Reigning queen of cool, Chrissie Hynde, recorded a magnificent new record using cell phone technology during the pandemic: Standing in the Doorway: Chrissie Hynde Sings Bob Dylan.
I was happy to review it for No Depression. Read my thoughts on Hynde’s singing and new arrangements, the mini-genre of Dylan tribute albums by women singers that has emerged in the past few years, Dylan’s songwriting, and the record itself.
I had the pleasure of interviewing singer/songwriter, David Huckfelt, about his new record, a collaboration with various Native musicians and writers. The album beautifully captures the synthesis between American folk and indigenous tradition – creating a musical portrait that is not only enjoyable, but also timely and culturally resonant.
Read at No Depression.
I was a 13 year old boy when I discovered the music of John Mellencamp. His songs were my usher into the world of writing, art, and creativity. A continual source of powerful inspiration in my work and life, I wrote my second book, Mellencamp: American Troubadour, about his music, and the ideas that surround it. The impact and influence of Mellencamp’s music on my life is so large that, without it, it is impossible to conceive of myself.
On Memorial Day, I had the incredible thrill and honor of driving to Nashville, Indiana to visit John Mellencamp in his recording studio. We sat for a long, fascinating, and fun conversation in the same room where he and his band have made so many of my favorite songs since 1983. Then, I watched he and the band rehearse for their upcoming tour, playing “Pink Houses” and “Paper in Fire.” To add to the pleasure and amazement of the experience, I also met the beautiful and soulful Carlene Carter, and had the opportunity to have a discussion with her.
Mellencamp’s first words to me were, “It is a good book.” That simple, but profound compliment is one I will always treasure (He was referring to my work of biography and cultural criticism, Mellencamp: American Troubadour).
Read the essay I wrote on the experience at Salon.
Here is an amusing exchange from our conversation that did not make my essay: After Mellencamp explained that audiences have jeered and heckled him several times throughout his career, he added that, “not once has anyone said anything derogatory to my face.”
“Really, why do you think that is?” I asked.
“Because they know they type of person that I am. Would you say anything?”
“Maybe.”
Mellencamp laughed. “Well, I’m an old man now. So, you could probably kick my ass. Fifteen years ago, you would have kept your mouth shut.”
Richie Kotzen, an impossibly soulful singer, guitar virtuoso, and prolific songwriter, is one of the best and most underrated musicians in America.
I had the pleasure of interviewing Kotzen before attending a recent live performance he and his outstanding band gave in St. Charles, Illinois.
I had the pleasure of attending the new exhibit on the history of The Rolling Stones, Exhibitionism, in Chicago with my friend – singer, songwriter, guitarist extraordinaire, Kev Wright.
The immersive and interactive experience is essential for any admirer of the Stones, or fan of rock. I was particularly struck by the aesthetic sophistication of the Rolling Stones. From commissioning Andy Warhol to photograph and artistically depict the band to finding inspiration for stage sets in classical philosophy, the Rolling Stones, most especially Mick Jagger, helped cultivate a rock ‘n’ roll aesthetic, at once capturing and projecting the imager and iconography of rebellion, creativity, individuality, and sexuality.
Read my essay The Rolling Stones and the aesthetic of rock ‘n’ roll at Salon.
In an era of phony vulgarity, Alicia Keys represents wisdom, authenticity, and genuine artistic vision.
It is impossible to imagine how any sentient human being is not in love with Alicia Keys. Her beauty, no matter what she’s wearing, is so powerful it becomes as poetic as the lyrics of urban, street-smart gospel that animates her latest record, “Here.” Her sensual grace, and effortless charisma, find melodic accompaniment in her intelligence, wit and impassioned investment in the ongoing struggle to inspire individuals to dream without a leash, while attempting to tame the ugly impulses of sexism and racism rampant throughout society.
Read the rest at Salon.
In my new column for Salon, I review the new record, Hard Love, from Strand of Oaks; calling it a rock ‘n’ roll masterpiece. Tim Showalter, the chief songwriter and frontman for the band, brilliantly and movingly explores the ecstasy and agony of the search for adult pleasure.
I was so overjoyed and inspired by the live debut of Kev Wright’s new band, The Journey Road Grit and Gravel Snake Oil Company, that I wrote a close review of the performance, and reflected on the transformative power of the artist.
Read the review at No Depression.
In my latest column for Salon, I pay tribute to the late George Michael, who not only wrote, produced, and performed excellent music of irresistible groove and soul, but elevated and celebrated an ethos of mutual pleasure in sexuality. Michael’s treatment of sexuality as an opportunity for reciprocal, erotic enjoyment assaulted both the suffocating Puritanism of Western Culture, and the desire for domination from too many heterosexual men.
Meanwhile, at No Depression, I provide my personal choices for top five records of 2016, featuring Metallica, Marcus King, Tedeschi Trucks, Blackberry Smoke, and Rival Sons.
I’ve always believed that art is more important than politics. In my new column for Salon, I celebrate art as communicable of the mysteries of the human spirit, generator of hope, and engineer of connection between seemingly disparate points of human experience.
It is for this reason that art becomes critical in times of political trouble. During the current era of American crisis, I reflect on the popular art that sustains and strengthens me – Zadie Smith, David Foster Wallace, Metallica, Bruce Springsteen, John Mellencamp, Gov’t Mule, and Kurt Vonnegut. Then, I pay tribute to the controversial collaboration between Beyonce and The Dixie Chicks.
Readers can substitute the names of their own favorite writers and performers.
David Masciotra 