Ray Wylie Hubbard has been sticking a steel-toed boot up country’s rear for generations, and this new song is — thankfully — no different.
The Band simply stole “Back to Memphis” from Chuck Berry, who tended to wink his way through it. Levon Helm, however, found something darker.
Bob Dylan’s gently involving set of covers shouldn’t work, because the principal thing that’s always made him so galvanizing has been his fury.
Garth Hudson’s genius has been rightly celebrated across all manner of disciplines. “Largo,” perhaps his least-heralded triumph, reminds us why.
Accordion … rock? Yes, accordion rock. Not novelty tunes, polka, zydeco or silly remakes. Let’s look back on times when the accordion played a key role.
The Florida-based JJ Grey and Mofro return to make an absolutely heavenly, cross-pollinated racket — like a bourbon tabernacle hootenanny.
Eleven hours into work on ‘Another Good Road,’ John Oates decided to cover his old favorite ‘Stack O’ Lee.’ It proved more difficult than he’d imagined.
This old Chuck Willis tune, forgotten in the wake of his early death, gave the Band a chance to let loose — and let loose they most certainly did.
‘Freedom Highway Complete’ makes viscerally clear that the Staple Singers, though they’d moved far afield of gospel, could still rattle the back pews.
Released 40 years ago, ‘Blood on the Tracks’ signalled that Bob Dylan was ready to re-engage in his career. It was also something more personal.