Jonathan King
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Describe most artists as formulaic and you're delivering an insult they might never forgive you for. Describe Jonathan King the same way, however, and you're confirming one of his greatest talents, a natural ability to understand precisely what people demand from their pop, and then delivering it with almost brutal accuracy. A Rose in a Fisted Glove, his fourth solo album, is also the pinnacle of his most iconoclastic phase, as he looks around at some of contemporary rock's most sacred cows (Joni Mitchell, Ann Peebles, Randy Newman) and muses, so loud that you can almost hear the thought process on the vinyl, "well, they're okay but...." And it's that "but" that gives this album its allure. Nobody, King included, would describe his voice as one of rock's greatest instruments, but he wraps it beguilingly around songs that really did not need to feel his touch and, in so doing, he reinvents them. Song for song, A Rose in a Fisted Glove is not his strongest release. But the overall momentum of the record is such that you're borne along regardless, to emerge at the end of side two wondering how he was ever allowed to get away with it. Then you check the reviews that the album received on release, and you discover that he wasn't. Which was probably exactly how he planned it. Dave Thompson, All Music Guide Releases:
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Jonathan King|
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