FLOOD

Joan Wasser returns to a poignant form on her first album of deconstructed favorites in eleven years.

He’s produced for Kanye, Beyoncé, and Geto Boys—and he finally has a record of his own.

“Good Souls Better Angels” is one of Williams’ most live-wire works.

The godfather of cannabis culture on his comic past, the smoky present, and living long through Trump and COVID-19.

“Fetch” is as cold as it is overheated, as vibrant as it is humble.

“This is a record from the heart about my reconnection to the planet, and the divine existential nature of it all.”

The reissue’s added tracks are all contextual red meat—no gristle or fat.

The ambitious rapper/producer opens up about his legacy and family.

Cellist Maya Beiser and pianist Mike Garson discuss translating the artist’s work into something new.

Though he suspects he has the virus, EOB’s record remains on track for release April 17. 

This album offers up some of his best performances, wryest lyrics, and most experimental arrangements in years.

The French artist is among the most influential of the disco era, and one of dance music’s first trailblazers.

A show of unity between Texan soul makers.

The sessions that fill this box are those where Davis left flirty, speedy bebop behind for slow, hard bop.

Like the gluttonous Reagan era in which it was born, the new “1999” is explosively opulent and appropriate for the Trump moment in its excess and mess.

Jim’s son Chris and producer Al Dobbs give their thoughts on the songwriter’s disappearance and why his music lingers on.

In some ways, it’s more like Adam Cohen’s love letter to his father’s artistry than a final statement from the late poet.

Dylan revered the outlaw Cash, and Cash admired the wordsmith Dylan.

Three albums in, Taylor Hawkins and the Coattail Riders feels like a vacation for the Foo Fighters drummer.

The iconic rocker goes home to Detroit for a different brand of shock and awe.