The title track opens the disc with something that sounds like Crowded House over a bed of breakbeats– a brisk, dreamy introduction to King’s plaintive but restless material. Backed by a cast of top-notch local musicians –- including drummer and co-producer Todd Glass -– he weaves his songs into rich but accessible arrangements.

It’s the sound itself that makes “Motion” work. King has engineered an album that’s head and shoulders above the typical homegrown release, sending sonic shivers across these nine tracks. Doubtless, a great deal of work went into the presentation of the material, but even on busy rock symphonies like “Waiting for Godot” and “Late”, King makes it all sound effortless.

King–Liz Larin’s one-time bandmate in the groups Press and Rebel Heels– recorded “Motion” at his own Mission Studio with three of his regular band members (bassist Pete Lewton, keyboardist Dale Grisa and drummer Todd Glass) and such guests as violinist David Mosher, drummer Danny cox, guitarist Les Schefman and vocalist Alecia Gbur. All nine track are original compositions.

While King has trouble classifying his style, he is clear about the intent behind the music, “I think it’s important to just be as honest musically and lyrically as you can be, get to the point and try to communicate with people. That’s what it’s all about.”

“Motion” reflects influences including Paul Simon, David Grey, Tom Waits, Rufus Wainwright and Ryan Adams. The melancholy song “Waiting for Godot”, named for a play by Samuel Beckett and with the refrain “Chaucer and Shakespeare for heroes,” reveals King’s love of reading, which he nurtured while earning a degree in literature from Wayne State University. Three songs, including the album’s title track, were recorded completely spontaneously. “I literally created them in a take and wrote off the phonetics. They became more linear and less predictable.” King plays guitar, sings and does programming on the album. He also wrote all the tracks, usually beginning with a guitar riff or groove. The title “Motion” arose from the theme King was toying with as the project unfolded. “We live in a day and age that’s so fast-paced and technical, but I think people still yearn to be connected to each other. That doesn’t happen through technology, but through the human heart,” he said.

A host of guest musicians appear on “Motion”, but King will play live with the core band he has worked with for the last four years, made up of Todd Glass on drums, Dale Grisa on keyboards, and Pete Lewton on bass. They will join him on stage at Memphis Smoke where they plan to perform the album in the trademark style for which they’re known. “These songs are like templates for the show– we jam. We take the music to another level live, we’re really energetic, with a lot of instrumentation,” he said. The show is the first gig in a summer of promotions King has planned to get the album as much exposure as possible, hopefully attracting widespread attention. For now, King said he is perfectly happy working in Detroit. “There is such a diversity of talent in Detroit, from the most popular hip-hop artist in Eminem to the white Stripes and the whole garage rock scene,” he said. “The commonality of all of it is it needs to have soul, it must have a lot of passion and soul.” King has lived for seven years in the Birmingham home he shares with wife, Kate and sons, Max, 4 and Nick, 2. Above the garage, King has built a bright, airy music studio that encourages a relaxed ,creative flow. In that space, he has recorded many of Detroit’s most prominent singer-songwriters, including Jill Jack, John D. Lamb and dozens of others. Stewart Francke of Huntington woods, hired King to produce his latest release, “Wheel of Life.” According to Francke, King is a “terrific” musician who coaxes the best out of the artists he records.

“He has really a passion for understanding styles and understanding where a particular artist fits in the spectrum of modern styles, and then with that he knows how to get corresponding sounds that would flatter that artist,” Francke said. “He understands how good it needs to be as a producer and artist himself.” Francke also said King’s wide knowledge of music helps him understand artists within the historical context of their genre. “There is a small group of us that are really trying to reach people on both a deep and a wide level,” Francke said of the singer-songwriter community. “Deep as in trying to change people’s mind and get to their heart, and wide in that you want to reach a large audience. He’s definitely part of that thing.” King doesn’t waste too much time trying to define that ‘thing’ or label his style. Instead, he just keeps on playing.

King, who initially rose to prominence as a member of the now-defunct band Rebel Heels (Atlantic Records), has since become as well known for his own music as for his work polishing the music of others in the studio. He’s worked with diverse local and international luminaries, including the Howling Diablos, J. D. Lamb, The Hope Orchestra, James Wailin’, Jesus Jones and The Chieftains. And in his own band, he’s assembled an enviable lineup of in-demand players: Danny Cox of Warren on drums and percussion, Dale Grisa on keys, Pete Lewton on bass, Johnny Evans (Howling Diablos) on saxophone and Eric Wilhelm (Mitch Ryder) on percussion. King said the live shows “don’t just duplicate” the album, but instead, emphasize spontaneity. “I like spontaneity to happen, because I find that that risk-taking on stage makes it more exciting for the band and the audience– at least on a good night,” King said. “And I think that kind of energy keeps you awake, keeps the music fresh.” His work as a producer has helped keep King on his toes, too. “As much as I think artists hire me to do a job and to learn something from me, I learn a lot from them,” King said. “Oftentimes, I’m really brought into a whole new way of thinking, watching that artist work.” That creative open-mindedness is evident on “Motion”, which King’s peers say demonstrates his musical growth. Songwriter and musician Stewart Francke, who’s known King since the latter’s days performing at Doug’s Body Shop with Press (later, Rebel Heels), believes King, “like all the great songwriters, is in the process of simplifying (his songwriting, and)... just distilling and refining it. That’s what I hear in this latest record.” Frankce, whose last record, “Wheel of Life”, was produced by King, sees something else as well– a musician who[‘s been able to incorporate his disparate influences, from blues music background to his literary sensibility (King has a bachelor’s degree in English) to his interest in world music -- and make the mix work.

“He’s probably the best around here at creating sonic landscapes, with sounds and moods and feels...(And) I just think every record he makes is something new,” Francke said. Musician Melissa McClain who’s also known King for years and has worked with him in the studio, sees King as a songwriter who “pushes himself to cover new ground”. “He bring a real intelligence to his creative process; he’s aware of his tendencies and is able to challenge them and move beyond them,” McClain said.”His new Cd does just that: The title ‘Motion’ is indicative of his own growth as an artist. I also appreciate his literary allusions. Anyone who can get Chaucer and Shakespeare in the same line deserves a thoughtful ear.”

On some nights, after a recording session or a club gig ends in the early morning hours, Michael king often unwinds by driving through suburbia, a landscape, he admits, that can be remarkably monotonous. Not too unlike the tedious mainstream sensibilities of major label record executives who decide Lolita-like lip-synching dolls and chest-thumping, hiccup ranting rappers are the music commodities of the day.

For King, 43, an accomplished guitarist, producer and songwriter in the 1970's easy-listening tradition, music isn't so much a product as it is a way of life. A passion, for King, that began when he first strummed a $100 Harmony acoustic guitar, and continues to this day with a boyish wonderment about what it'll take to buy a Pendulum Amp for his weekly Tuesday night (switched to Thursdays) gigs at Four Green Fields in Royal Oak.

This Friday and Saturday, King will perform original material and cover songs on the Tappan Street Stage at the Ann Arbor Art Festival.

Hope & Illusion

The last two decades have provided the sweet-sounding Billy Joel tenor with a life-defining lesson, which of course, King has translated into an often-recited lyric in his song of hope and illusion, "Nevada".

Asked about the odds that his independently recorded CD, "A Thousand Faces" released in April, will be picked up by a major label, King recites the line: "Destinations are the same as the ground that you're standing on."

The idea is the philosophical equivalent of the ancient Indian notion of "Wherever you're at, there you are." Music, for King isn't based on marketplace trend, but an ethereal ambition "to be real." In a cogent phrase, King nails the question and sums up a musical odyssey that began in the industrial cultural cauldron of Allen Park as a teen-age guitarist in a dance band and culminated with an Atlantic Records deal and a shot at the proverbial "big time" as a member of Rebel Heels in the late 1980's. (The "deal" was worth about $200,000.)

Since the break with Rebel Heels in the early 1990's, King has pursued a career as a studio musician and producer.

To keep up with the trend of the day, Atlantic Records demanded a "harder sound" from the band with lead singer Liz Laren taking on a sexier image.

King resisted. "They were interested in putting out another Lita Ford, and I was interested in the Indigo Girls," he said. "It was a sexist stereotype that they thought they could sell. But really, we wanted to be more like R.E.M."

In the end, King realized a simple truth: "You can only be who you are."

Three years ago, he released his easy-listening compilation of songs, "Nevada". And in April, King's "A Thousand Faces" was greeted with an enthusiastic response by the local music community.

Be Tough

Like many other ambitious local songwriters, King isn't sitting contentedly, waiting to be anointed by a major label. He's a sought-after performer, studio musician and producer, who has worked with an impressive lineup of artists, including Jill Jack, James Wailin and John D. Lamb.

"You have to be tough to be an artist," said King. "You have to fight for your art every step of the way. If you don't believe in it, then who will?"

And clearly, he isn't expecting any favors. The music, for King, should speak for itself.

"You hope the local radio stations will listen to determine if it's quality," he said. "But I'm not going to romanticize about their obligation to play my music because I'm from the area."

King's two CD's include a range of 23 songs with a sophisticated arrangement and impressive musicianship. Many of the themes are clearly about middle-age dilemmas.

"Today's music is so self-absorbed," said King, sitting at the mixing console at his in-home recording studio. "The whole part of music is about connecting with an audience."

Four years ago, King tread on unfamiliar ground- marriage. Admittedly, being married has refocused his life, and put his art in perspective. And about two years ago, King became a father. (He and his wife are expecting their second child in September.)

"Now I look at things through a lens," said King. "The thing about music and being married is that with both you're in a constant state of discovery."

The second album from this sound trio investigates the human spirit through pop-rock tracks that have been expertly engineered. Considered to be two of Detroit's top cats, Todd Glass (on yellow drums), and Joe Lambert (bass) provide the tight grounding for King's trademark guitar sounds and zealous vocals. Ranging from the energetic and hopeful lyrics of "The Pawn," ("we will be the pawns to herald in a brand new age, and we'll be fine...",)to the bluesy take on loneliness in "Sun In The Rain" ("down on your luck you should have known better..."). King successfully embodies many different styles verbally and harmonically. Ex-Tarantula, Glass, surpasses the rockabilly and reminds us of his capacity as a session drummer. Utilizing brushes, Nashville train beats, and L.A. backbeats bringing the foundation of these pop basics to the foreground. Lambert is an excellent compliment to both Glass and King. He establishes a crispy pocket with the drums and supplies the subtle low-end to King's guitar without distraction. The musicianship on this album is quality, and lyrically King will take you behind the looking glass "searchin' for a clue in the dark...where someone's telling someone else to fade away". Edgy and honest poetic impressions of life balanced by the solid musical content, this album ranks among the finest of King's career.

Reason to Buy: The musicians alone are reason enough... and you can sing along.

Best Listening Experience: "Dances By The Moon."

Even though his sophomore album is getting "the best response yet", Birmingham musician Michael King is not slowing down.

King recently released "A Thousand Faces," a follow-up to his debut solo album "Nevada". King, nominated is 1999 and 2000 for Detroit Metro Times Producer of the Year is no new comer to music.

"I got started by being a part of the scene, "I started playing in high school and over time, I began writing songs."

Writing music became his passion, and he also produces(produced) local acts such as Jill Jack and the Howling Diablos.

"There's really great talent in Detroit," he said. "I'm proud to be a part of it."

King said he feels fortunate to do what he loves.

"I love it so much. It's my day and night job," he said.

He's lived in Birmingham for four years with his wife Kate and son Max, 18 months. But his Detroit roots run deep- he's lived here his whole life.

"Detroit is finally being recognized as a music town." he said.

"A Thousand Faces" is an earthy pop/rock album. King said he gleans idea for his songs from numerous sources- namely his love of all kinds of music.

"I'll hear a groove I like and start there," he said. "Music of all kinds filters into what I do."

He said his lyrics reflect "slices of life," and search for a common thread among people.

"I wanted this record to feel familiar, but be unique at the same time," he said.

He recorded the album with The Michael King Band, made up of King, bass player Joe Lambert and drummer Todd Glass. The trio has played together about three years.

"It gives (the album) an organic feel," he said. "They brought a tremendous amount to this album."

King has produced more than 15 records for various artists and released three albums with his former band, Press, in the late 1980's. He's already working on his third album.

"It's all about doing the music you feel good about and connecting with the audience," he said. "That's why I do it."

Well, while the rumored tornado and storm were raging somewhere outside on Tuesday night, I was happily boogeying inside at Memphis Smoke in Royal Oak, where I went to see The Michael King Band. King is a fascinatingly versatile uitarist and songwriter who has been around these parts for years, playing and producing local acts. If you want to check him out, go to his web site at www.michaelkingmusic.com and look for his schedule. He also has a new album out, "A Thousand Faces", and it's pretty good.

My friend and I had a great time, ate a good meal and didn't have to pay a cover charge. How often does that happen? It also got me thinking how important it is to support local artists and I encourage all of you to do the same. Not only is it good for our local culture, it's so refreshing to see a musical act in an intimate setting where you aren't a half-a-mile away and staring through headache-inducing binoculars; where you can walk right up to the musicians and say "Wow, that was great!" and know they heard you....

"I really felt like I hit my voice on this record." Michael King says of "A Thousand Faces", the second solo album from the singer, songwriter, musician and producer. That's no small statement, considering that King has been at this for quite some time and had a national shot during the 80s when Atlantic Records singed his band Rebel Heels (formerly known as Press).

Rebel Heels ended badly; the album sank and King had a nasty falling out with his partner Liz Larin. But these days, even though he's working on a more modest level, King says he's much more content.

"I was extremely down about the breakup of the group," says King, who does his recording in a studio at the Birmingham House he shares with his wife and 17-month-old son. "But what happened, interestingly enough, was I actually rediscovered music. I got back to why I did this in the first place, which was to find out, to express and be honest with what I wanted to do.

"I actually realized this after (the Atlantic) deal, in many ways. I think that experience for me was to learn about myself and the type of music I wanted to do. It made me more committed to music than ever."

King never left music, but he took his time before recording again. He turned first to producing, working on releases by the Howling Diablos, James Wailin', and John D. Lamb; more recently he helmed Jill Jack's "Too Close to the Sun", Hope Orchestra's "Gift" and Sister Seed's "If You Were Me". And when he started performing again, King grabbed his guitar and started playing the blues.

"That was very different for me", he says. "I was always a pop songwriter and very into progressive music. I went back into the roots of blues and folk and rediscovered a certain honesty I thought I was losing. It brought me back full circle in my work."

King was definitely back in form by 1997's "Nevada" and the new "A Thousand Faces" is even more polished and melodically accomplished, while King credits the stronger performances to the time he and his band-bassist Joe Lambert and drummer Todd Glass- were able to spend with the songs.

"Before we went into the studio, we played all this music live`" King says. "I was excited about that; instead of turning into a studio thing, we were trying to capture a live feel, a bit more of a band feel.

"I put a lot of time and thought into the writing of this record. I felt like I'd reached a point where I knew what I wanted to do and how I wanted to get it across, both on record and on stage. It's a heck of a task, but I felt it was ringing true. The goal was to try to make an honest record, something that reflects where I'm at both mentally and creatively. And I think that's what this is".