A different week. A different Brit.
There are few things in life that I like better than British artists who sing in their native accents. As a Brit myself, I might be slightly biased, but the accent is such a great one that it would seem silly to waste its obvious allure by swapping it in for a generic American one. The Beatles immediately come to mind, they who were never afraid to warble away in their fantastic Liverpuddlian accents. For me, the accent adds a charm and character like no other. On top of a magnificent accent, clever lyrics that have me contemplating their awesomeness provide me with an almost unparalleled joy. But more than any of these, what gets me going every time is a melody that I can’t help but sing for hours afterwards, often to the vague amusement (and occasional aggravation) of my friends and family.
So it’s no surprise that when artists like King Charles come along with their distinctive voices, inter-referencing lyrics, and catchy tunes, my heart is filled with elation and a kind of musical ecstasy. King Charles walks the fine line between too cool and uncool, and does it with mastery. Not only is his music some of the most exceptional stuff coming out of the UK, his style is unique and truly fabulous. Think beehive, waxed mustache, and edgy vest/floral-print jacket combinations. To add to this larger-than-life character, he also plays the cello. It’s casual.
Listening to his 2012 album LoveBlood is a refreshing, glorious experience. This is because unlike many artists in this day and age, King Charles has not fallen prey to the ever-present only-one-actually-good-song-
Choosing a favorite song from this album would almost be like choosing a favorite child, but if I had to pick a couple particularly sparkly gems, I’d probably go with Ivory Road – probably my favorite lyrics in any song ever – and Mississippi Isabel, a song so catchy you’ll never sing anything else again. I challenge you to listen to either of these songs and not have them stuck in your head for the rest of the day.