John Oates issues a career-defining, endlessly diverse trio of EPs, while Matthew Shipp — one of our last truly original improvisers at the piano — returns with an invigorating new trio recording.
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Glass Hammer is promising a house party of a prog-rock record, having invited over a number of old friends and a slew of new ones. Meanwhile, we get an expanded overview of Carl Palmer’s lengthy career — and not just the goodies from his tenures in Emerson Lake and Palmer and in Asia, either.
There may have been a lineup change with Drive-By Truckers, but they’ve lost none of the momentum that makes them one of the best rock bands operating today. Robben Ford, meanwhile, follows up a well-received covers album with one focusing on originals — all recorded on a single, sizzling day in Nashville.
Neneh Cherry and Jeremy Spencer, the co-founding Fleetwood Mac slide guitarist, offer albums that push hard at the edges of their own recorded legacies — while Joe Louis Walker, who’s finally getting his just rewards, settles into a well-deserved familiarity on his newest album.
The heartbreakingly underrated Benmont Tench steps out for a rare turn in the spotlight, offering a comfy set with plenty of throwback charm. Jimbo Mathus, meanwhile, dives deep into his own troubled soul. There are surprises aplenty from the sizzling Birmingham, Alabama-based soulsters St. Paul and the Broken Bones, and a much-needed chance for reevaluation of an often-forgotten early-1980s classicRead More
Neil Finn and Dianne Reeves return with rare studio efforts, while Band of Horses strips their sound bare in a nervy acoustic performance.
You perhaps knew, listening to blues-scalded moments like 1969’s “I’m a Mover,” that Paul Rodgers had a great — a truly great — R&B record in him. But nothing, not even that old Free side, will prepare you for the outsized joys surrounding his new Royal Sessions.
For all of his sparkling credentials with the Byrds and Crosby Stills and Nash, David Crosby’s solo career can be charitably described as sporadic and largely unsatisfying.
Every one knows “Hey Jude,” “Yesterday,” “She Loves You.” To the point where you could (gulp!) start getting sick of them. Blame classic-rock radio, blame Cirque du Soleil, blame your older brother.
Mogwai, those hipster post-rockers, could probably issue just about anything (really, they kinda did with Hardcore Will Never Die, But You Will three years ago) and it would sell. This time, they have something actually worth buying.