In The Philosophy of Modern Song, Bob Dylan conveys his thoughts in his signature styles, as in his lyrics, he can be plainspoken, gnomic, and over the top.
Bob Dylan’s The Philosophy of Modern Song is an awful book, awash with misogyny and crusty old man rants like a drunken, MAGA hat-wearing uncle.
In this excerpt from Bob Stanley’s history of pop music, Let’s Do It, the music and stories of iconic singers Judy Garland and Billie Holiday are forever intertwined.
Savoir Faire’s three-song EP Think Twice goes a long way in demonstrating her penchant for combining topical lyrics with deeply felt, retro-themed jazz and pop.
Mainstream pop albums like Bette Midler’s Bette of Roses work because the songs are inclusive of a broader range of audiences and the themes relate to most people.
Ella Fitzgerald mixed styles in a unique way while sticking to the work of one songwriter at a time. This recording shows how she could masterfully do this with a live orchestra.
New York, New York is the kind of album that Liza Minnelli would excel at because it leaned into her old-fashioned tendencies instead of turning away from them.
Bob Dylan’s 1966 song, “Visions of Johanna”, stirred Germaine Greer, Greil Marcus, and other notable critics to argue the song’s meaning and influences. Who is right?
Sinatra at The Sands is my favorite Frank Sinatra performance – cocky, charming but not oily, warm but not soppy. Each listen lays bare the sheer “cuckoo calculation” of it all.
When Judy Garland went into the studio to record Alone, she moved away from shellacked showbiz happy talk to record a sad, wistful, and lonely masterpiece.
This is the tale of Patsy Cline’s Greatest Hits, which is probably the only 10-plus million-selling album that never reached the Billboard 200.
Judy Garland’s Judy at Carnegie Hall possesses an emotional range and heft that remains potent over half a century after its release.