‘Complicated Game,’ James McMurtry’s first album in seven years, finds his narrative rigor once again in sharp focus.
John Oates’ intimate forthcoming live release, ‘Another Good Road,’ gives us new perspective on an exciting period of musical growth.
Crazy Horse, as Robbie Robertson’s “It Is a Good Day to Die” makes clear, wasn’t being boastful. This wasn’t a warrior’s cry.
‘Shadows in the Night’ engineer Al Schmitt is still marveling over the chances taken by Bob Dylan on the forthcoming project.
Gregg Allman prepares his next, typically uncategorizable move: ‘Everybody seems to want some kind of label’
Gregg Allman has turned his attention to a new solo album. Just don’t ask him to define it — or even nail down an exact release date.
Fifteen years after his death, Pops Staples returns — as sweetly vibrant, as light-filled and meaningful, as deeply soulful as ever.
An ailing Mickey Newbury saved one of his best songs for the final album released during his lifetime.
A journeyman country tune makes the case all over again for Levon Helm’s tender, heart-openingly emotional side.
Bob Mould’s scorching turn might have obscured a lesser singer. But Butch Walker’s resonant voice carries “Father’s Day.”
Robben Ford discusses Joni Mitchell’s jazz period in the 1970s. He performed on some of her most closely dissected, if not always best loved, albums.