What do the University of Vermont, a restaurant named Nectar's and Michael Jackson's Thriller have to do with each other? They were all instrumental in the formation of one of the world's most recognizable jam bands, Phish.
Dropped by her label and discouraged from years of touring, O’Connor took a break and went into a funk that she’s come out of in grand style. I Want What You Want was released November 8 (on her birthday, no less). Produced by Tom Beaujour (editor of Guitar Aficionado magazine and owner of Nuthouse Recording), O’Connor draws you in with her introspective lyrics and sincere delivery.
Nineteen hundred and seventy-one. Even for a year that falls squarely in the heart of the "classic rock" era, it was a particularly classic year. It was the year of Who's Next, Sticky Fingers and Fragile, albums that are so renowned that we don't have to name the bands that created them (But, just in case, it was The Who, The Rolling Stones and Yes).
Either Coldplay’s fifth release, Mylo Xyloto, is an evolution -- or at least an attempt to make it sound as if it were. It really just depends on which side the fence you stand. If you like your bands to try new things so the routine doesn’t get old, you’ll consider it an evolution. If you think Coldplay's best moment was "Yellow,” then you are going to be lost in the many variations of a band stuck in the middle of the past and what might be the future.
The early Nineties waxed and waned musically, with variable offerings of guitar-centric albums. Halfway through the decade, though, there was a downpour of milestone -- if not at least memorable -- records.
When British doomers My Dying Bride released Evinta back in May, fans knew they were in for something different. The full-length CD featured some of the band's early works reanimated by classical-music instruments.
Kasabian never seem to start slowly. They always seem to be shot out of a cannon. And when you name your album Velociraptor! (with an exclamation point), you'd better be. Kasabian said they’d do something different from West Ryder Pauper Lunatic Asylum, and they were kind of right. “Let’s Roll Just Like We Used To” could have easily fit on the last album. “Man of Simple Pleasure” would have also fit happily on West Ryder with its cool, laid-back style that launches into a gorgeous chorus.