Review: Vinyl Reissues of Pete Townshend's 'Iron Man: The Musical' and 'Psychoderelict (Music Only)'

After The Who broke up, Pete Townshend seemed to want to distance himself from his old band's roiling and raw hard rock as much as possible, so he issued a series of slick LP musicals that ranged from the personal to the surprisingly impersonal. First up was a project of the former stripe, as White City was largely inspired by Townshend's experiences working alongside his then-wife in a women's shelter, and though it revealed its 1985 origins with its synthesizers and glossy production, there was still some bite in tracks like "Give Blood" and "Secondhand Love". With its themes of anger, shame, and fame, White City was nearly as personal a record as either of Townshend's two more Who-like ones that preceded it.

Review: 'The Name of the Band Is R.E.M.'

Unlikely as it was, the mysterious and insular R.E.M. became the biggest college rock band of the eighties, and one of the nineties' biggest bands of any stripe, so they've naturally been the topic of their share of biographies. Yet there's is a tough story to tell with the usual rock and roll salaciousness that pins cynical eyes to pages. Their story is suspiciously lacking in drug-crazed binges, intraband hair-pulling bouts, humiliating flops, and groupie abuse. R.E.M. were basically four nice guys who liked each other. One shouting match during the making of Monster and cutting Peter Holsapple out of the lucrative co-writing credits for "Low" was probably the most Mick-and-Keith things they ever did. Sure, Peter Buck did have that one well-publicized fit of air rage, but mostly he settled for strolling around town in his PJs and robe while tugging on a tallboy to get his ya-yas out.

Review: Vinyl Reissue of The dB's 'Repercussion'

The dB's got lumped in with the college rockers, but had they been around fifteen years earlier, they would have been a perfectly commercial pop band...albeit one who's best-known song tells the tale of a poor schlub who decides to end it all after his girlfriend not only dumps him but steals all his shit... well, all of it except for his amplifier.

Review: 'Electric Lady Studios: A Jimi Hendrix Vision' Vinyl Box Set

After recording their masterpiece, 1968's Electric Ladyland, the Jimi Hendrix Experience began to fall apart. Noel Redding's departure hardly halted Hendrix from getting right back to work though. He set up shop in his newly constructed Electric Lady Studios in NYC with Mitch Mitchell and new bassist/old friend Billy Cox to work on a funkier, less trippy batch of songs, including fierce items like "Dolly Dagger", "Ezy Rider", and "Room Full of Mirrors" and gorgeous ones like "Angel" and "Drifting". The bulk of the sessions stretched from late 1969 through August 1970. 

Review: 'Under the Ivy: The Life & Music of Kate Bush [Omnibus Remastered edition]'

Kate Bush seems to reveal so much of herself in her songs despite being more of a storyteller than a self-dissecting singer-songwriter. So much of her own intense connections to family, sex, love, and nature bleed through her tales of soldiers, ship-wreck survivors, ghosts, monsters, talking houses, and amorous computers. In reality, Kate Bush is an extremely private person, but the personal air of her music prompts a great deal of curiosity, empathy, and speculation in critics and fans alike.

Review: 'David Bowie: Rock 'N' Roll Chameleon'

Few rock stars are as suited to the kinds of coffee table bio cum discography divethat Quarto publishes on a semi-regular basis as David Bowie. He had a huge number of records and a huge number of looks. Few rock writers are as suited to penning this kind of book as Martin Popoff, who always brings the personality and humor sadly lacking in most boilerplate tomes of this type. 

Review: Vinyl Reissue of 3 Motown Albums

This month Elemental Music continues its Motown vinyl reissue campaign it began back in May by releasing three pivotal albums from three pivotal artists. The label's most enduring male vocal group makes their debut. The label's superstar female vocal group undergo an image change. The label's pioneer innovator starts winding down his original pop hitmaker phase and gets his first number one pop hit. 

Review: 'Mind Games' by John Lennon and Yoko Ono

When critics and audiences refused to embrace the radical politics of 1972's Sometime in New York City, John Lennon shifted tracks and made a poppier, sunnier record in 1973. Despite being hunted by the Nixon administration, which sought to expel him from the country because of his views, Lennon seemed to be in a pretty good place. This is reflected in the love songs, sing-along calls for freedom, "I'll believe in everything until it's disproven" philosophies, and general good-humored silliness of Mind Games. 

Review: 'One Tough Dame: The Life and Career of Diana Rigg'

Diana Rigg seemed to take the most gratification from her stage work, but her screen genre work was what made her an icon. Say the name and one is most likely to picture her as Bond's one and only bride in On Her Majesty's Secret Service, Vincent Price's costume-changing coconspirator in Theatre of Blood, the ceaselessly scheming Olenna Tyrell in Game of Thrones, or most probably, the karate-chop dishing Emma Peel of The Avengers.

Review: 'Fantastic Planets, Forbidden Zones, and Lost Continents: The 100 Greatest Science-Fiction Films'

Like horror, science fiction is a genre that can be tricky to define. Frankenstein is certainly a horror movie, but with the pseudo-scientific creation of flat-top Boris, it can also be classified as science-fiction. Bride of Frankenstein, in which Dr. Pretorius creates creatures in a way more in line with "black magic," doesn't bother so much with the pseudo science. Whatever. They both qualify as science fiction in Fantastic Planets, Forbidden Zones, and Lost Continents: The 100 Greatest Science-Fiction Films even though Douglas Brode goes to some lengths to define the science-fiction film as any that makes some attempt to explain its weirdness scientifically.