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.

On Back to Love, Anthony Hamilton makes music from declarations. He tells a woman "I'm missing you crazy" in "Who's Loving You," and it's typical of his strategy. He states his thesis, his opinion, his desire in a voice that speaks as much as it sings for the sake of emphasis. After he's sure he's gotten his lover's attention, he begins doing his rhythm-and-blues work, mixing soul and blues and hip-hop phrasing to heighten the emotion in a song.

Careening into your ears like the theme to a bank-heist flick is "Lonely Boy," the first single from El Camino. Except the lyric tucked inside the roaring, curve-hugging melody isn't about anything so action-packed as robbing a bank or making a getaway. Instead, Dan Auerbach sings about stasis: "I got a love that keeps me waiting." And, being the sensible raucous rocker that he is, Auerbach is willing to wait out his love, because he knows in his heart that she's worth it.

I'm not much for collections of alternate takes and the early music of people who went on to have hits. There's usually a reason a song doesn't become a hit, just as there's usually a reason to record another take — it's because the music is usually lousy. But I'm a little bit obsessed with a new collection of Buck Owens performances from the years before he became a star.

David Lynch commences Crazy Clown Time with "Pinky's Dream," featuring a vocal by the Yeah Yeah Yeahs' Karen O and summoning up, as the song title suggests, a dreamy atmosphere. With Karen O's pretty voice and the galloping rock beat, it's as though Lynch is trying to ease us into his album, ushering us into a welcoming waiting room before the real operation, when the scalpel comes out.

Four the Record is a transitional collection for Miranda Lambert. Her preceding three albums played up the idea of Miranda as a good ol' gal with an explosive emotional streak. You saw it in titles like "Kerosene," "Crazy Ex-Girlfriend" and "Gunpowder and Lead." Four The Record is an album whose subtext is all about coming to terms with the expectations of her audience, and with her expectations for herself as a performer wanting to broaden her subject matter, to work in more varied styles.

Like a lot of successful American Idol contestants, Kelly Clarkson made her reputation as a belter — as someone who could project to the rafters and rouse a crowd — which doesn't necessarily translate into good pop singing. Ever since Bing Crosby started using the microphone as an instrument for achieving intimacy and nuance, the idea of delivering popular song as operatic aria is a flawed strategy. But everybody loves an anthem, right?

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.

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