- Screen Reviews
- January 20, 2022
Spade bit to the head of nude woman, in the bathtub. That’s all you really need to know on this creepy variant of “Clue.”
You can say that bedrock funk bassist Bootsy Collins is The One, and you would be right on so many levels.
It’s been 45 years since Chrissie Hynde initially hit her stride with the Pretenders, and she hasn’t slowed down for anybody since.
Skiff (Spiritual Pajamas). Review by Julius C. Lacking.
Telescope (Manatee Records). Review by Christopher Long.
The Man That Time Forgot (Big Legal Mess/Fat Possum Records). Review by James Mann.
Labour of Lust (Yep Roc). Review by Sean Slone.
Rain on the City (Bar None). Review by Sean Slone.
Jaggedland (429). Review by Sean Slone.
A Question of Temperature (Yep Roc). Review by Sean Slone.
Mitch Easter, Let's Active, the dBs, Rob Levy, interview
They don’t come more seminal than Mitch Easter, who has influenced music from both sides of the mixing board, with his band Let’s Active and as the producer for acts like REM, Pavement and Marshall Crenshaw. Rob Levy grabs a few moments with the busy man.
Autumn Sweet (Laughing Outlaw). Review by James Mann.
Three Dollar Man (Captivating). Review by James Mann.
The Power of Pop (Shut Eye). Review by James Mann.
The Music of Nick Lowe (Telarc). Review by Ian Koss.
Lohio (Checkered Past). Review by Sean Slone.
With his new greatest hits collection, Time Capsule, in stores, singer/songwriter Matthew Sweet has freed himself from contractual obligations and is label-less for the first time in over a decade. While many artists may panic at such a prospect, Sean Slone discovered Sweet is finding it one of the most exciting, liberating, and challenging times in his career.
Marshall Crenshaw has been making pop music for close to twenty years, but despite a huge critical following and the occasional hit, he still manages to fly just under most of the American public’s radar. Sean Slone catches up with the singer/songwriter on the occasion of a long overdue retrospective album, This Is Easy, and the reissue of his 1982 debut.
The year was 1982, and Marshall Crenshaw was thundering like the fireworks fi…
Review by Ian Koss