Emmylou Harris returns to a Gram Parsons song she first took on for 1979’s Grammy-winning Blue Kentucky Girl, only this time alongside the Seldom Scene as the DC-area bluegrass group makes its Smithsonian Folkways debut.
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I hadn’t had the feeling for a long time: that crestfallen heaviness of learning that a band had broken up. It’s something that really used to hit me when I was a kid. Attachments to bands and their music were particularly powerful, and when a breakup was announced…it felt personal.
On an album that so often feels overcooked and too careful, the sloshy, gospel-gone-wrong of “4% Pantomime” lets it all hang down. That kind of loose camaraderie from the Band, so natural at first but by this point becoming an ever-more-rare occasion, was sorely missing elsewhere on 1971’s Cahoots.
Sometimes, both quality and quantity is possible: Hammond B3 commander Jared Gold has been punctually making a record a year since 2008.
‘As long as it’s fun, then I’ll do it’: The Pogues’ rogue frontman Shane MacGowan isn’t going anywhere
In a newly posted interview with George Stroumboulopoulos, Pogues frontman Shane MacGowan talks about surviving his famously debauched rock ‘n’ roll lifestyle and, yes, the state of his choppers.
Julian Lennon’s stripped-bare version of “Guess It Was Me,” just released as part of a new song-by-song video project for his most recent studio project Everything Changes, more clearly defines its message of personal empowerment. There is much to regret, Lennon says, but little time for doing so. Change can only be effected when we stop ruminating and get onRead More
After hearing of the passing of Dave Brockie, known to GWAR fans as alien conqueror Oderus Urungus, I wanted to write something about Scumdogs of the Universe, my personal favorite record by the band. But in the days that followed, I kept coming back to this song. “The Road Behind” seemed somehow fitting, and a perfect representation of what GWARRead More
‘My singing was a little lacking’: John Fogerty on the Creedence Clearwater Revival hit he’d do over
“Fortunate Son,” from Creedence Clearwater Revival’s 1969 album Willy and the Poor Boys, has served as a rallying call for a generation protesting the war, the backbone of countless commercials and film soundtracks, and a concert staple for John Fogerty.
That burly baritone sax, it can be an abrasive sound maker, but in the right hands it can be this warm, inviting sonority.
This was the one where Ritchie Blackmore refused to go on stage, because it was not yet sunset — and he felt that would dim the impact of Deep Purple’s lightshow.