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The making of Monte (3/28a)
Who else? (3/28a)
The usual suspects (3/28a)
England swings. (3/28a)
Morgan goes 4 for 4, while IGA snags a pair of Top 3 debuts. (3/28a)
The astonishing first half-century of a world-rocking genre.
Who's next to grow the profile of Seoul music?
Are we about to see new attendance records set?
He signed Elvis.
Critics' Choice

Gravitas Ventures will premiere the documentary feature John Waite: The Hard Way on 12/06. Filmed during the pandemic, the doc offers an intimate look at the life of '80s British rocker Waite—from his time with the pioneering rock-video band The Babys in the 1970s to touring with Ringo Starr and fronting the supergroup Bad English.

It also features lost and rare archival music videos and photos, interviews with songwriter Diane Warren and songwriter/guitarist Neil Giraldo, among others, feature footage from Waite’s tour with Starr and his collaboration with Alison Krauss.

Mike J. Nichols, who helmed ZAPPA, Echo in the Canyon and The Play at Shea, directed the feature and co-produced with Scott "Shadow Steele" Wright and Michele Farinola (Linda Ronstadt: The Sound Of My Voice, David Crosby: Remember My Name). It will be available on multiple streaming platforms, including Apple atat TV, Amazon, Roku and Google Chromecast as well as DVD and BluRay Discs via Amazon.

“Opening the front door at the crack of dawn in my boxers to a film crew signified how the documentary would go,” Waite said. “It’s an unvarnished take on my life, just the cold hard truth.”

Throughout the course of his career, Waite penned a dozen Top 40 singles—including the #1 hits "Missing You” and “When I See You Smile"—and sold a total of approximately 10m copies. Waite’s greatest hits album Singles and four-song EP Anything arrived via No Brakes Records earlier this year. He's currently on a U.S. tour in support of both. Find the dates here and trailer here while we try and correct our own bad English.


By Bud Scoppa

For some of us, making lists of the movies, TV series, books and records that capture our attention is more than a pastime—it’s an addictive way of expressing ourselves through our taste.

In that sense, my interactive relationship with music has changed very little over the years. As soon as I got my first Sony stereo cassette deck in the early ’70s, I began assembling mixtapes of songs that grabbed me. I was obsessive about this activity, spending hours meticulously transferring tracks from vinyl albums to tape, giving each compilation a title and decorating each J-card with ink and highlighters. The fact that I knew and often worked with the musicians whose music I was compiling made the process that much more intimately involving.

A few months back, my vinyl-collecting grandson’s purchase of a Walkman inspired me to dust off a bunch of the scores of cassettes in my garage, buy a new tape deck and revisit them. Some of them still sound surprisingly good and bring the memories flooding back.

With the advent of iTunes in the early aughts, the process became much less labor-intensive, as I made playlists, burned them onto CDs and gave them to friends. Now, it’s practically effortless to make and share playlists, thanks to Spotify.

Even so, a part of me is still drawn to collecting what’s now referred to, inelegantly, as “physical product,” and admiring those increasingly uncommon bands and artists whose ambition leads them to create coherent albums. In 2021, there were five LPs that conjured worlds I wanted to explore from one end to the other—records that magically compressed the distance the 1970s and the 2020s for me: The War on DrugsI Don’t Live Here Anymore, Big Red Machine’s How Long Do You Think It’s Gonna Last?, Nathaniel Rateliff & the Night SweatsThe Future, Robert Plant & Alison KraussRaise the Roof and Kings of Leon’s unexpected return to peak form, When You See Yourself. Haven’t spent enough time with Lindsey Buckingham’s self-titled LP yet, but from the echoes of Tusk and and Out of the Cradle in the delectably twisted tracks I’ve sampled, I suspect it’ll make the cut as well.

Diving deeper, I also found the box set Highway Butterfly: The Songs of Neal Casal—containing renditions of 41 songs from the discography of the last artist I signed during my years at Zoo Entertainment—to be a consistently moving tribute to this gifted, sensitive artist, who died in 2019. And Tom Petty’s Finding Wildflowers (Alternate Versions) hits me just as hard. Can’t believe those guys are gone.

All of the above and more are represented on—what else?—a playlist of my go-to tracks released in 2021.


If there is a consistent element in the bulk of Bob Dylan studio recordings released in the first 15 editions of Columbia/Legacy’s Bootleg Series it’s the sense that had Dylan had an astute command of when a song was finished.

Particularly when one listens to alternate takes of the songs from the mid-1960s when he added electric instrumentation to the mix and his ‘90s material when he was on the brink of churning out a series of brilliant albums, there’s evidence that Dylan was just a hook, a new tempo or an altered chorus or arrangement away from a definitive take.

That’s not the case with Springtime in New York, 1980-1985, released Friday as a five-CD set with a fabulous book of photos and as a two-CD “best of.”

In Vol. 16, Springtime in New York, we’re treated to outtakes that may as well be titled Another Side of Bob Dylan were that title not already taken. Through covers of blues, gospel and folk old songs plus rehearsals and alternate versions of songs that appeared on Shot of Love, Infidels, and Empire Burlesque, the five-CD set provides a thorough reappraisal of an oft-dismissed period that came on the heels of his Christian-themed albums and finds the Bard adapting to recording styles that prevailed at the dawn of the MTV era.

The revelation from the Christian era Bootleg Series was how strong a band Dylan employed for those tours and recordings and it continues on Springtime’s offerings with bands that included Mark Knopfler of Dire Straits, former Rolling Stone Mick Taylor, members of Tom Petty’s Heartbreakers, Ringo Starr and the reggae masters Sly & Robbie. Similarly, over the five years covered here, Dylan’s voice is remarkably consistent in timbre; he alters the intensity rather than the range to make point, song after song.

Since each recording is a full take, the five CDs feel like complete artistic statements; it’s one of the most listenable editions of the Bootleg series featuring studio recordings. And from start to finish, it’s a great sounding set.

Particularly revelatory are the sparse reading of “Lenny Bruce”; “Tight Connection to My Heart (Has Anyone Seen My Love)” stripped of its au courant 1985 production sheen; a striking reading of The Temptations’ hit “I Wish It Would Rain”; a haunting piano-guitar version of “Blind Willie McTell” with Knopfler; “Clean Cut Kid” run through the throwback machine that landed at an early Chuck Berry Chess session; and “I and I” sounding like it was pulled from a choir’s hymnal. The truly never-before-released gem “Julius and Ethel,” from 1983, is a post-“Hurricane” romp and precursor for the more recent “Murder Most Foul,” a sign Dylan never lost his story-telling abilities.

The set closes with two of his best songs of the decade, “New Danville Girl” and “Dark Eyes” in versions that resemble the Dylan his fans loved in the ‘60s and again in the 21st century: Raw, urgent, vibrant records that out the songs and the singer at the fore.