Bob Dylan’s “Don’t Think Twice,” with its sad acceptance of life’s strange twists set to a plucky finger-picked cadence, always seemed well suited for a country-music makeover.
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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.
A workingman’s song, one built for mashing the gas pedal down with your steel-toed boot, “Hurry Up Sundown” heralds an unexpected gift
Leon Russell makes a bold return to “Big Lips,” originally featured on 2008′s In Your Dreams, and uncovers something randier, rawer and all together rascally along the way.
The Black Keys keep their foot off the gas pedal on the title track from the upcoming Turn Blue, offering a quietly effective journey into falsetto-sung heartache — like a stripped-down, next-gen update of the Temptations’ Psychedelic Shack.
Dave Mason has returned, after too long away, to his birthright in Traffic — but, interestingly, not from the typical nostaglic perspective. Instead, he’s reworked “Dear Mr. Fantasy” as a searing blues rumination, steering the psychedelic Traffic classic in a completely different direction.
As the reigning champ of blues-rock guitarists after Clapton’s generation, Joe Bonamassa attracts notice whenever he issues new music (and to the great delight of his fans, he does this often).
If you were wondering how the perennially circumspect Aimee Mann came to be in a band called the Both with riffy indie-rocker Ted Leo, look no further than the aptly titled “Milwaukee” from their forthcoming eponymous debut.
In 1973, director Alejandro Jodorowsky put together a psychedelic mindfuck of a film called The Holy Mountain that became an underground sensation — in no small part because John Lennon and Yoko Ono put their stamp of approval on it
Just as much as the first track from Brian Eno’s forthcoming collaboration with Underworld’s Karl Hyde was girded by a doomy sense of portent, “Daddy’s Car” is a compulsively listenable ride — all scronky keyboard blips, ass-moving beats and late-night promise.