Half a century after its original release, the Grateful Dead’s Europe ’72 (released 11/5/72) remains a seminal inclusion in its discography. The nearly two hours of live recordings accurately capture the iconic band at a crucial juncture of its career, well into one of, if not the most, significant transitional phase of its thirty-year history.
The infectious rendition of J.J. Cale’s classic “Call Me The Breeze,” performed by Tom Petty and the Heartbreakers during their legendary 20-show run at the Fillmore is out now, with an accompanying video directed and hand-illustrated by Emmy Award-winning Jeff Scher. The new track is taken from the highly-anticipated Live at the Fillmore (1997)—Tom Petty and the Heartbreakers’ first live record in over a decade—set for release November 25 on Warner Records.
The newest faces of melodic rock Heavy Heavy stepped out on Jimmy Kimmel Live to perform their fresh hit “Miles and Miles”
Billy Strings and his dad, Terry Barber, debut a new version of Lawrence Hammond’s “John Deere Tractor” today.
After a long year of traveling and performing around Europe, Manic Street Preachers brought their 2022 tour over to North America. Last night (November 3), the sonically-unpredictable band kicked things off with a performance at the Commodore Ballroom in Vancouver.
The Pacific Northwest experienced something of a heat wave late last week when TK & the Holy Know-Nothings blew through the region on their short “Go North” swing. After a
There’s always been a bit of seediness in American culture and Steakhouse have managed to translate some of that destitution into digestible little snippets on their upcoming album Amer Rouge.
Captain Kirk Douglas is already a legend to so many, but he’s not ready to settle. The Roots’ guitarist stepped out as a frontman back in 2019 under the moniker Hundred Watt Heart with his debut solo album Turbulent Times.
Whoever would’ve thought that, with forty-five years of hindsight, The Ramones’ Rocket to Russia (released 11/4/77) would become so topically relevant? But all political and cultural issues aside, the prototypical punks’ third album both looks (in its black and hot pink color scheme) and sounds (in the comparative clarity of crashing guitars and drums) like their definitive work. And while it doesn’t quite render obsolete their eponymous debut or their resounding reiteration of that opening statement in the form of the sophomore album Leave Home, it certainly functions as a reliable benchmark for the genesis of punk.
It only stands to reason Bob Dylan would return to his roots with Good As I Been To You (released 11/3/92). The /solo acoustic foray comprised exclusively of traditional material harkens directly to this earliest folk roots and, with three decades hindsight sounds like the perfect antidote to the misconceived and clumsily-executed studio efforts of the era, 1985’s Empire Burlesque, mixed by Arther Baker and five years later, Under The Red Sky, produced by Don Wa
