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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Music Reviews
10:03 am
Mon October 14, 2013

'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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Music Reviews
9:14 am
Thu October 10, 2013

Two Bluegrass Truths From James King And Alan Jackson

James King.
Julie Lilliard King Courtesy of the artist

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

On Three Chords and the Truth, bluegrass musician James King picks from the canon of country music to rearrange its songs as bluegrass. On The Bluegrass Album, country star Alan Jackson has recorded his first collection of bluegrass music — some classics, some originals.

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Music Reviews
10:57 am
Wed October 2, 2013

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

HAIM.
Tom Beard Courtesy of the artist

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

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Music Reviews
11:40 am
Mon September 30, 2013

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

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

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

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Music Reviews
10:34 am
Tue September 24, 2013

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

Lucy Schwartz.
Tierney Gearon Courtesy of the artist

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

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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