11 Songs, 43 Minutes


Customer Reviews

5 out of 5

6 Ratings

6 Ratings

Americana Rock At It's Best

The Muse of Santo Domingos

Mark Knight has sucessfully crossed over from the funk metal sound of his days as Bang Tango's original guitarist into a solo career without a lot of bells and whistles needed to produce killer tracks with emotional resonance while still featuring ripping guitars. Beginning with Knight's last effort, Road Sick Eyes (Mark Knight & The Unsung Heroes), and culminating in Mark Knight, Knight has proven that his evolution as a singer, songwriter and player has only made his music more relatable, more wrenching and more out of the box.

"Just Go" is an anthemic rocker filled with the anguish and relatable frustration of wanting to be finished with a relationship gone wrong. Haven't we all felt that resignation and exhaustion over an embattled relationship that's left us with the same thought: "Take anything, just go. Do me a favor and go?"

In addition to the roots rockers like "Just Go" and "Blood on the Hands," Mark Knight features tracks like "Better Days," "Used To Be," and "Tell Me Everything" that tell the story of a man moving away from the desperation of "Just Go" into a life being rebuilt, apologies made and accepted and lighjt at the end of his tunnel.

This record is starkly personal, universal in its battle cries and something that every real music lover who appreciates a true album and collection of music should own.

Great solo effort


A great solo effort that digs deep into the universal themes that come with a divorce or separation. Mark's claim to fame has always been his guitar work, which shines on this album as well, but his development as a songwriter has put him up with the best.

A Troubadour with a Bloody Guitar


We were warned in Mark Knight’s last CD about troubadours and what they would do to us. In his self-titled album, Mark Knight’s troubadour has moved on from the stress of domesticity to a decisive move to domesticity 2.0. While the spleen of controlled anger highlights several of the songs on the new CD, themes of resignation, resolution, and rebuilding form the backbone of his latest work.

This marvelous solo work highlights both maturing vocals and guitar work of the lead singer. Still caught somewhere between California-LA and Tennessee/Kentucky, Knight’s guitar screams like a BMW sports car down Sunset and gurgles like an Appalachian stream. Ever haunted by Duane Allman and Dickie Betts, Knight’s fretwork also finds new voices as he paints a counter picture to California bliss and celebrates the melancholy of the road where bloody fingers strum his Telecaster. Mark Tremalgia offers the perfect companion for Knight on guitar, and fellow Knight road warrior, Tigg Ketler (both were in Bang Tango) creates the beating heart on drums.

Knight introduces the troubled scenario with the finely formed “Just Go,” perhaps the rockiest and strongest track. Dismissing a former lover, Knight also dismisses the former conflicts of domesticity he explored in his last two works. His vocals find their way around a range of understatement and anger in this table-setting piece. With echoes of Simon and Garfunkel’s “59th Street Bridge Song,” Knight dances a jig while celebrating a new complex relationship in “Whiskey and Stars.” Later, he succeeds in two ballads, “Do No Harm” with echoes of post-Mott Ian Hunter in phrasing and tone, and “Tell Me Everything.” In both, the guitarist offers bittersweet tones that augment his dual themes of hope winged with disappointment and duplicitous motivations. In the latter, the story of a couple whose “openness” leads to bitterness, there seems to be a very missing, a very the listener makes up to become a cocreator of the song. In a similar move, a line in the chorus seems to be missing from the dark “Toss and Turn,” and it reinforces the inability to be still and confronted that the singer proclaims.

Knight dances an edge between urban anger and hope and rural travels paired with weary work, the path of the troubadour indeed. The last two songs reinforce these moments of challenge: “Pain is Like a Radio” twins the comforts of love with the discomfort of change as the wonderful ironic “Casting Judgment” seeks an indifference that becomes overshadowed by that irresistible stab in the back where, the object of derision gets a full hit by being written into this song.

Knight has successfully embraced his singing and playing roles of the troubadour. He adds thought-provokinh lyrics that run the gambit of blues rock and new country. All throughout the CD, he offers up a haunted troubadour (the ghost thanked in the liner notes?) best demonstrated by the ghostly and searing guitar that haunts some of the ballads and the well-matched voice of Avery Rose that shadows his mournful voice.

Where to now for the troubadour with the bloody guitar? We cannot wait to find out.