[rating=8.00] Evan Phillips is having a hell of a year. Fresh off Resolution Road, his beautiful collaboration record with Tim Easton and Leeroy Stagger (Easton Stagger Phillips), Phillips’ new solo
[rating=9.00] Self-produced at Brooklyn Recording, the sound quality of The Bad Plus Joshua Redman is as stark and uncluttered as the album’s cover art. Yet, it serves a distinct purpose:
[rating=7.00] Heather Maloney’s sound is timeless. The Northampton singer-songwriter has a clear and pure voice, and she uses it to tell down-to-earth tales in polished folk songs. Her new record
[rating=8.00] The opening, sixteen minute plus, “Vibration & Light Suite” on the Chris Robinson Brotherhood’s (CRB’s) latest release is representative of the band’s style and sound; clean meandering guitar lines,
[rating=7.00] After nearly 30 years, the Indigo Girls have achieved far more than their limited musical palette might have initially promised. After all, unless you’re Simon and Garfunkel or the
[rating=8.00] Dawes’ career to this point consists of two steps forward, in the form of initial studio works North Hills and Nothing Is Wrong, one step back, as represented by
[rating=7.00] For any band that lasts thirty years, the notion of a greatest hits compilation is almost silly. Even the best of these rarely do justice in capturing a band’s
[rating=7.00] When putting together collections of songs, many artists fuss over the title. As it is typically a delicate process, some album titles are intentionally vague, random, or obtuse while
[rating=8.00] When you hear the nearly eight-minute long blues guitar epic of Jimi Hendrix’s “Hey Joe”, the opening track off Otis Taylor’s latest record Hey Joe Opus/Red Meat, you’ll get
[rating=9.00] Mikal Cronin has come a long way since 2013’s critically lauded record MCII. The praise was well-deserved for such a fantastic breakout album, and with his newest MCIII, Cronin
