Archive for November 9th, 2013

Vinyl

Creedence Clearwater Revival – Creedence Clearwater Revival: Boxed Set (2013)

Creedence Clearwater Revival was a canny name, considering the way the band nudged rock — in a moment when their San Francisco brethren were pushing it further out in the space — back toward its R&B roots. You May Also Like: Tell It to the Judge – Cases of MisguidedRead More

Vinyl

Anthony Strong – Stepping Out (2013)

From the opening strokes of “Too Darn Hot,” it’s abundantly clear that Anthony Strong is the real deal. He swings hard and brims with confidence, filling Stepping Out with a brand of boldness that fits him like a perfect suit. You May Also Like: Anthony Braxton – ‘Quartet (Standards) 2020’Read More

Vinyl

‘I was just trying to breathe’: Adam Lambert on his most memorable set with Queen

Much has been made of Adam Lambert’s triumphal stateside debut in September with Queen. But that wasn’t close to the biggest, most pressure-filled date during his collaborative stint with Brian May and Roger Taylor. You May Also Like: No related posts.

Vinyl

Mark Lettieri – Futurefun EP (2013)

From live gigs with Erykah Badu and Pat Boone to recording with 50 Cent, gospel artist Myron Williams and the funk-jazz party band that he’s a member of, Snarky Puppy, DFW’s Mark Lettieri is a versatile guitarist, because he has to be. You May Also Like: Mark Lettieri – SparkRead More

(Cross the) Heartland: Pat Metheny, "April Joy" (1978)

(Cross the) Heartland: Pat Metheny, “April Joy” (1978)

For the first half of this track, the Pat Metheny group blurs the line between composition and improvisation, a trait I admire in any jazz group. You May Also Like: Pat Metheny, May 16, 2019: Shows I’ll Never Forget Why You Should Give Pat Metheny’s ‘Rejoicing’ Another Listen Why PatRead More

Vinyl

Smile Empty Soul – Chemicals (2013)

Smile Empty Soul is an American post-grunge band from Santa Clarita, California formed in 1998, though most only know them for their hit single “Bottom of a Bottle” You May Also Like: On the Joy, and the Pain, of Pete Townshend’s ‘Empty Glass’