Posts by Hunter Moore

Big Ears Day Three once again featured artists sharing a passion for innovation. Few wind up creating a new form, but each demonstrated the wide variety that musical innovation can take. Joan Shelley, a Louisville-based singer and songwriter, works in the traditional genre of acoustic, Appalachian-style folk, expressed simply but beautifully through her resonant voice […]

Jazz composer and pianist Carla Bley acknowledged a standing ovation following a stirring performance of her composition Anthem, as one of the opening shows at this year’s Big Ears Festival in Knoxville, Tennessee. Bley’s piece, supported by the Knoxville Jazz Orchestra, provided multiple metaphors for America past and present as snippets from patriotic songs emerged, […]

[rating=7.00] If Jim Lauderdale weren’t a great songwriter, he’d be playing at your local tavern this weekend, singing spirited versions of country classics. As it is, Lauderdale is an established Americana star and a writer of hits for mainstream artists including George Strait. Lauderdale’s gifts as a composer allow him to easily cross the boundary […]

Near the beginning of the documentary film Big Star: Nothing Can Hurt Me rock critic Lester Bangs equates Memphis rock band Big Star with The Beatles. At the time of his comment, a 1970s interview, few people had heard of Big Star. Turns out Bangs was on to something. Big Star’s three albums, released between […]

Alex Vans’ first full-length project is ambitious and impressive, skewering contemporary consumer culture while providing memorable melodies, creative arrangements, and sparkling production. 1960s and 70s-era rock and pop echo throughout the project, but this is no tribute album. Vans’ lyrics, often ironic, are a stand-out feature. Vans also proves himself to be as capable an arranger and co-producer as he is a songwriter.

If Bob Mould did nothing more than provide melodic songs and driving guitar for the innovative and influential 1980s band Husker Du his reputation would be secure. Following the band’s demise in the late ‘80s Mould didn’t rest on his laurels, recording a half-dozen albums with his 1990’s group Sugar and a dozen solo projects. His latest, Silver Age, shows he hasn’t lost a step.

Ariel Pink’s Haunted Graffiti values style over substance, but that isn’t a bad thing. The band’s new project, Mature Themes, contains many of elements found on its successful 2010 release Before Today—creative collages of 1970’s pop themes suffused with vocal and keyboard-driven atmosphere.

A writer trying to organize fifty years of popular music—a sprawling and unruly topic—has several options. One possibility is to pick a single genre, say the blues, and trace its birth and development. Another is to follow the history of an influential record label. A more dynamic approach is to tell the story of one influential musician or band, though any artist’s story is restricted by the particulars of his or her career.

Recorded live at Billy Bob’s Texas in Fort Worth in September of 2011, Shaver is backed by a three-piece band of musicians half his age, playing hard-hitting country rock arrangements that seem entirely fitting. His years of work with Eddy, an outstanding lead guitar player, continue to shape the way Shaver presents his music today.

Patti Smith shows she’s still capable of conjuring up powerful visual images with words on Banga. More inspired by ideas now than by personal experience, she artfully explores the connections between art, history, and religion across the centuries. If she’s grown more reflective in the process, it’s understandable. She’s earned it.

It’s wonderful to have a new album from Joe Walsh. He’s a true musical innovator and that by itself makes him worth hearing. His newest project has some great moments. At its best it succeeds in the same way Walsh’s work has always succeeded: sounding like nobody but himself. After all, it’s about personality.

Joey Ramone’s “…ya know?” the second posthumous release of songs from the former lead singer of punk rock icons The Ramones, provides long-awaited insight into the singer’s musical influences and passions outside the group.

Nashville-based Heavy Cream’s third release Super Treatment contains plenty of evidence to justify the band’s importance in the vibrant garage band movement percolating in Music City and various scenes around the country.

Thanks to a fan who recorded an appearance at Detroit’s Fox Theater we can now hear Fela Kuti and his band Egypt 80 thrill the audience in a venue that once hosted legendary Motown performers.

Graceland sounds fresh today and is finding new fans among listeners born in the years after its release. A re-mastered version will be available in late October and it was just announced that Simon is planning on touring the record in 2012, while reuniting with the musicians who played with him 25 years ago, including South African vocal group Ladysmith Black Mambazo.