It’s mid December and you might still be wondering what the hell you’re going to get that special music lover someone for Christmas. Steering you toward the good records and away from the crummy ones is a service we at SER provide year round. You May Also Like: Left LaneRead More

Springsteen’s ode to film noir, “Meeting Across The River” is perfectly sequenced as the energy momentarily shifts down from She’s The One and heads toward the album’s close. You May Also Like: Reevaluating Bruce Springsteen’s ‘The Wild, the Innocent and the E Street Shuffle’ Alister Spence and Satoko Fujii OrchestraRead More

Steely Dan paid homage to Duke Ellington back on Pretzel Logic with the only cover song on a SD album, and less explictily so again with the closing track on Katy Lied, “Throw Back The Little Ones.” You May Also Like: Five Moments of Eternal Brilliance From Steely Dan’s ‘PretzelRead More

I came back to this song again, as the anniversary of the Band bassist’s death on Dec. 10, 1999, loomed this week. You May Also Like: No related posts.

What better time of the year is there for a list like this? After all, discovering each one of these up-and-coming standouts was like finding a Christmas-morning surprise under the tree. You May Also Like: No related posts.

Now here’s a collaboration too good to be true: Two legendary guitarists from two legendary British bands of the early 1960s have teamed up and recorded a Christmas album! Big Boy Pete (aka Pete Miller) of Peter Jay and the Jaywalkers and Hilton Valentine from the Animals are the derangedRead More

More Nine Inch Nails than “Cars,” Gary Numan’s ‘Dead Son Rising. is a smeared, squelchy outburst of guitar noise, weird psychodrama, face-slap beats and visceral emotion.

Paul McCartney, sitting in a plane waiting to return to his native England, saw the smoke rising from the Twin Towers on Sept. 11, 2001. The son of a volunteer firefighter during the German Blitz of World War II, McCartney was moved to assemble an all-star concert You May AlsoRead More

The Cure, appearing at this year’s Bestival, offered a fibrous retrospective — tearing its textured later gothy efforts down to a nervy, straight-forward post-punk vibe that recalled the group’s breakthrough triumphs. You May Also Like: How I Belatedly Learned to Love the Cure’s ‘Wish’

Could Christmas get any cooler than a collaboration between Lemmy and Billy Gibbons on a Chuck Berry tune? You May Also Like: How Dave Grohl Surprised Everybody With That Paul McCartney Collaboration