The new Doctor Faith, Christopher Cross’ first original studio album in 12 years, occasionally finds him taking a darker — hell, I’ll just say it, crankier — view of things. You May Also Like: No related posts.
Skunk Baxter was just beginning to make his mark in 1972, but it was already evident that Steely Dan landed the right man for the job.
On this special edition of Something Else! Reviews’ One Track Mind, we hand the reins over to Toto co-founder and legendary sessions guitarist Steve Lukather. He provides insight into “I Won’t Hold You Back” and “I’ll Be Over You,” You May Also Like: Steve Lukather, “Someone” from ‘Bridges’ (2023): OneRead More
“Blue Tip” is tensile and itchy then soaring and romantic — the closest this new record, the Cars’ first in 24 years, gets to approximating its own career-making mixture of Ric Ocasek’s weirdo aloofness and Benjamin Orr’s sun-drenched pop warmth. Orr, of course, passed in 2000 after a bout withRead More
I don’t know how many Steely Dan fans are also into country music, but “Brooklyn” showed the two seemingly opposed passions could co-exist quite nicely.
John Oates takes us inside the love-gone-wrong beginnings of Hall and Oates “She’s Gone,” and talks about how the birth of Oates’ son sparked a standout solo track. He also laments that doo wop never gets its due, and how he remade a signature Hall and Oates hit into aRead More
All hail chief engineer Roger Nichols, referred to in the album credits since Steely Dan’s debut as “The Immortal.”
On this special edition of Something Else! Reviews’ One Track Mind, we hand the reins over to keyboardist Bobby Whitlock, who rose to fame as a composer and sideman alongside Eric Clapton and George Harrison. You May Also Like: ‘All Things Must Pass Away: Harrison, Clapton, and Other Assorted LoveRead More
More than any other track from their debut album, “Only a Fool Would Say That” points the way to what Steely Dan would evolve into.
A band suspended forever between the formalism of Dennis DeYoung’s Broadway pretensions and the harder-edged banalities of James Young and Tommy Shaw, Styx sounded different every time it came on the radio. Yet, critics insisted, somehow the same: Mediocre. You May Also Like: No related posts.
