Ed. note: In light of Bob Dylan's recent Rolling Stone interview in which he championed vinyl and complained both about CDs and modern recorded sound, we thought it appropriate to bring this to the home page yet again:
Back in 1994, ten years into the "digital revolution," the editor of Tower Records's "Pulse" magazine, bravely commissioned me to write an article expressing my feelings about digital sound, ten years after the introduction of the compact disc. It was published in "Pulse!" much to my delight. I thought you might find it interesting in 2005--MF
Back in 1980 or so, in Los Angeles, I had a disastrous try-out to be one of the original MTV VJs. I had no idea what the content was going to be, but having been on the radio and having done stand-up, I figured why not try out? By the time I wrote the article below, which appeared in Los Angeles music magazine "Music Connection" the week of April 12th-25th 1984 (25 years ago!), MTV had gone from pretty bad to much worse. So I wrote this arbor of sour grapes that I thought you might find amusing now that MTV is no longer about music.-Ed.
By Armegeddon (however the Evangelical wet-dream is spelled) this article will be TOTALLY updated!
157 In-Print LPs You Should Own! Soon to be Updated.....Yea, sure. That's what you've been saying for more than a year....(sorry but soon, really!)
Okay, that's a ridiculous headline. It's the kind of cynical ploy you see on magazine covers to attract attention. These are really 157 LPs I do own, some of which you probably will enjoy and should own, and some of which you will probably hate. No doubt you already own some.
On Saturday morning, April 26, 2008 an overcast and moderately humid day in New Orleans, a small group of neighborhood kids organized an impromptu 'jazz funeral' to commemorate the recent death of a loved and respected local track coach.
New Orleans' second-line parade culture and Mardi Gras Indian culture share a number of attributes.
Both emerged as casually formalized neighborhood practices in the post-Reconstruction decades of the late 19th-century, with Indian imagery likely influenced around that time by the popularity in the U.S. of traveling 'Wild West' shows.
While the corruption-and-reform message that would dominate post-Katrina rebuilding was being crafted in the arena of national politicsdelivered through the combined strategies of federal inaction and rabid crime enforcementthe tourism industry in New Orleans emerged as the second gatekeeper of post-Katrina message delivery, energized by a void of local political leadership.
This is part 4 of Roger Hahn's epic musical and cultural look at New Orleans, post Hurricane Katrina. Parts 1 through 3 have been on musicangle's home page since this past summer. The final and fifth part of the piece can also be found on the current home page. Parts 1-3 are available by searching the musicangle siteed.
This is the 5th and final part of Roger Hahn's "New Orleans Culture at a Tipping Point." Part 4 is on the home page. You can find Parts 1-3 elsewhere here by searching the siteed.
The famous motorcycle accident in 1966 that disabled a rising music starthen mired in a now long-forgotten controversy of folk-versus-popsetting the stage for an extended period of seclusion and retreat. It’s an episode that continues to intrigue tellers of the star’s story (a recent article in American Heritage magazine, for example, can’t help introducing it as “The Bob Dylan Motorcycle-Crash Mystery”).
And for many chroniclers, it remains the central event in the Legend of Bob Dylan, the before-and-after moment, the durable frame for the-young-and-the-old, the-rise-and-the-fall, the Icarus-inflected storyline of the-burning-meteor-and-the-fallen-angel cautionary tale.
The second CD of the set, especially, functions as a kind of artist’s notebook, providing us discarded and unfinished versions of now-classic recordings from the pre-motorcycle-crash trilogy. From “Just Like Tom Thumb’s Blues” (track five) through “Stuck Inside of Mobile with the Memphis Blues Again” (track nine), we are offered works-in-progressa glance inside the artist’s creative processwith rhythmic variations, language refinements, and even wholly discarded or completely revised lines present in the working versions of songs that have become part of the canon.
Legendary photographer Jim Marshall recently said that of all the magazine spreads that have used his images over the years, the one appearing in The Tracking Angle issue 13 was one of a “handful” of the finest ever.
What’s not to love about Goin’ Home, the all-star tribute to New Orleans’ own Antoine “Fats” Domino, sweet-voiced and rhythmically inspired proponent of the Crescent City’s great R&B tradition?
Eager anticipation turned into bitter disappointment early as Steely Dan played its final Beacon Theater (NY) concert last night (June 13th 2007). Opening tunes can’t be counted upon for greatness, as the band warms up and the mixer dials in the sound, but unfortunately, last night’s thin, sizzly, musically disjointed opener set the stage for an evening of thudding, overblown drumming, and an excruciatingly thin, sizzly, sibilant vocal mix on Donald Fagen’s clearly fatigued voice.
Obviously, drummer Keith Carlock is a talented and energetic drummer, but his playing last night had very little to do with Steely Dan’s slinky, insinuating sound, and much more to do with a Heavy Metal concert.