Unlike many other musicians, Auger is possessed of a full understanding of both rock and jazz, so while other jazz-rock hybrids fall flat or lean too far in one or the other direction, Auger’s work focuses on the instrumental acuity of the musicians without sacrificing the visceral energy of rock.
Van Morrison, the grand old man of folk-rock, returns, both pipes and passion still intact, to celebrate the deluxe reissue of his seminal 1997 album, “The Healing Game.”
The Tubes ushered the theatricality of Alice Cooper, the musical adventurism of progressive rock and the titillating shock value of cabaret into an intriguing and sometimes messy whole. Many decades later, core members of the group continue, with a mix of satire now leavened with a bit of nostalgia.
Both Schell’s “Past Present Future” and Steffey’s “Reality Jockey” are so choked with infectious melodies and killer hooks, that for one panicked moment I thought, “They’re using up more than their fair share.”
Serious music scholars all, the Smithereens distilled their musical loves into something that ultimately sounded like nobody but them. Diken points to Gary Lewis and the Playboys as an influence; it’s worth noting that the studio cats who played on those records—immortal pop tunes like “Count Me In” —included Leon Russell and drummer Hal Blaine.
The entirety Scales’ “Sinner-Songwriter” EP is a repudiation of not only expectations derived from his famous lineage, but any expectations lingering from his previous musical incarnations (he’s taken a somewhat veering path to arrive at where he is now, including a stint as folk-rocker Briar Rabbit).
Swedish sensation Robyn tours her new album, “Honey,” which blends high-gloss club music with surprisingly powerful and confessional lyrics.
So how did Teenage Fanclub become relegated to a cult favorite, instead of one of the world’s biggest, best-loved indie acts? Perhaps it has something to do with the power pop genre the band is too often categorized under.
While the band’s newer music continued to sell, there was little doubt that the fans who paid top dollar to see the group live were there to hear the hits of yesteryear. Acknowledging that reality is the fact that Fleetwood Mac’s most recent album release is 2003’s “Say You Will.”
Graves had never shown tangible success growing an arts organization the size and scope of Old Town, had never run a school, had never managed a staff of more than a few people, had no experience overseeing a faculty in the hundreds and a student body in the thousands, had never overseen a budget of more than $2 million. How did he get into the running for the job when clearly there are arts management professionals, in Chicago and beyond, who had longer résumés showing more remarkable results, or who have at least had experience that corresponds to the dynamics of running a community-based school? Some have offered one clue: He brought his guitar.