By 2012, Erykah Badu had undergone a beautiful evolution from pioneer of late-’90s neosoul to hard-hitting, politically inspired, space-funk godchild of George Clinton. I needed to talk to her. And so I did.
In my 2004 book Dixie Lullaby, I wrote about a confrontational encounter I had with Chris Robinson of the Black Crowes backstage in Los Angeles in 1992. This is the story of that incident.
The old grey Jack Kerouac sweatshirt that dated back to my college years in the early ’80s was nowhere to be found. But today it’s in good hands.
With the recent election of Barack Obama as president of the United States, TV on the Radio may have been the most American band making music in 2008. Little did we know then that the country would face a vicious and sustained backlash that continues to threaten our democracy.
Billed as “The Fully Orchestrated Live Premiere of Big Star’s Third,” the core musicians included Mike Mills of R.E.M., Chris Stamey and Will Rigby of the dB’s, Mitch Easter of Let’s Active, and original Big Star drummer Jody Stephens.
Chuck D looked at me quizzically, his furrowed brow barely showing beneath the bill of his black Raiders cap. “Sure,” the rapper said as I handed him a yellowed copy of Allen Ginsberg’s Howl. “I’ll read it. Sounds interesting.”
In 2012, I looked back with humor at my life at MTV Networks in the late 1990s. Part of my duties at the music channel was babysitting boybands like *NSYNC and The Backstreet Boys. Kind of.
When mild-mannered Rob Lind isn’t on the links at Birkdale Golf Club near his home in the suburbs of Charlotte, North Carolina, he’s onstage with his legendary garage-rock band The Sonics
I had been writing about the issue of digital sampling in hip-hop for several years in the 1980s. When a judge’s ruling in 1991 forever changed the way hip-hop would be made, I wrote this followup.
I’d long been fascinated by the tale of Naomi Wise, murdered by her lover in a river near my hometown. In 2021, No Depression magazine gave me the opportunity to explore this legend that’s become an iconic American folk ballad, covered by artists ranging from Doc Watson to Bob Dylan.