Tom Moon
Tom Moon has been writing about pop, rock, jazz, blues, hip-hop and the music of the world since 1983.
He is the author of the New York Times bestseller 1000 Recordings To Hear Before You Die (Workman Publishing), and a contributor to other books including The Final Four of Everything.
A saxophonist whose professional credits include stints on cruise ships and several tours with the Maynard Ferguson orchestra, Moon served as music critic at the Philadelphia Inquirer from 1988 until 2004. His work has appeared in Rolling Stone, GQ, Blender, Spin, Vibe, Harp and other publications, and has won several awards, including two ASCAP-Deems Taylor Music Journalism awards. He has contributed to NPR's All Things Considered since 1996.
-
Stream the rock and roll pioneer's final album, featuring appearances by Tom Morello and Gary Clark Jr.
-
The Nobel Award winner digs into the Great American Songbook for a third time. Stream a selection of songs from the three-disc set.
-
During the months he spent on the road in 1966, Dylan refined a way of inhabiting and transforming his own songs that was different from anything he'd done before.
-
The particular darkness that defines Cohen's 14th studio album is nearly inescapable, and found everywhere. It's a thick blanket of grim.
-
After 13 solo albums, Simon still views pop as a language of exuberant dances and polyrhythmic upheavals. Even now, his music pulses with the feeling of invention.
-
This is the second volume in which Dylan sings the Great American Songbook, recorded at the same time (and with the same core band) as his 2015 album Shadows In The Night.
-
Hear the new album by "The Screaming Eagle of Soul," which cleverly balances the vintage and the modern.
-
The score gives Alejandro González Iñárritu's film its emotional baseline, summoning the profound disquiet of a forbidding winter in the American West.
-
Lynne resurrects Electric Light Orchestra with vulnerability and rumpled grace, finding a strange alchemy of melody, harmony and rhythm.
-
The fevered 14 months captured here represent the moment when Dylan became comfortable in his shoes — and, if not yet confident about every decision, at least trusting the authority of his writing.