
The Band’s Rick Danko Possessed a Voice for the Ages
With his old-timey, soul-inflected voice, Rick Danko could sink like an anchor, plumbing the depths of existence that most singers would have to drown themselves to reach.

With his old-timey, soul-inflected voice, Rick Danko could sink like an anchor, plumbing the depths of existence that most singers would have to drown themselves to reach.

Alice Costelloe’s debut album is refined, elegant art pop, in which her crystalline voice floats over a rich palette of electronic instrumentation with grace.

What makes Georgia Knight stand out lies in the trip-hop-laced numbers, wherein pulsive and gothic loops are set against breathy vocals and diaristic lyrics.

Oliver Ray’s “Black Budget” is neither cheap nor chintzy but rather apocalyptic.

Music theorist Steven Rings helps readers understand Bob Dylan the performer, not the lyricist or songwriter, in a welcome and indispensable addition to Dylan scholarship.

Greil Marcus talks with PopMatters about the art of listening not for what you want to hear, but for what is so richly there in others’ stories.

Certain books make you dream; Greil Marcus’ Mystery Train wakes you up to the blunt fact that you are alive and living in an ever-rollin’ mythology.

Song Shards will not be to everybody’s taste (thank God), but who other than Peter Stampfel could make 1940s jingles sound whimsically cool?

Suede turn the memento mori into a carpe diem. Yes, Suede are middle-aged, but they are refusing to lament, stagnate, or be nostalgic.

Bruce Springsteen’s Born to Run is one of the great rock albums; it showcases youthful idealism’s shortcomings while keeping one enraptured with its false promises.

Lisa Harres’ debut strikes the right balance between skeletal piano-led ballads and baroque embellishments. It’s spellbinding with elusive beauty and staggering depth.

The Sick Man of Europe highlights the adverse effects of complicity in the digital age, resulting in a Kafkaesque nightmare; this record serves as a clarion call.