The Hickoids' new album of cover songs is a mangy new chapter in the Texas group's pantheon, replete with roiling rockers from the sweltering 1960s and 1970s in tow.
While AC/DC's still-standing refusal to make its music available on iTunes is rooted in the widely-held view of the album as a complete work, it’s important to acknowledge that LPs really aren’t the immutable documents we tend to think of them as.
“Howlin’ for My Baby” is the most joyful number on Rocking Chair: Its exuberance and humor are irresistible.
In this edition of Counterbalance, Mendelsohn and Klinger play the tape machine, make the toast and tea, and enjoy a spirited debate about the Who’s 1971 tour de force. They’re all wasted!
Princeton’s Rotwang is back, following his full-length debut Awful with an only-ten-minutes-shorter EP called Crisis. It stays the course of its predecessor’s
McCoy Tyner epitomizes the restless spirit and inspiration that characterizes all of our great artists. He was already a master by the mid-’60s; his work with John Coltrane could be studied and analyzed the way entire catalogs of music get dissected by critics. He was neither sated nor satisfied though, so he kept pushing and his work became increasingly ambitious, wide in scope and rewarding
When all the elements on Ride's first album are at play in perfect alignment, Nowhere becomes a magical record, one that you can see deserving of its reputation as one of the best the shoegaze genre has to offer
On "Back Door Man", Howlin' Wolf offers the alluring promise of illicit midnight pleasure.
For the 32nd edition of Counterbalance, Mendelsohn and Klinger sang about the sun and danced among the trees. As a result they very nearly missed their deadline. Nevertheless, their take on Massive Attack's 1991 trip-hop masterpiece is next.
The force behind one of 2011's most enthralling releases, Femi Kuti ruminates on music, politics, and his children's happiness.