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.

The title of Deer Tick's new album, Divine Providence, is a pun: The band hails from the capital of Rhode Island. But the other side of the pun is sarcastic. There's little on the album concerning divine providence or care. Nor is the band provident — frugal or prudent — about its talent and music. Group frontman John McCauley continues to sing as though the primary idea is to shred his vocal cords.

If the title of her new album is a tad portentous, Shelby Lynne is determined to make precisely detailed mood music, not a succession of revelatory moments, throughout Revelation Road. That's ultimately what gives the album its strength. It's underpinned with sturdy melodies, the occasional bright image and, above all else, Lynne's exceptional voice, which cuts across every song with a sharp, slicing motion.

It's hard not to feel ambivalent about The Lost Notebooks of Hank Williams. Yes, it does give us an opportunity to hear previously unreleased lyrics by one of the greatest songwriters country music has produced. But Williams didn't write the music that accompanies his words, and as sincere as these performers are, none of the words are framed the way Williams would have, had he completed the songwriting process.

When they started out at the beginning of the 1980s, The Bangles' members were never part of the Los Angeles punk scene that slightly predated them, with bands such as X, the Germs and the other significant all-girl bands of that era, The Runaways and The Go-Gos. The Bangles were always more interested in jangling guitar sounds, plaintive harmonies, catchy choruses and wistful melancholy.

It becomes clear early on that Low Cut Connie are a bunch of talented musicians who pride themselves on their low-down, low-rent, low-minded methods and instincts. They like to sing about intercourse, inebriation, and an inability to have a good time. Recorded for what sounds like a suitably low budget, Low Cut Connie benefits mightily from the buzzsaw yowl of Adam Weiner.

Pages