Bob Dylan’s Self Portrait confounded upon its release fifty years ago (6/8/70) and remains something of a conundrum even today. It may not be the only red herring in the
Forty Days was recorded by Paul Kelly in exactly that very period of time while quarantined due to the COVID-19 pandemic. In keeping with the Australian’s ever-so-diverse discography, the album
At the time of its release on June 14th, 1970, The Grateful Dead’s fourth studio album Workingman’s Dead was unlike any other in their discography. In the wake of a
Midnight Oil’s 1990 album Blue Sky Mining consolidated a breakthrough to global recognition begun three years prior with Diesel and Dust. Both records not only consolidated the band’s musical approach
John Scofield has virtually never repeated himself over the course of his near fifty-year career. That is, except with regard to musicians with whom he has regularly collaborated on records
Fresh, unaffected and openly vulnerable, Juniper sounds like she recorded this debut album of hers in one prolonged flash of inspiration (or a rush of them). In that sense, the
Pacific Range is a promising young band whose second album (and first for Curation Records) was produced by Dan Horne, multi-instrumentalist of Circles Around The Sun. High Upon The Mountain
Steve Kimock & Friends’ mini-EP Point of No Return whets the appetite for more as much as it satisfies on its own terms. Issued (in digital form only) more or
With its debut self-titled album, LaMP does justice to the musical pedigree of its members. Russ Lawton has long drummed in the Trey Anastasio Band, that is when he is
The continuing relevance of Medeski Martin & Wood’s music is such that their coup de grace for Blue Note Records, End of the World Party (Just in Case), resonates clearly
