Sounds Like: Edward Sharpe & The Magnetic Zeroes, The Love Language, Rusted Root without the annoying world music pretenses,
Why You Should Care: Quality vocals, and musicians managing to be smart and passionate at the same time.
In the modern music era, most new releases come saddled with histories we’re supposed to believe in, recycled narratives, and increasingly thirsty marketing “hooks.” Which is what makes Rose City Band’s self-titled debut such a unicorn of an album.
There are only two things that we know for sure about this band:
1) Ripley Johnson (Moon Duo, Wooden Shjips) produced it.
2) It jams.
Refreshing AF, right?
Special guest Jonathan Hart (Brokedown Pod) joins us to discuss why Rose City Band is destined to be the soundtrack of your Summer, the resurgence of “jam band” music in the mainstream, and more.
Through thick and thin, The North Country prevails. This fact bore out time and time again, with this particular again being the addition of Margot MacDonald to their shifting lineup. A favorite in the DC music scene and member of the (unfortunately) now defunct The El Mansouris, MacDonald’s solo music displays not just the power of her voice, but her mastery of vocal loops and effects. She is, to put it mildly, multifaceted.
In fact, the entire ensemble that leader Andrew Grossman has assembled can lay claim to such musical diversity, with most members juggling multiple musical projects (Bal Boheme, Near Northeast, California Accent, and Lotion Princess, just to name a few) outside of their residency in The North Country. They are, with no hyperbole, DC's premier indie-pop supergroup.
On his nineteenth album (and first in five years) rock and roll legend / Broadway star Bruce Springsteen is turning his gaze to the “West,” and the results are a totally unique, if not polarizing, new entry into his lauded body of work. Western Stars utilizes the sounds of late 60’s Capitol Records (Glen Campbell, The Wrecking Crew, Phil Spector) to color the stories of men on the frontier, not just of America, but the edges of their lives.
Is Western Stars a fine return to form for the Boss or a stylistic bridge too far? Tune in to an all-new episode of Discologist as we tackle these questions and much, much more.
Whether you see Born In The U.S.A. as Springsteen’s most significant achievement as an artist or just a strange, 80’s sounding outlier in an otherwise muscular catalog, it remains to this day one of the most potent statements about the down-and-out in America ever made.
Despite its rock ‘n’ roll sheen, misunderstood rallying cries, and anthems to nostalgia, Born In The U.S.A. was a hopelessly bleak look at what it meant to be an American in the wake of the Vietnam War that, thirty-five years later, still resonates across generations, class, and race. A monument to the ‘everyman,’ it marked the end of an era for Springsteen that, despite its darkness, finally launched him into the pop stratosphere that he and the E Street Band had been chasing for more than a decade.
On an all-new Discologist, we’re dissecting this classic to get to the heart of its persistent relevance today, how it shapes the long-view of Springsteen’s career and a particularly “moist” song that also happens to be particularly great.
"Oh, I'm different, I'm a cup of mild sauce" isn't just Jamila Woods's opening line on LEGACY! LEGACY! or how she began her sold-out show at Union Stage Tuesday night, but it's indicative of what she has to offer through her music and stage presence. LEGACY! LEGACY! , her latest album is unapologetically black, an embodies black excellence by plucking inspiration from African-American greats as seen in her track listing.