Grandaddy’s Sumday: Excess Baggage is worthwhile for its temporality, arriving two decades removed from Sumday and being all the more affecting as a result.
Jim Morrison, a startlingly seductive figure, was at once impish and grandiose, the sly trickster enemy of all the straight moralists and self-righteous prigs, a confident voice ready to be summoned to your side of the argument.
The world needs more bands who will tell their fans the truth and speak truth to power, like King Gizzard & the Lizard Wizard.
In the shadow of the “Happy Together” decade, Bob Batchelor’s the Doors’ biography Roadhouse Blues explores the dark and gloomy side of Jim Morrison and the band.
Phish’s dazzling sonic alchemy in the improvisational second set shows why the Vermont tone scientists remain at the cutting edge of what live music can be.
The Mars Volta’s Que Dios Te Maldiga De Corazon has the same tracklisting as The Mars Volta but presents acoustic arrangements of each song.
There’s a historic vibe in the air of going down the “Golden Road” to the origins of the Grateful Dead in Bobby Weir & Wolf Bros Trio’s show in San Francisco.
The theme of survival forms the subtext of Mudhoney’s Plastic Eternity and topics of environmental crisis, overrun capitalism, and anti-democratic politics.
The new Altın Gün album Aşk makes it clear where they are headed: back to their retro roots, bringing forth the sounds of classic 1970s Anatolian rock.
Flyying Colors find their sweet spot on You Never Know, augmenting shoegaze’s aching coolness to form a potent and satisfying mix.
Purling Hiss’ Drag on Girard carries on a long-standing tradition of revisiting and updating the garage rock canon to extend its legacies to the next level.