Why You Should Give Queen + Paul Rodgers’ ‘The Cosmos Rocks’ Another Listen
Released 15 years ago this week, ‘The Cosmos Rocks’ blended two seemingly disparate things: Paul Rodgers’ R&B grit and Queen’s outsized glam.
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Why ‘Selling England by the Pound’ Remains Genesis’ Most Complete Album
Issued 50 years ago this week, ‘Selling England by the Pound’ found the soon-to-vanish five-man Genesis lineup at the peak of their powers.
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.
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.
Mike Bloomfield, Al Kooper and Stephen Stills’ ‘Super Session’ Was a Free-Form Masterpiece
Mike Bloomfield, Al Kooper and Stephen Stills’ wildly improvisational ‘Super Session’ arrived 55 years ago this month. They don’t make them like this anymore.
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.
Why Led Zeppelin’s ‘Houses of the Holy’ Remains Unfairly Overlooked
Led Zeppelin began experimenting with an entirely new palette of sounds 50 years ago this week with ‘Houses of the Holy.’
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.
