Given the results of the recent election, the opening lyrics to Chicago’s “Lowdown” feel especially true for many right now.
The 1957 Tail-Fin Fiasco are superstars alongside XTC and Squeeze in an alternate universe in which pop music doesn’t insult your intelligence and sometimes even challenges it.
As an opening track, “Future Times/Rejoice” is not a good omen for the rest of Yes’ ‘Tormato.’
This gravelly marvel of a singer, Leon Russell leaves us as the consummate musician – and a never-ebbing rebel.
Bruce Springsteen has always been dogged by rumors of versions of albums that differed markedly from what became the commercial release.
I returned to a 2009 live album, Leonard Cohen’s first newly recorded release since 2004’s ‘Dear Heather,’ during the first dark evening without him.
Alice Cooper once said he enjoyed “playing the heavy – a bizarre vaudevillian character.” The same remains true today.
The Beatles’ “Getting Better” illustrates John Lennon and Paul McCartney’s collaborative style, differing outlooks, and willingness to reveal personal truths.
With everything working against it, why do I actually like Metallica’s ‘St. Anger’?
A highlight from Chicago’s most jazz-oriented album to date, “Mother” is a perfect example of the era’s political activism and musical eclecticism.