Marcus King on mental health, telling truth on guitar, and the timeless style of vintage gear
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Born into a family of musicians in Greenville, South Carolina, Marcus King started out on his journey at an astonishingly young age. He first picked up the guitar when he was just three years old, and at eight he had already performed on stage. At the tender age of 11 he made his first studio recording, setting the foundation for his future career.
Following in the footsteps of his father and grandfather, King continued to hone his craft. With The Marcus King Band, he established himself as a formidable live performer, with incendiary jam sets sealing his reputation as a guitarist of the highest stature. His first solo album, 2020âs El Dorado, was produced by Dan Auerbach of The Black Keys and earned him a Grammy nomination for Best Americana Album.
However, behind the success and accolades, King was struggling with personal demons that threatened to consume him, and in 2022 he found himself on the brink of self-destruction. A chance encounter with Rick Rubin set him on a path to redemption and self-discovery, resulting in is his latest album, Mood Swings.
This is a set of deeply personal and emotionally charged songs that showcase his immense talent as a singer, songwriter and guitarist. The album marks a turning point in Kingâs life and career, as he confronts his battles with addiction, mental health, and heartache head-on.
Speaking to Total Guitar, Marcus discusses the making of Mood Swings and how he channelled his pain and struggles into a cathartic collection of songsâŠ
For this new album, you worked with producer Rick Rubin at his Shangri La studios in Malibu. How did that bring out a different side to your music?
âRickâs really big into making music and art for the right reasons, and for yourself. It took a while for us to find the real truth, I had to dig deeper and deeper, and he managed to help me access that within myself.
âIâve always used mental health like a writing partner, as Rick would say. But on this record, for the first time Iâve stripped away some of the metaphors and spoken directly about it. Itâs definitely therapeutic, once you pull back the heavy rock ânâ roll guitar and allow the songs to stand on their own.
âItâs a very vulnerable place and thereâs not much to hide behind in the way of production, and thatâs given me a new perspective. Itâs knowing when not to play, to allow the spaces in between to speak louder than the notes themselves.â
This time around, did you change anything about the gear you used or the sounds you created?
âRick trusted me as far as the guitar was concerned, and we were both on a similar head trip of making the songs and the vocals the focal point. There was never any intentional conversation about letting the guitar speak for itself, but it just kind of happened. Iâm pretty particular about the gear I use.
I used a lot of my old faithfuls on the record, like Big Red, my Gibson ES-345. That guitar just sounds massive and has so many stories in it
âI used a lot of my old faithfuls on the record, like Big Red, my Gibson ES-345. That guitar just sounds massive and has so many stories in it. It was my granddadâs guitar, so I always love having that energy on a record.
âAnother guitar I used was the ES-330, the â66 Cherry Red with P-90 pickups, a really wonderful guitar. And my red Tele, I used that a lot. Itâs a â62 reissue that the Custom Shop was kind enough to give me back in 2018, and itâs such a versatile guitar, itâs really useful in writing situations. In a lot of cases I used my â62 Strat too, thatâs where I got to a lot of cool sounds.â
And were these going through your usual Orange amps?
âOh, yeah, thereâs definitely some Orange amps involved, my MK Ultra Positive. I didnât have access to my Gibson amp for this, because I was flying around a lot. But the Super Reverb and the Deluxe Reverb were happening in a lot of spots.
âAside from that, I also played through synthesisers and directly through the console. Itâs the first time Iâve done that and it meant I could get close to it. Thatâs not really something that I get to do often as a guitar player.
âEspecially for parts that we stacked up a few times and added harmonies to, like on the song Delilah, which I approached like a synth part, and layered it. Itâs like a chordal solo in a way. And on the song Hero, I used an acoustic and electric on that solo, through the Super Reverb, thatâs how we got that sound.â
You recorded a bit of backwards guitar on the song Fuck My Life Up Again. What inspired that?
âThat song is fairly two-dimensional, the verse and the chorus are the same progression, but thereâs a lot of different layers of what Iâm trying to say with that song. So when we got to the solo part, it was the only direction I really thought to go in, was to have the solo play backwards. It really captured my emotions, as far as how I felt when I was writing it.
âI tried to construct the solo, playing the most climactic part right away, and then letting it kind of dwindle down to more held notes, in an attempt to flip it on its head, and then it has the appropriate arc that a solo should have. I had to think about it backwards before I played it.â
Iâve never been a real tone chaser, Iâve just been a big believer in achieving whatâs honest. Iâll pick up just about anything, and if it feels true to me, Iâll keep it on the table
We still hear that sweet guitar tone of yours, on songs like Bipolar Love and Save Me. How do you go about getting a sound like that?
âYouâve just gotta be truthful, and you know, Big Red is the truest guitar Iâve got. Just that guitar straight through a Fender amplifier with a little reverb. I mean, if you canât say it like that, it may not be worth saying. For the most part, Iâm just trying to go for a feeling or an emotion. And Iâve never been a real tone chaser, Iâve just been a big believer in achieving whatâs honest. Iâll pick up just about anything, and if it feels true to me, Iâll keep it on the table.â
Your last album, Young Blood, took just three days to record in Dan Auerbachâs studio in Nashville. How was this album different?
âNashville, on the whole, is a little different than LA as far as writing sessions, which will happen fairly quickly. Itâs not that itâs any more efficient, itâs just a different way of approaching, more of an assembly line. I mean that in the best way.
âBut in LA, we just took our time with every day. We started the process during the pandemic and by the time we finished, it had been two and a half years. It took me a while to really find some peace and get back into myself. It took exactly how long it should have.â
Your playing has its roots in the jam culture, with lengthy onstage guitar solos. But lately, youâve been focusing more on showcasing the songs you write.
âWhat I would say to younger artists is, if you stand outside of the zeitgeist or whatever, and try to get people to come out and be gassed up on the guitar, it doesnât really work. We should be taking the guitar to the public, right? So how do we make guitar something that everybody loves, and not just for someone who plays guitar.
âThatâs how I think about it on a track; what can I do that everybodyâs going to enjoy? And then maybe I can make someone a guitar fan. Because for the most part, guitar fans are going to be fans of the song as well, but not always the other way around. I want to use this instrument to open their mind a little bit.â
Is there anything on Mood Swings that will be difficult to recreate live?
âI think there are a few sounds that weâll find challenging to reproduce. But, you know, Iâve got a great big group, with the three horns and a tremendous rhythm section and keyboard player. Plus Iâve got my other guitar player Drew, whoâs really a guitar playerâs guitar player. Heâs a real purist, when it comes to the art form, he likes to play straight through the Orange head and cabinet.
âHeâs got a stompbox; he doesnât really do the pedalboard thing. Having him to help me get some of these double leads, or to get some of the harmonies and stuff thatâs on the record. My wife, who sang on the record with me in a couple of places, sheâll be out with me [on tour], and I think maybe weâll have a few other background vocalists as well. Itâs gonna be a real big party, man.â
I hear youâve got about 40 or 50 guitars. How many will you take on tour with you?
âOh, man, Iâve got too many! I usually bring out about seven to 10 on the road. I love classic American art, and classic American-made guitars just really make me excited. Itâs the same as really well-crafted menâs clothing, like old Leviâs jackets or something. I just really get off on that kind of thing.â
The new album features drum machines and samples, as heard on the track Mood Swings and at the end of Cadillac, which really enhance the mood of the album.
âMood Swings is one of the first samples I had to get cleared in my life. Thatâs from a documentary called Faces of Depression that came out in the â50s or â60s. Weâd gotten all the things cleared for the record that we needed to, with the exception of this one sample. I was trying to find an interview of a mental patient, because Iâm technically a mental patient; Iâm just an outpatient.
I was trying to find an interview of a mental patient, because Iâm technically a mental patient; Iâm just an outpatient
âI came across that clip, and the son of the physician who conducted all that research is the holder of the estate now, and he said he didnât want it used for entertainment purposes because it was made for research and for educational purposes only.
âSo, I explained what I was doing with this record is a way for me to advocate for mental health awareness. After I wrote the letter, they granted us the usage of that.
âAnd at the end of the record, that was actually my wifeâs idea. I left that voicemail the night I met her. And I had been drinking a good bit, you know, I was really alone and I had just decided to, you know, not stick around much longer. And when I met her, it just changed my perspective a lot. It was really befitting because that was exactly how I felt about the song that it plays at the end of Cadillac.â
Mood Swings is out now via American/Republic Records.