Classic Rock

Over the past five years, these guys – Chris Robinson and Neal Casal – have managed to build a sound and a feeling in their music that I wasn’t even aware I’d been craving...

Here are my highlights in popular music from 2016. It includes records by Sophie Ellis-Bextor, Bright Light Bright Light, David Bowie, Melanie C, Hikaru Utada, Beyoncé, and many more!

Does Joel Selvin's 'Altamont: The Rolling Stones, The Hell's Angels and the Inside Story of Rock's Darkest Day', maintain a proper perspective on the events that have made the concert notorious?

NRBQ are every bit as adventurous as they were as a young bunch of guys playing around at the Adams home some 51 years ago, even though Terry Adams stands alone as the only band member spanning the timeline from then to now. How he’s been able to hang on to the energy and charming irreverence that permeates this box of collected performances (both studio and live in concert) is a testament to his continued enthusiasm and love of music.

Directed by Martin R. Smith, this memorable celebration of pure talent and collaboration comes highly recommended. It is also available on Blu-ray.

Here is a band in full control of their talent and musicianship that had four studio albums that time would ultimately call one of the most amazing beginnings of any band ever, comparable only to the thunderous Black Sabbath’s first four albums.

After countless listens, I feel as if I both know Fela Kuti more than I ever knew any other African artist before, and also how little I appreciated the struggles and injustices that take place across the world in other people’s hometowns or communities. It takes a strong light to shine down on some of the darkest days in the shadow. Thank god Fela Kuti burned as bright as he did for our awareness.

On the surface, you might think that limiting the songs of a band that thrived on the interplay between various parts – most importantly the lead and rhythm guitars of Jerry Garcia and Bob Weir – wouldn't work, but you’d be mistaken. There is power and subtlety in these reinterpretations that I think Garcia would have admired, as his own personal tastes seemed to range to the more subdued and authentic soul of acoustic performances.

From the sonic exuberance of “Dancin’ Fool” and “Tell Me You Love Me” to the funky dissonance of “You Are What You Is” and “Joe’s Garage” to the bathroom-humor excellence of “Don’t Eat The Yellow Snow” and “Titties and Beer,” this album will give you just as much of a “taste” for Frank Zappa’s music as his son’s "Zappa Plays Zappa" did for me some eight years ago.

For a less musically talented band, being able to reconceive the sounds within the songs physically and rhythmically could have turned this kind of release been a box set of cheap sonic “tricks” designed to fool the listener into thinking the extra money it costs to buy the “enhanced” version of an album was well worth it. For Chicago? It allowed them to see just what was possible with the sound.