A glimpse at a live show, a well-turned lyrical inspiration that clings to us, the music of a first dance -- we tend to remember artists by the collection of great moments that they engender within us.
In spite of the slander that slurred scorned hearts of the rodeo -- even while Caitlin Cary's gentle subtleness balanced her intolerably bratty leading man -- and in spite of the blindly devoted coffee bar groupies who scream when the fault lines of palpable taste quiver menacingly, the demise of Ryan Adams has been an increasingly obvious fall from grace. "Demolition," an album of essentially discarded tunes that temporarily shot a rush of anxiety through execs, whose "Gold II" dreams were uncouthly interrupted by the ghastly prospect that their Gap boy might not deliver a patently marketable sequel, may not technically stand as the proper third installment in Adams' solo trilogy. But inherent in each spastic flail to conquer a new milieu or strained metaphor lies yet another thread to be sewn into his thick noose. Tired of merely flirting with Westerberg delusions, Adams finally rounds up his Tennessee Replacements posse (the Pinkhearts) to unleash some slipshod rawk.
One undeniable fact in the hip-hop industry: Everyone loves the bootleggers. Who doesn't get hyped about copping a full-length album a month before it comes out?
What do Bob Dylan, Dave Grohl and P. Diddy have in common? Certainly not fashion or taste in music.
The Cavalier Daily talks to Jerry DePizzo, saxophonist for O.A.R., about the band
Visit any given frat house on any given Sunday and you're likely to hear the chronically behind-the-beat melodies of O.A.R.
Ludacris and his upbeat, hilarious flow have been hot for more than a minute now. Ever since "What's Your Fantasy" blew up the radio two years ago, 'Cris has dominated the Dirty South scene, making everyone throw 'dem bows to hit tracks like "Southern Hospitality," "Area Codes," "Roll Out" and "Welcome to Atlanta." It's too bad hot songs like those are missing entirely from "Golden Grain," the first LP dropped by 'Cris and his clique, which includes Shawnna, I-20, Tity Boi and Lil' Fate and is known collectively as Disturbing Tha Peace. "Golden Grain" has all the crunkness you would expect from a Lil' Jon and the Eastside Boyz album, which can be good or bad.
September is upon us, and with it comes a myriad of new CDs on which the already broke college student can waste more food money.
Arbitrary key changes and off-notes seem to be a way of the past for Built to Spill's Doug Martsch -- he has traded in his abrasive indie rock disposition for a more laid-back sound.
"Been dazed and confused for so long it's not true" -- well, for 50 minutes at least, because that's how long it takes to listen to "Mostly Ape," the new album from Drums and Tuba.
A reporter for the Cavalier Daily talks to Ian MacKaye, vocalist and guitarist for Fugazi. The band and MacKaye himself can be seen in Jem Cohen
It's been seven long years since the last new release from the Future Sound of London. The year 1996 brought "Dead Cities," arguably one the best of their career, but undeniably a defining album of the genre that pushed the boundaries of experiment and amalgamation.
They helped bring Ethan Hawke here in July, "Donnie Darko's" Richard Kelly last spring and dozens of other significant filmmakers and guests over the past 10 years.
