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SONG REVENUE CHART: YOUNG & RICH
Lil Nas X and Billie Eilish just keep rakin' it in. (4/25a)
NEAR TRUTHS: I.B. BAD SPINS THE GLOBE
They got a name for the winners in the world. (4/25a)
SPRINGSTEEN GOES ORCHESTRAL
And now for something a bit different... (4/25a)
YOUR TOP 20:
STILL ASLEEP
Billie reclaims her crown. (4/25a)
UNEARTHING THE SONGS PRINCE GAVE AWAY
Another dip into the Purple One's massive archives (4/25a)
THE NEXT RECORDING ACADEMY HEAD IS...
(The envelope, please.)
THE WHOLE SPIEL ON BILLIE
We're handing out crowns.
THE FUTURE OF ROCK & ROLL IS...
Hang on, we just need to throw this TV out the window.
THERE'S PIZZA IN THE BACK
The pepperoni's all gone, though.
Critics' Choice
THE SHOW AT AGUA CALIENTE TURNS 10: MASSAGE GIFT CERTIFICATES ARE ALWAYS IN GOOD TASTE
3/6/19

In celebration of The Show at Agua Caliente's 10th anniversary, a bevy of famed performers contributed to this video reel paying tribute to the performance venue at the resort, casino and spa in Rancho Mirage, CA. An extravaganza marking this milestone took place on 3/2 with headliners Jerry Seinfeld and Toni Braxton

In partially related news, some people have mentioned that they wish we were a mirage; unfortunately, we exist.

CLASSIC RAY STARTS STREAMING
2/15/19

Ray Charles’s classic records for ABC-Paramount, released between 1960 and 1973, have been noticeably absent from streaming services. That means no original versions of “Georgia on My Mind,” “Crying Time,” “Let’s Go Get Stoned,” “Busted”—you get the picture.

The first step toward remedying that situation has begun at NPR Music where Brother Ray’s classic Modern Sounds In Country and Western Music Volumes 1 & 2 is streaming ahead of Vol. 1’s release on vinyl, CD and digitally on 2/22.

The groundbreaking integration of soul and country music, Modern Sounds In Country and Western Music includes Charles’ versions of “I Can’t Stop Loving You” and “You Don’t Know Me.” It was the first country album in history to achieve Gold record status.

Here’s to hoping Crying Time gets the same treatment.

GARY CLARK JR. MAKES LAND
2/14/19

Full disclosure: While I’ve long admired Gary Clark, Jr. as a player, singer and writer—with the chops to handle blues, soul, rock and pop, no question—never before, apart from the occasional hair-raising guitar lick, has he startled me.

Until now.

Clark’s new Warner Bros. Records set, This Land (due 2/22, following a 2/16 SNL appearance), is something new. The man’s prolific gifts are now attached to material with a far greater purpose than ever before. The material is in large part overtly political, full of fury and defiance and sorrow, befitting a time when our chief executive is an overtly racist charlatan. But it’s delivered with an explosive confidence and joy, with singalong choruses, blazing electric leads and a riot of bubbling grooves.

In short, it’s the great rock and roll record you’ve been waiting for.

Witness the big synth buzz that kicks off  opener and lead single “This Land,” giving way to wailing wah-wah and a barbed-wire litany of tensions and injustices: “Fuck you, I’m America, son/This is where I come from.” Now check out “What About Us,” with its ironic “there goes the neighborhood refrain” and shards of molten riffage. Or “I Got My Eyes on Me,” which rekindles the honeyed soul vibes of Marvin and Stevie in the verses before uncorking a monster rock chorus. On “Feeling Like a Million” and the instrumental excursion “Highway 71,” Clark manages to lace up reggae/dub and Hendrix-y bends in a way that feels fresh. “Gotta Get Into Something” has a bracing vintage-punk tempo that suggests Bad Brains rampaging through a Chuck Berry fever dream. The horn-driven “Feed the Babies” is a “Mercy Mercy Me” for the present moment, with a “Trouble Man” strut. He channels Prince through both his voice and his fingers on the stomping, heart-baring soul of “Pearl Cadillac.” There’s a Temptations glow to the stutter-step singalong “When I’m Gone.”

It seems no corner of the musical universe exceeds Clark’s grasp, and each eclectic element reinforces a humanistic, yearning, raging, hopeful, disgusted, insistent perspective—in other words, exactly what our daily crisis demands.

Not that Clark has abandoned the blues. The acoustic “The Governor,” replete with saucy slide, is both authoritative and tongue-in-cheek; closing cut “Dirty Dishes Blues” brings This Land back down to earth—with a Delta-style lament that plays like a nod to fellow Texan Albert Colins’ “Too Many Dirty Dishes.”

Of course, Clark remains one of the premier guitarists of his generation, and the array of miracles he can conjure from his axe—whether it’s screaming or swooning—is as central to his mystique as ever.

Will a record this full of purpose and guitar cut through the noise? I haven’t the faintest idea. But I know it’ll give a lot of hope and inspiration to rock fans.