Scott McLennan

Rock CD Review: Tedeschi Trucks Band Provides “Signs” of the Time

February 14, 2019
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This studio outing emphasizes superb ensemble playing; the result in a beguiling album in which just about every note shines.

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Rock Preview: Lettuce — Stirring up a “Witches Stew” at the House of Blues

January 7, 2019
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“I want our music to be genre-less. Actually I want it to be genre-more.”

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Rock Feature: Celebrating “The Wall” — Pink Floyd’s Version

January 4, 2019
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“Five hundred years from now, people will come to that album the way that people come to Wagner and Beethoven. This is a classical piece from our era.”

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Favorite Music, Popular and Beyond, of 2018

December 27, 2018
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Our critics offer their musical highlights of 2018.

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Music Year End Feature: The Dead Lives! — In So Many Ways

December 27, 2018
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The Grateful Dead’s music is moving forward with the help of musicians who are OK with the occasional look back over their shoulders.

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Music Review: Kamasi Washington — A Vibrant Taste of Heaven and Earth

November 11, 2018
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Kamasi Washington’s music connected viscerally with a Royale audience that was packed with young people — or at least way younger than those normally seen at a jazz concert.

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Book Review: “Heavy Duty: Days and Nights in Judas Priest”

September 20, 2018
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K.K. Downing does not trash Judas Priest or its legacy, but he gives, from his perspective, an honest and believable assessment of the group and his role in it.

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Concert Review: Van Morrison — Working in Overdrive

September 14, 2018
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There were moments during Van Morrison’s 22-song concert Tuesday when he was whipping the band into a frenzy — shouting out song selections before the final notes of the previous tune had fully rung out.

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Rock Preview: Glenn Hughes Sings Deep Purple — Slightly Unhinged

September 13, 2018
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“I went back and listened to the records and watched videos of performances. I got into character for this,” Glenn Hughes confesses.

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Rock Preview: Dawes — Never Predictable

September 11, 2018
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The group’s songs range from the cynical to the sweet without losing their sincerity, and that may be Dawes’ most defining trait as it shifts its musical focal point.

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