Bobby Rush and Dr. John, Louisiana natives with a stake in this, lament how a city of song can so often be riven by violence — in a song that marks an emotional first-ever collaboration on Rush’s just-released new album Decisions.
Recorded in the midst of his most experimental and prolific time as an artist, Tim Buckley’s Lorca is the musical bridge between the loose jazzy troubadour stylings of the Blue Afternoon and Happy/Sad, and the haunted cosmic residue of Starsailor, the revolutionary 1970 record that follows.
More American Beauty-era Dead than picking-and-grinning Scruggs redux, the Howlin’ Brothers steer the current fascination with string-band hominess back toward rock music.
Robbie Robertson, though he shares a Native American heritage, spent the first few months on this project simply listening to Indian songs. Then, before full engaging for the first time in this legacy music, he tried to forget all of that and simply create.
As Glenn Frey makes another run of History of the Eagles shows, more than six years after the group’s most recent album of original songs, the question of boredom begins to creep in. Not for Frey.
We’ve heard Little Feat live, of course. Grooved along on 1978’s Waiting for Columbus, and let it all hang down with the Rockpalast Live set recorded during the same 1977 jaunt. But neither captured the long-gone Lowell George at the peak of his powers
Over the course of a record-smashing, Rock and Roll Hall of Fame career with Hall and Oates that began in the early 1970s, many things changed — and, John Oates says, that’s a good thing.
Levon Helm’s music was a homey as it was connective — with his history, with everyone’s.
There’s a moment, just when you get comfortable with the idea that this is a paean to home, love and hearth, when Bruce Springsteen sharply widens the lens. All around this couple, despite the illusion of a cocoon of safety and of love, there are troubles, there are questions, there is cruelty and death and misfortune.
Coming as it did during a fallow creative period for the Band, the covers-focused Moondog Matinee could be fairly seen as a placekeeper album — an aperitif before the next statement of purpose. But it wasn’t without its moments of creative and emotional spark