“Might As Well Smile” explores a new kind of song for Beth Hart, part of a new kind of album – one framed by hope, rather than pain.
If you’re expecting another rootsy upbeat rocker from the BoDeans, the frankly scarifying blues of “Slave” likely comes as something of a shock.
Slash added one of his “better one-off solos” to a Bob Dylan song, but it was never released. Find out why the Guns N’ Roses legend is OK with that.
The Band appeared to be turning toward a kind of modernity that might clear the way for new explorations. But night was, indeed, falling.
Seemingly an offbeat choice for an All-Starr Band tour, “Raining in My Heart” had already become a signature part of Rick Danko’s solo shows.
Mumford and Sons’ electrified “Believe” feels more like an evolution, organic and heartfelt, than a sharp right turn.
A portion of Mark Knopfler’s upcoming album ‘Tracker’ grew out of shared experiences on the road with Bob Dylan.
After a series of solo records that tended toward blues- and R&B-soaked fun, Levon Helm’s ‘Dirt Farmer’ goes deeper, experiences more.
Does Steve Cropper ever grow weary of his most familiar hits?: ‘Some guys don’t like to do the same thing’
Steve Cropper has been playing “Midnight Hour,” “Green Onions” and “Soul Man” for decades. It’d be understandable if he became tired of them.
These are the first hints at darker revelations to come from Bob Dylan on ‘Blood on the Tracks.’ But, because of the Band’s presence, far different.