Rock

As part of Crosby, Stills & Nash, the British singer-songwriter helped define a West Coast sound. Here, he discusses the influence of Buddy Holly, The Everly Brothers and marijuana on his career, as well as his new memoir, Wild Tales: A Rock & Roll Life.

Musical duo The Blow, in which the singing of Khaela Maricich meets the mixing of Melissa Dyne, has just released a new eponymous collection. Critic Ken Tucker says the electro-pop on the album is self-aware, sexy and smart — and, while informed by the art world, never dips into "art-rock" territory.

Can the highly publicized band turn its hype into hits? Ken Tucker wants to join the fan club.

Schneider's Burden of Proof is frequently beautiful, often morose, downcast album. You get the sense that, when he sings about not connecting with someone he loves, he's also singing about not connecting with a bigger audience.

When record producer and songwriter George "Shadow" Morton died on Valentine's Day this year, he left behind a legacy as murky as his nickname, which he got from disappearing on long benders. A new compilation collects Morton's hits for The Shangri-Las, Iron Butterfly and Janis Ian.

Frequently on her new album Timekeeper, Schwartz sounds like a throwback to another era. Her singing sometimes possesses the spirit of a more lighthearted Laura Nyro, and she has a heathy fondness for The Beatles.

The pop star has a flair for the extravagant, to say the least, but his new album is stripped down. He tells Fresh Air's Terry Gross about the "Elton John excess," his fear of sex as a young man, and how Liberace's example encouraged John to make the piano a star instrument.

The singer's new album is a work of great, accomplished craft about the pointlessness of crafting anything you care about, because the world is just going to ruin it on you.

A key to the ongoing allure of Dylan's music lies in its ability to stand apart from its time. A new collection of alternate takes and demos re-evaluates the critical flop that was 1970's Self Portrait.

The long-running rock band's latest album is driven by themes of loss and grief, set against ferocious guitars and soaring vocals. Fresh Air critic Ken Tucker says the provocatively titled I Hate Music is full of typically superlative moments.

June can sing a duel with the Devil, even as her voice tells you she knows she's already triumphed.

The bulk of Friedberger's work thus far has been recorded with her brother, Matthew, under the name The Fiery Furnaces. For this new solo album, her second, she's written with a new collaborator in singer-songwriter John Wesley Harding.

A new documentary directed by Morgan Neville profiles backup singers whose voices you know but whose names you probably don't: Lisa Fischer, Darlene Love, Judith Hill and Merry Clayton.

Isbell is a singer-songwriter who came to prominence as a member of the Southern rock group Derive-By Truckers. He left that band in 2007, in part because of the substance-abuse problems he describes on his new solo album, Southeastern.

The band just released its third album, Modern Vampires of the City. Chief lyricist and singer Ezra Koenig has described it as the third part of a trilogy about maturing. As part of that process, the album finds sustenance invoking Desmond Dekker and The Rolling Stones.

The mythology surrounding The Doors generally centers on its lead singer, Jim Morrison. Morrison is still considered one of rock's tortured poets, but The Doors' sound was based largely on Ray Manzarek's keyboard playing. His are the riffs immortalized in songs like "Riders on the Storm."

This interview was originally broadcast in 1998.

In 1958, Lewis suffered a precipitous decline in popularity when people learned that his new wife was not only 13, but also his cousin. Nobody would touch his records. Then, in 1963, he signed a deal with Smash and it looked like things were getting better.

Dawes has just released its third album, Stories Don't End. The band has cited Neil Young and Crosby, Stills & Nash among its influences, but channels them with good humor and confidence that its own distinctiveness will shine through.

On Mother, Maines' first solo record, the singer moves beyond the music that propelled her to fame as a member of the Dixie Chicks. It features an assortment of pop and rock covers, including a reworking of the Pink Floyd song that lends the album its title.

Before he became the guitarist for ZZ Top, Billy Gibbons was in a band called the Moving Sidewalks that just missed its shot at stardom. The album the Moving Sidewalks never released in the late 1960s was released in late 2012 and is very much a period piece, albeit a very well-made one.