiest-sounding guitar, but in a good way! See, Fujigen pickups (like the ones here) have this echoey voice that I describe as an “empty beer can” sound. My Super Fuzz would just destroy these pickups, and I wish I had some recordings from that era, because it was a real scene! I believe this Greco was a flea-market find but it was much later that I found out it was called a Greco Model 912. This was actually a copy of a German-made Framus guitar, but with a lot more glitz and a crazier headstock. Four pickup selector switches, volume/tone knobs, and a rhythm/lead switch rounded out the electronics. Again, these pickups are instant spaghetti-Western movie tone. Airy and bright, the bridge area is like instant, gnarly surf music. Tom Morello of Rage Against the Machine has a similar guitar and John Barrett of Bass Drum of Death was also fond of these pickups. Interestingly enough, these particular Grecos were made in small numbers, ranging between 500 to 600 in total (including all pickup combinations).
The Greco brand was initially owned by the U.S.-based Goya Corporation, but in the late 1960s, Fujigen bought the brand name (for $1,000) and produced a few truly gonzo guitars, including this Model 912. Originally called the GE-4, the four-pickup version sold for $99.50 in 1967. My particular 912 was sold at Sid Kleiner Guitar Studios in Califon, New Jersey (which I learned thanks to the attached store sticker on the headstock).
Aside from the chrome coolness and the four pickups, this model featured a cute little flip-up bridge mute that was all the rage at the time. The body also had some tasteful German carvings around the edges, and as I write this, I am missing this guitar tremendously! But not even close to the way I’m going to miss my girl in a few months. At least I know that she can shop at the same record stores!
Ethnomusicologist Frances Densmore records the song of Mountain Chief, head of the Blackfeet Tribe, on a phonograph for the Bureau of American Ethnology in 1916.
Once used as a way to preserve American indigenous culture, field recording isn’t just for seasoned pros. Here, our columnist breaks down a few methods for you to try it yourself.
The picture associated with this month’s Dojo is one of my all-time favorites. Taken in 1916, it marks the collision of two diverging cultural epochs. Mountain Chief, the head of the Piegan Blackfeet Tribe, sings into a phonograph powered solely by spring-loaded tension outside the Smithsonian. Across from him sits whom I consider the patron saint of American ethnomusicologists—the great Frances Densmore.
You can feel the scope and weight of theancient culture of the indigenous American West, and the presence of the then-ongoing women’s suffrage movement, which was three years from succeeding at getting the 19th Amendment passed by Congress. That would later happen on June 4, 1919—the initiative towards granting all women of this country the right to vote. (All American citizens, including Black women, were not granted suffrage until 1965.)
Densmore traversed the entire breadth of the country, hauling her gramophone wax cylinder recorders into remote tribal lands, capturing songs by the Seminole in southern Florida, the Yuma in California, the Chippewa in Wisconsin, Quinailet songs in Northern Washington, and, of course, Mountain Chief outside the Smithsonian in Washington, D.C. Author of more than 20 books and 200 articles, she carefully preserved the rich cultural diversity of Native Americans with over 2,500 field recordings.
Why am I writing about this? Firstly, to pay homage! Secondly, because it serves as a great reminder to seek and cultivate sound outside the studio as well. We live in a time of great technological power and convenience. Every week a new sample pack, plugin, pedal, or software instrument hits the market. For all the joy that these offerings bring, they deprive us of the joy of creating our own instruments from scratch.
This month, I’m advocating for you to make some field recordings of your own—nature, urban, indoor, outdoor, specific locations, animals, or anything that piques your interest! Bring the material back to the studio and make music with it! I’ll show you how to make your own sample libraries to use in your music. Tighten up your belts, a multipart Dojo is now open.
What do you need to get started? Quite simply, you just need any device that is capable of recording. This can range from your cell phone to a dedicated field recorder. The real question is: Do you want to use mics housed in handheld units or have more robust mic pres with the ability to power larger live/studio microphones using XLR connectors found with the larger units? Let’s look at three scenarios.
The Cellular Approach
The absolute easiest way to get started is with your cell phone. Take advantage of a voice-memo recording app, or use an app that records multitrack audio like GarageBand on iOS. Phone recordings tend to sound very compressed and slightly lo-fi—which might be exactly what you want. However, the method can also introduce unwanted noise artifacts like low-end rumble (from handling the phone) and phasing (moving the mic while recording). I recommend using a tripod to hold your phone still while recording. You might also want to consider using an external mic and some software to edit your sample recordings on the phone. I like using a Koala Sampler ($4.99) on iOS devices.
Upgrade Me
The next step up is to use a portable recorder. These have much better mic pres, and offer true stereo recording with pivoting mic heads. This can give you the added benefit of controlling the width of your stereo image when recording or helping isolate two sound sources that are apart from each other. You sacrifice the ability to easily edit your recordings. You simply import them into your computer and edit the recording(s) from there.
Pro-Level Quality
I would recommend this scenario if you want to record multiple sources at once. These devices also have SMPTE time code, 60+ dB of gain, phantom power (+48 volts), advanced routing, and a 32-bit/192 kHz sampling rate, so you’ll never have a distorted recording even when the meter gets unexpectedly pegged into the red from a loud sound source. I recommend the Zoom F8n Pro ($1099). Now you can use your microphones!
Best Practices
Try to safely record as close to the sound source as you can to minimize ambient noise and really scrub through your recordings to find little snippets and sound “nuggets” that can make great material for creating your own instrument and sample library—which we’ll explore next month! Namaste.
