Ken Tucker

Ken Tucker reviews rock, country, hip-hop and pop music for Fresh Air. He is a cultural critic who has been the editor-at-large at Entertainment Weekly, and a film critic for New York Magazine. His work has won two National Magazine Awards and two ASCAP-Deems Taylor Awards. He has written book reviews for The New York Times Book Review and other publications.

Tucker is the author of Scarface Nation: The Ultimate Gangster Movie and Kissing Bill O'Reilly, Roasting Miss Piggy: 100 Things to Love and Hate About Television.

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10:03am

Mon October 14, 2013
Music Reviews

'The Blow' Puts An Artsy, Electro-Pop Spin On Attraction

Originally published on Tue October 22, 2013 9:04 am

Transcript

TERRY GROSS, HOST:

This is FRESH AIR. Our rock critic Ken Tucker has a review of the new album, "The Blow" by the music and performance are duo called The Blow which was conceived by its singer, Khaela Maricich. Melissa Dyne plays a more behind the scenes role, arranging, mixing and co-producing much of this new collection. The music made by The Blow can be broadly labeled as electro pop, but Ken says it goes further than that.

(SOUNDBITE OF SONG, "A KISS")

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9:14am

Thu October 10, 2013
Music Reviews

Two Bluegrass Truths From James King And Alan Jackson

Originally published on Thu October 10, 2013 11:13 am

James King.
Julie Lilliard King Courtesy of the artist

10:57am

Wed October 2, 2013
Music Reviews

On 'Days Are Gone,' Three Sisters HAIM It Up

Originally published on Wed October 2, 2013 11:28 am

HAIM.
Tom Beard Courtesy of the artist

11:40am

Mon September 30, 2013
Music Reviews

Don't Feel Too Bad For Sad-Sack Bob Schneider

Originally published on Mon September 30, 2013 1:40 pm

Burden of Proof is Bob Schneider's third album.
Dan Winters Kirtland Records

10:34am

Tue September 24, 2013
Music Reviews

Lucy Schwartz Is In Love With Her Own Voice, And That's OK

Originally published on Tue September 24, 2013 1:16 pm

Lucy Schwartz.
Tierney Gearon Courtesy of the artist

The first thing you notice about Lucy Schwartz's Timekeeper is the singer's voice — both her physical voice, which is at once ringing and adroit, and her writer's voice, which is precise yet elusive. When Schwartz sings "Ghost in My House," the production renders her tone in an echoing manner that signifies spookiness. It also suggests a metaphor — memory as a ghost, the haunting of someone who's no longer in her life. In general, Lucy Schwartz is in love with the sound of her own voice, and for once that phrase is not meant as a criticism; I think she has good reason to be.

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