On Copper Queen, Mark Winters is able to deftly meld together the singer-songwriter pop of the 1960s with a bit of the alternative music that hit college radio during the 1990s. Hints of Chris Isaak and Harry Connick Jr can be discerned here, but there’s a bit of the surf-infused sound of Beach Boys and Roy Orbison that can be discerned here. The production fo the track far outstrips anything that could be picked up from that time period, ensuring that Copper Queen is something that shines with every note. The composition is able to shine as a collaborative effort between the guitars, Winters’s vocals, and the drums.
To delve a bit deeper, Copper Queen’s vocals are integral in furthering an extended instrumental interlude that drops in at about the 2:40 mark. Where the track could’ve easily slotted into rock rotation with its first section, this all-too-brief bridge showcases some seriously impressive instrumental work. This section acts as a glue that holds the beginning and end of Copper Queen together. In the last ten seconds or so of the single, fans are again greeted to the considerable instrumental interplay which separate the single from other efforts attempting to garner airplay today.
During Copper Queen, Mark Winters is able to cover considerable territory. It is a testament to his skill that he is able to make these disparate elements work well together. Fans of rock music generally will be able to dissect this composition; strap on your favorite pair of headphones to get a bit deeper of an appreciation to what is one of the most heady composition we’ve reviewed in 2020. Check out Winters’s Facebook and Twitter for more information about the performers, samples from his discography, and anything else you could care to learn about Mark.
Rating: 8.6/10
Mark Winters – Copper Queen / 2020 Self Released / Facebook / Twitter /