Sometimes artists walk away from a final mix, heads shaking after a reluctant sign-off . . . This is essentially what British prog outfit Gentle Giant did with their 1973 LP In a Glass House.
Forget the slick 1970s country-folk rock of the Eagles, America, or Pure Prairie League. The Band was the real deal. Their sound—a blend of Appalachian folk, Cajun, blues, rock'n'roll, country, and R&B—was earned in the trenches, gigging through the rural South and learning the ropes from the masters of that music.
John Coltrane's Impulse! Records period is often lionized as the zenith of his artistic legacy. Crescent, A Love Supreme, and Sun Ship are the culmination of his post-bop ascent, while his final Impulse! recordings, including Ascension, Interstellar Space, Expression, and Stellar Regions, pushed further still.
Joe Jackson, the veteran British pianist/vocalist, insists on a certain level of sound quality, which can be traced all the way back to his 1979 A&M debut album, Look Sharp! His five-decade-long career has covered a vast repertoire, and along the way, he's stuck in a few allusions to previous work.
Hard rock in the 1970s was mostly a game for dudes. Although Janis Joplin and Grace Slick had broken through in the 1960s with major rock hits, Coven lead singer Jinx Dawson had gained some notoriety, and Fanny (one of the first all-female rock bands) had some success, the rock charts were male dominated. Enter the Wilson sisters, Ann and Nancy.
As I listened to the newly remastered edition of John Coltrane's Complete 1961 Village Vanguard Recordings, I read through some critics' takes, which make it apparent just how far critics tend to trail the musicians they cover, the great ones at least.
As the jazz buyer for Tower Records's Lincoln Center (66th St.) location in the early 1990s, I held a unique vantage point on New York City, its music and culture. My position guaranteed daily encounters with an eclectic variety of unforgettable characters. Between regular visits by the likes of Kareem Abdul-Jabbar (grouchy), Kathleen Turner (pushy), and Michael J. Fox (perpetually running from the store's female staff), I saw a lot.
Punk rock was never meant to grow old. For their first three studio efforts, The Replacements epitomized the punk ethos. Sorry Ma, Forgot to Take Out the Trash (1981), the EP Stink (1982), and Hootenanny (1983) are loud, bashy fun.
There's widespread consensus that Shohei Ohtani's performance in Game 4 of the 2025 National League Championship Series was the greatest in baseball history: at the plate, 3 for 3 with three home runs; on the mound, six innings with 10 strikeouts and only 2 hits allowed. That defines double threat. Almost seven decades earlier, jazz's original triple threat made his first record—Triple Threat—for the King label.
In 1979, I was the road drummer for Boston singer-songwriter Andy Pratt, a local celebrity known for his musical talent—showcased on his 1973 Columbia album Andy Pratt . . . I was part of the touring band for Pratt's Motives album, performing regional hits like "That's When Miracles Occur," a standout track from his 1976 breakthrough, Resolution.