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Album Reviews
Monday, Oct. 20, 2008

Nobody Left to Crown (Verve)

Almost 40 years after he opened Woodstock with a mesmerizing three-hour performance, becoming the voice of a generation with an improvised tune that evolved into "Freedom," folk-rocker Richie Havens remains relevant. On Nobody Left to Crown, the 67-year-old singer's still-distinct, soulful voice introduces listeners to memorable and politically charged songs such as "The Key" and "(Can't You Hear) Zeus's Anger Roar," as well as smartly chosen covers...
Album Reviews
Friday, Oct. 10, 2008

When In Rome 2007 (Atlantic/Rhino)

  Genesis skipped Wisconsin during last year's reunion tour, but the three-DVD box set When In Rome 2007 spectacularly captures what we missed. Although original frontman Peter Gabriel and guitarist Steve Hackett passed on this tour, the incarnation of Genesis captured at a free open-air performance in front of 500,000 fans at Rome's historic Circo Massimo still boasted the longtime trio of vocalist/drummer Phil Collins, bassist Mike Rutherford and keyboardist...
Concert Reviews
Wednesday, Oct. 1, 2008

Sept. 26, 2008

   Despite two decades and nine albums to his credit, Mikael Åkerfeldt, the compelling frontman of the Swedish dark-metal band Opeth, recently told Powerplay magazine that he still gets anxious playing live. "Why am I nervous?" he asked. "It's just metal."  Actually, it's not, and Opeth proved why during a jaw-dropping performance of melodic beauty and brutality Friday night in a packed room at The Rave. In fact, the quintet manages to transcend metal while still sounding quintessentially...
Album Reviews
Monday, Sept. 29, 2008

Pancho and the Kid

  The second solo album from Chris Barron sounds nothing like his old band, the Spin Doctors-which is reason enough to give Pancho and the Kid a spin. But more importantly, the dozen songs reflect the image of a much more thoughtful singer/songwriter than the one who penned "Little Miss Can't Be Wrong."That maturity is no doubt the result of Barron's full recovery from a paralyzed vocal cord, which back in 1999 left him...
Album Reviews
Wednesday, Sept. 17, 2008

Building An Empire (InsideOut Music/SPV)

  Nicolas Chapel, a one-Frenchman band, lands somewhere between the progressive rock of Porcupine Tree and the alternative metal of Tool on Building An Empire, released under the moniker Demians. By adding color and depth to ambient electronica, he manages to sum up Demians' entire sound on the 16-minute track "Sand."
Album Reviews
Tuesday, Sept. 9, 2008

Songs from Shows (Uvulittle Records)

The liner notes for Songs from Shows, a collection of musical pieces from Chicago performance artist Jenny Magnus, credit such instruments as leather gloves, a Kleenex box, a manual typewriter, a barrel rolling down the hall and a busted organ . . .
Album Reviews
Wednesday, Aug. 27, 2008

Nest of Storms (Crimsonic)

Racinebassist William Kopecky may be spending time in France these days, but he left behind Nest of Storms, the second release from Yeti Rain, a dark and ambient duo that Kopecky formed with wind-synthesizer wiz Roger Ebner. At times almost orchestral in nature . . .
Music Feature
Wednesday, Aug. 27, 2008
Almost seven years ago to the date, on Sept. 14, 2001, The Flower Kings, now arguably one of the world's leading progressive-rock bands, played what just might rank among Shank Hall's most memorable and cathartic shows.
Music Feature
Wednesday, Aug. 27, 2008
Almost seven years ago to the date, on Sept. 14, 2001, The Flower Kings, now arguably one of the world's leading progressive-rock bands, played what just might rank among Shank Hall's most memorable and cathartic shows. "I remember that gig, and I remember those days vividly," says guitarist, vocalist and head Flower King Roine Stolt, when reminded that the Swedish band was on a rare U.S. tour as the tragedy of 9/11 unfolded. The Flower Kings opened their penultimate show of that tour with "Last Minute On Earth," the lead track from . . .
Album Reviews
Sunday, Aug. 24, 2008

Sunshine Lies (Shout! Factory)

By now, you would think Matthew Sweet's sell-by date would be long passed, that his brand of '90s power pop would have gone sour. Yet here he is, 22 years after his first solo album with one of the strongest discs of his career. Self-described as "power-pop-folk-rock-psychedelic-melodic-singer-songwriter-type . . .

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