Hawkwind's sci-fi visions, shambolic concept art, and multi-dimensional sprawl.
Call Me Lucky is great where it is.
When Mick Taylor left the band, the decline began.
New book by Daryl Sanders documents the recording sessions for Bob Dylan’s Blonde on Blonde.
A Jim O'Rourke retrospective.
In praise of warhorses.
The eclectic indie rock performers always had ambitions.
An interview with J Moss, aka Modern Folk.
On Rust Belt no-wave quartet X__X.
Pitchfork’s nasty Greta Van Fleet review betrays the site’s embarrassment at being part of the corporate establishment.
She strikes a safe middle ground, acting awake and concerned without ever getting strident and militant.
His music holds up to this day.
The money and the noise.
A child of the late boom reflects.
And how the clone look saved America.
New albums by Heather Morgan and Eric Church hint at a country revival.
Pastor Shirley Caesar truly conveys the spirit.
The song that introduced the blues to the general public.
These are the Mancunians that thoroughly embody the aesthetic of the decade.
Some of the 1970s hippie bands were serious students of the sub-genres of country and featured virtuoso players.
First single from new Baltimore band fronted by Brooks Kossover and Jenghis Manning-Pettit.
Bob Fass interviews Dylan mere hours after he cut the master take of "One of Us Must Know (Sooner or Later)."
Steve Stills never really panned out, nor did the SoCal rock scene after 1971.
An insightful early take in a different time signature.
Doesn’t matter much now, but Dylan’s original Blood on the Tracks was better.
A "remix" of an Eric Copeland song.
Necrobiotic soundpool with increased amounts of audioconnective granulation and histopathologic patterns.
The first in a two part series from the man that never stops.
Performing "Sipper of Tea," a new tape collage.