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With Dirty, Malina Moye leaves an indelible record of her singular style.
BY JOE BOSSO P
I’M NOT SURE if it’s the three-inch heels on her Doc Martens, but Emily Green dwarfs me as she strides across the stage. It’s about an hour before her band, Geese, soundchecks for their sold-out show
Louisiana soul man ROBERT FINLEY overcame his hardscrabble origins, loss and blindness to finally find success in his later life. Amazingly, he believes he still has much to prove. “Most people retire at 65,” he tells Kevin EG Perry. “Hell, I came alive at 65.”
MATEUS ASATO IS the kind of guitarist we haven’t heard much of lately — a true original. He doesn’t do anything particularly outrageous or revolutionary — there’s no crazy gimmick (yet) that he’ll be
From Black Sabbath awakening to jam band to Hanoi Rocks to decades-straddling solo artist, via Finland, London, NYC and beyond, he’s been up, down and up again, through thrills, spills, triumph and tragedy. You could say he’s really lived the rock’n’roll life, but that would be an understatement.
New tribute to their former guitarist Brian James is delivered with real passion.
Thirty years after its release, Billy Corgan looks back at the making of The Smashing Pumpkins ’ era-defining big, bold, bombastic masterpiece Mellon Collie And The Infinite Sadness .