How ‘Tennessee Pusher’ Defined Old Crow Medicine Show’s Constant Evolution
‘Tennessee Pusher’ arrived 15 years ago with a new lineup and a big-time producer – but Old Crow Medicine Show’s essential wisdom and rootsy humor remained.
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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.
How David Bowie’s ‘The Next Day’ Stripped Away All of the Artifice
‘The Next Day’ found David Bowie making a surprise return 10 years ago this month, but without the old theatrics and an artsy agenda.
Why Patti Smith’s Resiliency Leads Me Back to ‘Easter,’ Time and Again
I was completely unaware of Patti Smith’s story when she released ‘Easter’ 45 years ago this month.
How King Crimson Defined an Unsettled Post-9/11 Landscape on ‘Power to Believe’
Released 20 years ago this week, King Crimson’s turbulent ‘Power to Believe’ felt like an innocent’s view of war as it started right before his eyes.
Radiohead Saw the Future With ‘OK Computer,’ Then Became It
Perfectly self-contained, ‘OK Computer’ nevertheless reads as a watershed between what Radiohead was – and what they would become.
Returning to One of Yes’ Most Overlooked Eras: ‘Magnification’
John M. Gouldin breaks down five less-heralded albums Yes released between 1996-2001, concluding with Jon Anderson’s swan song ‘Magnification.’
Why Neutral Milk Hotel’s ‘In an Aeroplane Over the Sea’ Still Very Much Matters
Released 25 years ago today, Neutral Milk Hotel’s ‘In an Aeroplane Over the Sea’ is still magical, inexplicable and a fresh alternative to everything else out there.
Returning to One of Yes’ Most Overlooked Eras: ‘The Ladder’
John M. Gouldin breaks down five less-heralded albums Yes released between 1996-2001, continuing with 1999’s ‘The Ladder.’
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.”
