Are These the Worst-Ever Bob Dylan Songs?
The most difficult comparison Bob Dylan ever faces is with his former selves. Still, some selves were undoubtedly worse than others.
Articles by: Jimmy Nelson
How B.B. King Left Us With One Last Reminder of His Greatness
Released 15 years ago this week, B.B. King’s ‘One Kind Favor’ began with a dying plea: “When the day comes, don’t forget me.” No chance of that.
How the Allman Brothers Band Rebounded Despite Crushing Loss
Released 50 years ago this month, ‘Brothers and Sisters’ found the Allman Brothers Band recommitting to the group dynamic during a period of emotional turmoil.
How Living Colour’s Smart, Tough Debut Album Emerged From Happenstance
Guitarist Vernon Reid joined Something Else! to discuss Living Colour’s strikingly inventive debut ‘Vivid,’ which arrived 35 years ago today.
Why ‘Red Rose Speedway’ Ended Up Fracturing Paul McCartney and Wings
Denny Seiwell and Henry McCullough joined us to discuss Paul McCartney and Wings’ ‘Red Rose Speedway,’ released 50 years ago this month.
How Pink Floyd Came to a Grinding Halt with Didactic ‘Final Cut’
Released 40 years ago this week, ‘The Final Cut’ presented Pink Floyd songs as nothing more than infrastructure for Roger Waters’ narratives.
Why the Beach Boys’ ‘Sail On, Sailor’ Pointed to So Many Unrealized Triumphs
Released 50 years ago, “Sail On, Sailor” was a highlight of a Beach Boys era marked by seismic change, both musically and visually. It wouldn’t last.
I Don’t Understand Styx’s ‘Mr. Roboto,’ But I Can’t Get Enough of It
Secret, secret – I’ve got a secret: Styx’s “Mr. Roboto” arrived 40 years ago today as a nonsensical band-busting hit. I turn it up every time.
When the National Anthem Was Simply Terrible: Gimme Five
Let’s hope whoever sings the National Anthem at tonight’s Super Bowl does better than this. They almost have to, right?
How Velvet Underground Created the DIY Movement With ‘White Light / White Heat’
The Velvet Underground released ‘White Light / White Heat’ 55 years ago this week. Lou Reed later rightly described it as “the Statue of Liberty of punk.”
