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.

Lake Street Dive is powered by the voice of Rachael Price; it's what hits you first when you listen to this quartet. It's a ringingly clear, strong voice, a sound that's at once beseeching and in control. Price regularly harmonizes with the other members of Lake Street Dive — bassist Bridget Kearney, drummer Mike Calabrese and Mike Olson, who also plays guitar and trumpet. But most of the songs on Bad Self Portraits are showcases for Price's surging vocals.

Eric Church is working on a level that few other country artists of his generation can touch. Now, one of the things I mean by that is that Church is willing to take big chances such as "The Outsiders," the title track from his fourth album, and clearly a manifesto he's proud of.

High Hopes is a different sort of release for Bruce Springsteen. It features original and cover songs that had been performed live over the years, some never recorded in a studio setting, as well as a few older songs reconceived with new arrangements and musicians.

For the past two decades, Rosanne Cash has lived with her family in Manhattan, but in 2008, she was asked if she wanted to help with a project to restore the childhood home of her father, Johnny Cash, in the small town of Dyess, Ark. She agreed and went down there to do some fundraising — and in the process, she and her husband, producer-songwriter-guitarist John Leventhal, took some car trips throughout the South, soaking up history and music.

A half-century on, La La Brooks still sings about boys and girls falling in love. At an age when other veterans of first-generation rock movements are thinking about retirement or oldies tours, Brooks has come up with a fresh, energetic collection that doesn't deny her past, but also refuses to succumb to mere nostalgia.

Linda Thompson is probably best known for the albums she recorded with her husband Richard Thompson in the '70s and early '80s. They divorced, and Thompson has maintained a sporadic solo career. Her new album is a family affair, featuring some accompaniment by her ex-husband, and some songs written with her son, the singer-songwriter Teddy Thompson.

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.

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.

Robbie Fulks has been recording since the mid-'90s, making music that's difficult to categorize. He's written country songs about how compromised most country music is, and while he's fond of folk and bluegrass, he pleases concert audiences with covers of hits by Michael Jackson and Cher. Fulks' new album, Gone Away Backward, is one of his most sustained and subtle efforts.

In the late 1960s, it wasn't just that Bob Dylan's music was eagerly anticipated — it was music that millions of people pored over: for pleasure, for confirmation of their own ideas, and for clues as to the state of mind of its creator. In this context, the double-album Self-Portrait arrived in 1970 with a resounding, moist flop. I don't mean it was a commercial flop; it sold well.

"I hate music, what is it worth? / Can't bring anyone back to this earth," the band Superchunk sings. It's the kind of sentiment you'd imagine someone blurting out with bitter spontaneity, but it's not really music the band hates; it's the despair and grief to which their music bears witness. Superchunk's new downbeat-but-upbeat album, I Hate Music, is dedicated to a close friend who died last year.

Robin Thicke exudes a kind of oily charm that is, with the right material, by no means off-putting. A prime example is the single "Blurred Lines," which gives you the complete Robin Thicke Experience. The song is a come-on, because basically all Thicke does in his music is try to put the make on women. What prevents him from being too creepy is that he's also genial, even gentlemanly and debonair, when the object of his lust shoots him down.

Valerie June wants to be on your mind; to get inside your head. She writes or co-writes songs that mix blues, gospel, folk and soul, and which describe emotional isolation, financial deprivation and insecurity about her place in the world. She's unafraid to proclaim her neediness — perhaps because, possessed of a powerful voice, she knows that her vulnerability isn't likely to come off as passive or self-pitying on Pushin' Against a Stone.

Country-music star Vince Gill and steel guitarist Paul Franklin have teamed up to record a new concept album called Bakersfield. Their idea is to cover hits from the 1960s and '70s by two artists who helped define the Bakersfield, Calif., country sound: Merle Haggard and the Strangers and Buck Owens and the Buckaroos. But this is no nostalgia-fest — it's a vital testament to music that retains energy and innovation.

Now 43 years old, Jay-Z has become the Jay Gatsby of hip-hop: a man with a checkered background playing host to endless parties, celebrating excellence, the good life and himself. It's no wonder that he was asked to oversee the music for director Baz Luhrmann's amusement park ride version of F. Scott Fitzgerald's romantic fantasy.

One major source of pleasure in the music Eleanor Friedberger makes as half of The Fiery Furnaces is a matter of sheer density — the density of The Fiery Furnaces' musical ideas, the thick layers of words, lyrics that operate as dense sounds with meaning to be extracted from them.

Kanye West is having some serious fun with us on his new album, Yeezus, starting with the title; it's a play on his nickname, Yeezy, and his penchant for placing himself just this side of the Son of God in terms of cultural importance. That's just the first clue as to how assiduously aggressive and transgressive West wants to be on this album.

Raised in South Berwick, Maine, and residing in Austin, Texas, Slaid Cleaves is no one's idea of a music-industry insider. He writes and sings songs primarily about working-class people and romantics both hopeful and hopeless. That said, it's also not difficult to hear another element of the fortysomething Cleaves' past: He was an English and philosophy major at Tufts, and his lyrics are underpinned by both a fine sense of meter and moral perspicacity.

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