01. Ryan Adams – Prisoner
02. Thundercat – Drunk
03. Run the Jewels – Run the Jewels 3
04. Crystal Fairy – Crystal Fairy
05. Dirty Projectors – Dirty Projectors
06. Thievery Corporation – I & I
07. Alison Krauss – Windy City
08. Devil Makes Three – Redemption & Ruin
09. Old 97’s – Graveyard Whistling
10. Sleater-Kinney – Live in Paris
01. Sleater-Kinney – Live in Paris
02. Sleep – Clarity
03. Power Trip – Nightmare Logic
04. Pink Floyd – Dark Side of the Moon
05. Beastie Boys – License to Ill (30th Anniversary)
06. Operation Ivy – Energy
07. Twenty One Pilots – Vessel
08. Led Zeppelin – Led Zeppelin IV
09. Beatles – Revolver
10. Iron Reagan – Crossover Ministry
01. Beach House – Thank Your Lucky Stars
02. La Luz – Damp Face
03. Stevie R. Moore – Delicate Tension
04. Smoking Trees – Archer & the Bull
05. Homeshake – Midnight Snack
06. Prurient – Time’s Arrow
07. Chris Spedding – Enemy Within
08. Om – God is Good
09. Cock Sparrer – Shock Troops
10. 2Pac – 2pacalypse Now
02. Red Hot Chili Peppers – Red Hot Chili Peppers
03. Neil Young & Crazy Horse – Rust Never Sleeps
04. Nirvana – Live at the Paramount
05. Electric Light Orchestra – Live: the Early Years
06. Jam – About the Young Idea
07. Sharon Jones & the Dap-kings – Miss Sharon Jones
08. Santana – Viva Santana!
09. Depeche Mode – Video Singles Collection
10. Howl’s Moving Castle
01. Doctor Strangelove
03. Holy Mountain
04. Private Property
06. Fantastic Planet
07. Let Me In
10. Straight Outta Compton
On March 8, 1977 the British-American band Foreigner released its self-titled debut on Atlantic records.
With two top ten singles, “Feels Like The First Time” and “Cold As Ice,” Foreigner’s debut was a huge success. It stayed in the top 20 for a year after it’s release and is going on four times platinum.
On the strength of their singles Foreigner was a headlining arena rock band months after the release of the debut.
Several years ago, Black Joe Lewis and the Honeybears played an in-store concert at Streetlight Santa Cruz. The band blew the audience away with its driving blend of soul, garage, rock, psych and punk.
Lewis and company just dropped the band’s fifth album, Backlash, the first since 2013’s Electric Slave.
The album sees the band doing what it does best: creating driving grooves full of gritty guitar, spot-on drums, catchy horns and Lewis’ skillful and catchy vocals.
As American Songwriter puts it:
“There’s occasional funk, as in the hip-swiveling “Global,” and even a six-minute psychedelic/jazzy ballad (“Maroon”) that closes the disc. But this is predominantly a rowdy, raucous, garage-punk album with nods to the wonderfully unhinged likes of Swamp Dogg, Screamin’ Jay Hawkins and Andre Williams, who also mixed the wilder aspects of rock with a crazed soulful attack.
“If the frantic Black Keys-styled riffing “Shadow People” was slowed down, you’d even have a decent heavy metal track. It’s hard to make out what’s going on lyrically since Lewis’ wild-eyed vocals lash out like a rabid dog (and there are no printed words), but it really doesn’t matter. The appropriately titled Backlash is all about gritty attitude, pulsating groove and the kind of freewheeling, irreverent swagger that defines music’s most iconic figures.”
Sleater-Kinney has to be experienced live to be fully appreciated.
One of the original riot grrrl bands, as well as one of the pioneer bands of the Northwest indie-rock scene, the band rocks with the best of them, has a longtime commitment to social justice, and is a musical force that has influenced countless other bands.
In 2015, the band went on a comeback tour of sorts. Live in Paris is a showcase of that tour and the impressive trio of women behind the band.
“If there is one unifying thread among many of the songs that make the cut on Live in Paris, it’s not just that they’re late-era Sleater-Kinney highlights (five of the 13 songs come from No Cities to Love, four from 2005’s The Woods). From the post-recession terror of opening track “Price Tag” to the sly sendup of capitalist femininity on closing song “Modern Girl,” the tracklist emphasizes what Sleater-Kinney does best: playing not just with urgent feeling, but in service of immense meaning. Corin Tucker, Carrie Brownstein, and Janet Weiss came back swinging in 2015 as strongly as they ever had—a gift considering how rarely it happens in rock. Live in Paris is the victory lap leaving us wanting more.”
Here’s the tracklist from the album:
01. Price Tag
03. What’s Mine is Yours
04. A New Wave
05. Start Together
06. No Cities to Love
07. Surface Envy
08. I Wanna Be Your Joey Ramone
09. Turn It On
12. Dig Me Out
13. Modern Girl
Pioneer alt-country band Son Volt is back with a new album draws inspiration from legendary bluesmen Skip James and Mississippi Fred McDowell, as well as British singer-songwriter Nick Drake.
Notes of Blue sees Son Volt frontman Jay Farrar digging into both the blues and the fingerpicking beauty of Drake’s folk-pop songs to create something familiar and fresh.
As Farrar told Rolling Stone, “Over the years I’ve done a couple blues-oriented songs here and there, but this time around there was an opportunity to focus a bit more on it all the way through.”
The album is the eighth from Farrar and company and the first in recent memory to feature electric guitar alongside acoustic strummers.
On March 2nd, 1987, Trio was released on Warner Bros. by long time friends Emmylou Harris, Dolly Parton, and Linda Ronstadt.
The collaboration went four times platinum and received 2 Grammy awards.
Trio also spawned four hits on the country music charts, and a #1 hit with a Phil Spector hit by the Teddy Bears, “To Know Him Is To Love Him.”
In February of 1992 Pantera released its sixth studio album, Vulgar Display of Power.
Though pretty deep in the band’s catalogue, Vulgar Display Of Power contains a handful of Pantera’s most memorable songs: “Mouth Of Love,” “This Love,” “Hollow,” “Walk,” and “A New Level.” “Walk” was a tribute to fans who felt that the band was losing their edge.
Vulgar Display Of Power was received extremely well upon release, and in 2011 it was ranked number 4 on Guitar World’s top 10 list of best guitar records of 1992.
The album has been praised by critics who argue that it is Dime Bag Darrell’s (RIP) finest guitar work and Phil Anselmo’s best vocals.