Album Review — Marcus King’s ‘El Dorado’

If you’re expecting the same rocking sounds of The Marcus King Band in Marcus King’s debut solo album, you’re going to be a little disappointed. After all when an artist steps away from their band to release a solo record, I think it would be unrealistic to expect the same sound. Otherwise what’s the point of going solo? And while different can sometimes be bad (see Zac Brown with Sir Rosevelt), in this case it actually turns out quite good with Marcus King’s El Dorado.

The album doesn’t get off to the best start with “Young Man’s Dream” as the opener. Choosing such a mellow song to open the album doesn’t exactly invite you in to want to hear more. The theme makes sense with King looking back on the dream he set out to conquer when he left home years ago and realizing he’s still chasing it. But I’m a big believer in a higher tempo song as an opener. So I would have switched the second song “The Well” into the opening spot with it’s loud, guitar-driven sound, which is also more familiar to listeners who have followed The Marcus King Band. The bluesy and smooth rifts are instantly infectious and pair perfectly with the dynamic voice of King’s.

King really pours the soul on in “Wildflowers & Wine.” The heavy soul influence on this album is really what makes this album shine in my eyes, as King is just as comfortable with soul as he is with rock. The lyrics in this song, written by King, producer Dan Auerbach and Ronnie Bowman, do a fantastic job of describing the love and passion in a relationship and King delivers them with the kind of fire needed to really drive them across to the listener.

“One Day She’s Here” is about ruminating over an on and off love. Lyrically this is fine, albeit one of the weaker moments on the album regarding this aspect. It’s just a bit too repetitive for my liking. “Sweet Mariona” sounds like something The Eagles would cut with it’s easy-going country rock sound. The instrumentation is what makes this really shine with the shimmering pedal steel guitar and light acoustic touch, as it gives the song an appropriate reflecting feeling.

One of my favorite moments on the album is “Beautiful Stranger,” as it shows off King’s great falsetto voice. The lyrics sets the scene well of a man approaching a woman in a bar and wondering of the possibilities they could have if they’re no longer strangers. The secret sauce though of this song and really this album is the subtle country sensibilities that permeate it. This song after all was written by King, Auberbach and longtime country writer Paul Overstreet. While this isn’t a country album of course, El Dorado does take a lot of influence from the genre, as it’s molded with the sounds of rock, soul and blues throughout.

“Break” reminds me of the Michael McDonald era of The Doobie Brothers with it’s theme of heartbreak combined with it’s smooth sound and King’s falsetto. I’m glad that this song doesn’t go overboard with the production though (it avoids over-polishing the sound), instead allowing King’s voice to be more front and center. “Say You Will” is this album’s only other guitar-driven rock sound that is more in line with The Marcus King Band and of course it sounds great. While I enjoy the more soulful, bluesy detour of this solo album, King really does thrive within the more rock driven sound on songs like this one.

“Turn It Up” is great driving music. It helps of course with it’s chorus (“Driving 90 miles an hour down a dead end street/Cold steel under my feet” and “Testing my nerves, taking the curves”), but most importantly it’s swanky, swaggering funk-influenced sound makes me picture myself driving down the highway. I guess when it comes to driving music you know it when you hear it would be the best way to describe it. I said before this album has subtle country sensibilities. Well it’s not so subtle on “Too Much Whiskey,” with it’s honkytonk sound and name-dropping Willie Nelson’s iconic album Shotgun Willie (and the “Whiskey River” reference). King nails the classic country drinking song and I love the harmonica that pops up throughout.

I feel like “Love Song” is very much a love it or hate it type song, as I can see why some might find this song to be too saccharine for their taste. But I fall in the enjoy it camp, as I feel the lyrics have genuine heart behind them. And I think it’s King’s passionate delivery that makes this song work for me. The album closes out strong with another high point in “No Pain.” Written by King, Auerbach and Pat McLaughlin, it’s a short and simple song about what I perceive to be about acceptance in the face of death. It’s possible it was at the hands of alcohol addiction as the lines “I fall off of that wagon/Won’t be no last call” allude to. There’s not that many lyrics, yet it’s able to get across a clear and impactful story to the listener. It’s excellent songwriting and shows less is more can be a highly effective approach to storytelling.

El Dorado may not be the album you expected from Marcus King, but it’s without a doubt a great album. It shows another side of King and the range he has as an artist, being able to draw so effectively from a wide variety of genres. King and Auerbach not only craft this intriguing mix of sounds, but the songwriting is quite solid too. El Dorado is an album that can be appreciated by fans of several genres and most importantly shows Marcus King is a promising young artist who is poised to become even better with time.

Grade: 8/10

2 thoughts on “Album Review — Marcus King’s ‘El Dorado’

  1. Zackary Kephart January 27, 2020 / 3:18 pm

    “Love Song” … yeah, I’m in the other camp, lol. If only because there’s an overabundance of these songs on this album, so when we get to this, I’m kinda checked out, haha. But I have warmed up to this quite a bit – like you said, you can’t expect the old sound because what’s the point otherwise? Though I will say I think “Say You Will” is a highlight regardless.

    On a side note, I think Dan Auerbach is worth keeping an eye on as a producer. I mean, just in the past year we had albums from Yola and Dee White, and now there’s this and the eventual John Anderson project. You can tell what you’re getting with the style, but it’s pretty good so far so I’m not complaining!

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    • Josh January 27, 2020 / 4:24 pm

      Haha I can understand on “Love Song.” And yes despite my enjoyment of this more soulful side of King, I also look forward to him getting back to his heavier rock side on the next Marcus King Band album like on “Say You Will.”

      Great point on Auerbach! I completely agree, as his Easy Eye Sound label has been pushing out a lot of great albums and his production is a big reason why. Even his own Black Keys project sounded pretty good last year, as I hadn’t enjoyed an entire album from them in years. And it is predictable, but in a great way as you say. I just hope he doesn’t turn into a Dave Cobb where every artist in Nashville thinks they’ll sound great with him, as the over-saturation of Cobb-produced albums has showed the last couple years haha

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