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.

It's true that you can still get by in rock 'n' roll on the strength of a unique voice. But it helps if said voice has something interesting to work with.

On the first three records by Heartless Bastards, that wasn't always the case. The Mountain, from 2008, had some terrific songs about a breakup, and a few that got bogged down in a rut. But on the band's latest release, Arrow, every song has a powerful, almost magnetic melody.

Sometimes I wonder: Do the members of young indie-rock bands know that they're walking stereotypes? There's the scruffy dude who's obsessed with everything vintage and analog, the Pavement-worshiping, whiny-voiced lead singer, the rhythm section that knows its way around every oddity recorded by The Kinks. That's pretty much how I pegged the Philadelphia sextet Dr.

The hip-hop band The Roots might currently be the hardest-working band in show business. Five nights a week, it's the house band on Late Night with Jimmy Fallon, and is constantly collaborating with other artists. And this week, the band issued its 10th studio album.

Record producer Jonathan Wilson recorded his new album Gentle Spirit during little slivers of time when the artists he was working with — among them songwriter Jackson Browne and the rock band Dawes — were on break. The project took him four years to finish, and it's the musical equivalent of a landscape painting.

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