The Glittering Light That Never Went Out: The Legacy and Influence of Marc Bolan

Marc Bolan didn’t just write songs — he cast spells. With a feather boa, a star-streaked face, and a guitar riff that could split the world open, he led T. Rex into a sound that became both a revolution and a refuge. Even now, decades after his time on Earth ended, his influence hums through modern music like an electric current.

The Spark That Started Glam Rock

Before David Bowie became Ziggy, before a single glitter-flecked platform boot stomped across the airwaves, Marc Bolan struck the match that would become glam rock. When Electric Warrior (1971) landed, it didn’t just redefine rock — it reshaped what rock stars could look and sound like. Bolan’s fusion of boogie riffs, mystical imagery, and sexual flamboyance gave permission to a generation of artists to be loud, luminous, and unapologetically strange.

His performance on Top of the Pops in 1971 — curls wild, glitter glowing — wasn’t just a moment. It was ignition.

The Sound That Echoes Across Generations

Marc Bolan’s songwriting remains deceptively simple: three chords, a groove, and a sense of swagger sharp enough to cut yourself on. Yet beneath that surface was something timeless — a pulse that still animates rock, punk, indie, glam-metal, and even modern pop.

You can hear Bolan’s fingerprints in, David Bowie, who absorbed Bolan’s early glam sensibility and launched it into the cosmos. The Smiths, whose jangly melancholy often hid Bolan-esque flourishes.Johnny Marr, The Smiths’ guitarist, has frequently cited Marc Bolan as a major musical idol and a primary inspiration for his own work. Prince, who embodied that same fusion of sex, glitter, and guitar heroics. The New York Dolls, inheritors of his lipstick-and-leather bravado. Modern acts like Suede, MGMT, and The White Stripes, all of whom channel his stripped-down magic.

Bolan’s riffs were gateways: accessible for young musicians, irresistible for anyone with a pulse.

A Poet in Platform Shoes

Marc Bolan carried mysticism the way others carry keys — casually, constantly, and with a sense of private knowledge. His lyrics mixed Tolkien, street slang, cosmic metaphors, and nonsense syllables until they made their own kind of sense. “Jeepster,” “Metal Guru,” and “Get It On” weren’t just songs — they were spells, coded messages from a world half-real and half-imagined.

He turned throwaway lines into anthems, and vague images into myth.

A Life Cut Short, An Influence That Isn’t

Bolan died in 1977 at only 29, leaving behind a body of work that feels far larger than the years he had to make it. His early departure froze him in time — forever young, forever shimmering, forever on the verge of the next great sound.

In the years since, his legend has only grown. Each generation discovers him anew: some through Electric Warrior, some through The Slider, some through the countless artists who still carry his style in their bones.

Even today, his music shows up in film scores, fashion campaigns, indie playlists, and vinyl collections like a secret handshake — a sign that the listener understands something about beauty, about swagger, about freedom.

The Eternal Warrior

Marc Bolan’s legacy is not just about glam rock, or riffs, or glitter — it’s about possibility. He showed the world that a rock star could be a poet, a trickster, a shapeshifter. He made weirdness sacred. He made simplicity sublime. And he made the stage a place where anyone could shine like a star.

The glitter he scattered never faded. It just settled into the culture, where it still catches the light.

Listen Up! Waylon Jennings – Songbird (2025)

Even though Waylon Jennings’ latest posthumous release ‘Songbird’ spans 1973 to 1984, his voice is vivid and raw throughout. Shooter Jennings resists temptation to “smooth over” imperfections, allowing his grit and phrasing to shine. Shooter Jennings and engineer Nate Haessly leaned analog, mixing on vintage gear to preserve an organic feel. The occasional overdubs come from surviving members of The Waylors and guest vocalists, but it’s generally restrained and respectful to the original tapes.

Compiled and mixed by Shooter Jennings at Hollywood, CA’s hallowed Sunset Sound Studio 3, Songbird collects recordings produced in various studios by Waylon Jennings and his longtime drummer and co-producer Richie Albright, featuring members of his indelible backing band, The Waylors, including Albright and renowned pedal steel guitarist Ralph Mooney, along with such special guests as Tony Joe White, Jessi Colter, and more. Jennings’ reinterpretation of Fleetwood Mac’s “Songbird” is a standout. It imbues the gentle original with honky-tonk steel, strong back-beat, and an emotional delivery. The addition of Elizabeth Cook and Ashley Monroe on backing vocals gives it a delicate lift without crowding out Jennings’ growl.

— 4 of 5 stars —

Great Lake Swimmers ‘Return with Caught Light’ — Out October 10, 2025

Few bands capture the quiet beauty of the Canadian landscape like Great Lake Swimmers. Led by songwriter Tony Dekker, the Southern Ontario indie-folk collective has built a reputation over two decades for crafting music that feels both timeless and deeply rooted in place. With their signature blend of acoustic instruments, rural soundscapes, and wistful vocals, the band first gained attention in the early 2000s with a run of atmospheric records often recorded in unusual, resonant spaces — from old grain silos to country churches.

That sense of pastoral intimacy has carried through their career, with live performances often described as homespun yet lush, a kind of Americana by way of the Canadian wilds.

Now, Great Lake Swimmers are entering a new chapter with their upcoming album, Caught Light, due out October 10, 2025. Recorded in just five days in Ontario’s Ganaraska Forest, the album finds Dekker and his collaborators leaning into a more direct and instinctive sound. Working alongside producer Darcy Yates (Bahamas) and engineer Jimmy Bowskill (Blue Rodeo), the group tapped into the immediacy and warmth of early ’70s folk-pop, while retaining the reflective spirit that has long defined their music.

If their earlier albums were shaped by reverberating walls and sacred stillness, Caught Light feels alive with motion and breath — a snapshot of a band reconnecting with instinct and intuition. For long-time fans, it promises both familiarity and surprise: the atmospheric textures are still there, but Dekker’s songwriting carries a newfound spontaneity, a sense of being fully present in the moment.

With Caught Light, Great Lake Swimmers remind us why they’ve remained one of the most compelling voices in indie-folk: songs that glow with intimacy, yet echo across landscapes.

Vinyl Roots: The Allman Brothers Band – Eat A Peach (Capricorn Records)

Released in 1972, Eat A Peach stands as one of The Allman Brothers Band’s most cherished records. It captures a period of transformation and emotional depth that few albums in rock history have been able to encapsulate. It’s a poignant blend of blues, jazz, country, and rock, weaving an emotional tapestry through some of the band’s most memorable performances. The album was recorded amid a dark period of grief following the death of founding member and guitar prodigy Duane Allman, a loss that deeply impacted the band and its future performances and sound.

Following the success of At Fillmore East in 1971, which catapulted the band to stardom, the Allman Brothers returned to the studio to work on new material. However, their journey took a tragic turn when Duane Allman died in a motorcycle accident in October 1971. The band’s response was to honor his legacy by completing the album with a mix of new recordings and previously unreleased live performances featuring Allman. The title Eat A Peach reflects Duane’s statement in an interview about eating “a peach for peace,” embodying the free-spirited approach that the band held despite their tragedy.

Tracks:

1. “Ain’t Wastin’ Time No More”
The album opens with Gregg Allman’s introspective “Ain’t Wastin’ Time No More,” a song that addresses the inevitability of loss and the resolve to carry on. Gregg’s soulful, bluesy vocals and Dickey Betts’s slide guitar work create an anthem of resilience. It’s a powerful opener that establishes the band’s commitment to honor Duane’s memory by pushing forward, both musically and emotionally.

2. “Les Brers in A Minor”
This instrumental piece is a showcase of the band’s collective talents. Clocking in at nearly 9 minutes, it’s a dynamic journey through jazz-rock fusion, driven by bassist Berry Oakley and dual drummers Butch Trucks and Jaimoe. The track is experimental and free-form, encapsulating the jam-band ethos that The Allman Brothers helped pioneer.

3. “Melissa”
A tender ballad written by Gregg Allman, “Melissa” was one of Duane’s favorite songs. Its presence on the album gives it a sense of intimacy and nostalgia. Gregg’s vocals are hauntingly beautiful, accompanied by understated guitar work that creates a bittersweet reflection on love and memory. It has since become one of the band’s most enduring songs, cherished for its lyrical beauty and emotional resonance.

4.“Mountain Jam”
Spanning over 30 minutes, “Mountain Jam” is an epic instrumental recorded live at the Fillmore East and split between two album sides. The track, based on Donovan’s “There Is a Mountain,” is a masterclass in improvisational musicianship, with each member given space to shine. Duane’s soaring slide guitar and the fluid exchanges between the musicians illustrate the brotherly chemistry that defined the band’s sound. It’s a testament to Duane’s brilliance and showcases why he’s remembered as one of the greatest guitarists in rock history.

5. “One Way Out”
This live track, recorded at the Fillmore East, captures the raw energy of an Allman Brothers Band concert. Originally a Sonny Boy Williamson song, “One Way Out” is transformed into a blues-rock powerhouse, driven by the interplay between Duane and Dickey’s guitars and Gregg’s powerful vocals. The track has an infectious energy that makes it a staple in the band’s live performances.

6. “Trouble No More”
Another live recording, “Trouble No More” is the band’s rendition of a Muddy Waters classic. The blues-driven groove, led by Duane’s slide guitar, is an homage to the traditional blues that inspired much of the Allman Brothers’ music. It’s a track that highlights their blues roots while allowing each band member to contribute with passionate musicianship.

7. “Stand Back”
“Stand Back” blends blues and funk, with Gregg’s gritty vocals and organ work creating a soulful feel. The rhythm section is particularly tight, and Betts’s guitar work adds a touch of finesse. It’s a groove-laden track that showcases the band’s versatility and ability to incorporate diverse musical influences.

8. “Blue Sky”
One of Dickey Betts’s compositions, “Blue Sky” is a buoyant, country-inspired track that radiates warmth. Betts’s guitar solo, fluid and lyrical, is one of the album’s highlights. Written for his then-wife, the song feels like a hopeful tribute to love and optimism, capturing a brighter, more hopeful side of the band’s sound. It remains one of the Allman Brothers Band’s signature songs and is frequently played on classic rock radio.

‘Eat A Peach’ is a showcase of the Allman Brothers Band’s unique fusion of rock, blues, jazz, and country. The production, managed by Tom Dowd, allows each instrument to stand out while maintaining the integrity of the band’s collective sound. The guitar work, especially Duane’s, is central to the album, creating an emotionally charged atmosphere that reflects both the band’s technical skill and their emotional depth. The use of live recordings from the Fillmore East adds an authentic touch, capturing the spontaneous energy of their performances and preserving Duane’s contributions in an organic way.

Eat A Peach reached #4 on the Billboard charts and has since been certified platinum. Its influence on southern rock, jam bands, and blues-rock is undeniable, and it remains a cornerstone of The Allman Brothers Band’s discography. The album marked a turning point for the band, representing both the end of an era and the beginning of a new chapter. It’s a fitting tribute to Duane Allman, capturing the spirit of a musician who played with unparalleled passion and soul.

Eat A Peach is a tribute to resilience, memory, and the healing power of music. It reflects both the joy and sorrow that come with great loss, encapsulating a band determined to carry on while paying homage to one of rock’s greatest guitarists. For fans of the Allman Brothers and for newcomers alike, this album is a journey through profound grief, musical exploration, and, ultimately, celebration. It’s a timeless piece that continues to resonate, demonstrating the unique and enduring power of The Allman Brothers Band.

A must-have for any roots music fan.

Review: Lucero – Should’ve Learned by Now


In a time of sobriety the alt-country Memphis rockers bring us a round and and takes us back to the rowdy old days.

There was a time, in the early 90s, when if you swung a cat youâ’d hit a country influenced rock band. Local hers Slobberbone and the Old 97s as well as the underground kings, Uncle Tupelo. The Drive-By Truckers developed in their wake and MTV brought Lone Justice, The Georgia Satellites and Jason and the Scorchers into unsuspecting suburban households. Dwight Yoakum moved from the L.A. underground to start a neo-trad movement as he and his skin tight jeans took off into stardom.

These days, unfortunately, alt.country bands are as rare as hen’s teeth. Well, good ones anyway.

Stalwarts of the genre Luceros dirty dozenth release blasts out of the shoot with Roy Berry beating his cowbell like a rented mule. Brian Venable rips into his guitar then pulls back into a tasteful melody and Rick Steff tickles the ivories with an E. Street wide throttle. Vocalist Ben Nichols has had enough of a bar fly buzzing around his whiskey. “It wasn’t like I came here thinking, ‘Man, this bar is great to drink in’,” Nichols declares in his familiar velvet-gravel voice, “It’s one more ‘fuck you,’ that’s it and I’m gone.”

The redneck rave-up “Macon If We Make It” is about waiting out a gale force in some Florida bar while reminiscing about another Gail forcing herself into his mind.

“The bar starts to sink
And all my ears do is ring
I heard you crying
All I hear’s wind howling now”

“At the Show,” is Nichols reflecting back on life as well as the audience as he puts himself in their boots. All the while hoping that a certain young lady will come around and hear his song he’s written just for her.

“Nothing’s Alright” is an epic heart buster that could easily bring a tear to even the hardest soul.

“But I don’t think about her anymore
The way she looked when she walked through the door
We all fell hopelessly in love
Now I don’t think about her much”

Lucero has dicked around with horns and blues scales recently, which I’d all fine and good. But this is the band at their best. Lean songs for troubled times. Simple love and a fistfight between friends.

And whiskey all around. God bless alt.country and Lucero.

Son Volt Continue To Inspire And Challenge On Electro Melodier Set For Summer Release

Son Volt  -  Electro Melodier

It’s been a couple of years since Alt.country stalwarts Son Volt last release, Union and Jay Farrar and company have not been idle in these pandemic times. Their tenth studio album will be released July 30th and will feature Son Volt’s current lineup of Mark Spencer, Chris Fame, Mark Patterson and Andrew DuPlantis..

The title, Electro Melodier, is taken from the names of two vintage amplifiers from the late ‘40s and early ‘50s, and will feature more intimate and socio-political musings from Farrar, who originally set out to make a nostalgic record that paid tribute to the music of his youth.

“I wanted to concentrate on the melodies which got me into music in the first place,” Farrar said in a statement. “I wanted politics to take a back seat this time, but it always seems to find a way back in there.”

The first cut from Electro Melodier is “Reverie,” (below) a song of hope and sepia memories laced with organ swells and chiming guitar.

Pre-order Electro Melodier.

The follow-up to 2019’s acclaimed release Union, Electro Melodier finds band founder Jay Farrar’s unparalleled songwriting as poignant and intelligent as ever. Electro Melodier touches on the thought-provoking issues that impact us all, including the pandemic, love, and the inevitable passing of time. The current political divide makes its appearance on the album as well. “I wanted to concentrate on the melodies which got me into music in the first place,” says Farrar. “I wanted politics to take a back seat this time, but it always seems to find a way back in there.”

“Livin’ in the USA” echoes protest songs of old, highlighting both the breakdown of our culture and planet. “Share a little truth with your neighbor down the block, We’ve all got fossil fuel lungs while we run out the clock,” Farrar sings. “The Globe” reverberates with the tensions that arise with the fight for equality. “People climbing skyward stairs, Deciders of their fate, You can see it everywhere, Change is in the air…” The sentimental “Diamonds and Cigarettes,” featuring vocals by country singer Laura Cantrell, lovingly pays homage to his wife, while “Lucky Ones” is a weary tale of gratitude.

Electro Melodier features band members Mark Spencer (piano, organ, acoustic slide, lap steel, backing vocals) Andrew DuPlantis (bass, backing vocals), Chris Frame (guitar) Mark Patterson (drums, percussion). Son Volt will take Electro Melodier on the road with select tour date in summer and fall. See below and for tickets go to https://sonvolt.net/.

Farrar started Son Volt in 1994 after leaving the seminal group Uncle Tupelo, whose No Depression album helped define the alt-country and Americana genre. Son Volt’s debut Trace was heavily lauded and remains a defining document of the ’90s alt-country movement. Two decades later, the group continue to decidedly capture the times while breaking new musical ground on Electro Melodier.

Listen Up! – The Felice Brothers “Inferno”

The Felice Brothers Release New Single "Inferno"

Whenever the topic of great bands you’ve probably never heard of comes up The Felice Brothers have to be near the top of ant roots music list. For 15 years the upstate New York band has delivered their
brand of DIY ramshackle roots music to adoring fans over 16 albums and delivering dynamic live performances that feel more like a tent revival than a rock show.

The band’s last release, “Undress” was in the pandemic halcyon days of 2019 and now thy’ve released a new single “Inferno.” The title is from the the third of Tom Hanks’ Dan Brown films 2016 film. The song continues like a kaleidoscopic memories of pop culture – Fight Club, Claude Van Damm, Kurt Cobain – all filtered in the bands sepia bittersweet melody.

Ian Felice.says concerning the song “This song, more than anything, is about the persistence of certain mundane memories, and how they take on hidden meaning and significance, how their symbols become part of our inner lives, and how they are transformed in our minds, “It’s also about youth and growth and transformation. Memories of the film are obscured through the lens of time. Does Jean Claude Van Damm actually ride a motorcycle along the banks of the Rio Grande? I don’t recall, but still I have this image in my mind. I just remember how horrible the movie was. The two characters in the song are transformed into swans in the final verse, in a dream, as they are swept into the fire of another, more frightening reality.”

“Inferno” is the first single of the band’s untitled album to be released later this year. It was produced by The Felice Brothers, engineered by James Felice and Nate Wood, and mixed by Mike Mogis (Bright Eyes, Phoebe Bridgers). The song also sees the continuation of the new lineup of the band that debuted with Undress, consisting of Ian Felice, who shares songwriting and vocal duties in the band with his brother James Felice, bassist Jesske Hume (Conor Oberst, Jade Bird) and drummer Will Lawrence.

Hardly Strictly Bluegrass Announces Streaming Festival “Let the Music Play On…”

Some of my fondest memories of my 5 years in San Francisco was attending the Hardly Strictly Bluegrass roots music festival. The first weekend in October would roll around and me, my daughter and friends would pack blankets, food and plenty of water and head our to Golden Gate Park to witness some of American’s greatest legends and boldest newcomers perform under the Blue Gum Eucalyptus during a brief Indian Summer. And I could hardly believe the entire event was free! (Thank you, Warren Hellman!)

But times have changed and so must HSB.

Hardly Strictly Bluegrass is launching its new global and community-driven initiative “Let the Music Play On…” to bring the spirit of Hardly Strictly Bluegrass to backyards and living rooms all over the world with a global broadcast taking place the weekend of October 2nd. In compliance with safety concerns and California’s statewide mandate against large public gatherings, the festival will not be taking place in its traditional setting of Golden Gate Park.

The festival, which will celebrate its 20th anniversary this year, was founded by Warren Hellman on ten pillars: community, joy, creativity, collaboration, freedom, peace, love, respect, gratitude, and spirituality. It was Hellman’s gift to the City of San Francisco, offering a free outdoor festival in the historic Golden Gate Park that is a celebration of American roots music.

The October broadcast will feature new performances from the expansive range of Hardly Strictly Bluegrass artists that include first-time performers to legends of American Roots music, along with archival footage from the festival’s past two decades and memories from fans, performers, and staff and priceless gems from the festival’s rich history. The HSB community is what gives the festival life, so fans are encouraged to send their favorite memories via stories, videos, and photos to memories@hardlystrictlybluegrass.org. All contributions are welcome and appreciated, and will be considered for the broadcast in October.

“While we know we can’t replace the feeling of being together physically, the safety of our attendees, artists, volunteers, and staff are our highest priority and our team has been hard at work creating a vibrant broadcast in line with what attendees have come to expect from HSB: community, discovery, and the all-time best in roots music, ” says festival advisor Mick Hellman. “We’re excited to share parts of HSB that aren’t feasible in a festival environment such as screening archival footage, sharing memories, and shining a spotlight on our non-profit partners.”

This year the festival has launched Hardly Strictly Music Relief Fund: Bay Area, a $1.5M charitable initiative to support the local music community during the COVID-19 pandemic. American roots musicians living in San Francisco, Alameda, Contra Costa, Marin, San Mateo, and Sonoma Counties are invited to apply for one-time, unrestricted support grants up to $2,000. The fund is also open to Bay Area music venues with a track record of presenting and supporting roots music of all kinds. Venues are encouraged to nominate themselves for the grant opportunity. From those nominations, a select number of venues will be invited to submit a formal application for up to $200,000 in grant funding for operating expenses, capacity building, or planning related to reopening, and must include funds dedicated to front-of-house and back-of-house staff.

For more information on the grant opportunities visit hardlystrictlybluegrass.com

Bloodshot Records Artists Rocked By Sale & Accounting Issues

On Monday, July 20th, a form letter was sent out to all artists currently signed to the independent Chicago-based music label Bloodshot Records that the the label is currently up for sale due to ongoing conflict with co-owners Nan Washaw and Rob Miller. This conflict has spilled over into artists and songwriters reimbursement.

Bloodshot artist Jason Hawk Harris posted today on his Facebook page some behind the scenes details:

‘Hey folks. Nan Warshaw is forcing the sale of Bloodshot Records and withholding money owed to artists. Sharing this is my decision in full and I was not prompted to do so by anyone in the Bloodshot camp.

The statement below (scroll down to read the internal statement)h was sent to all current roster artists yesterday by the non-ownership staff at Bloodshot. PLEASE read the letter below for full context before commenting.

I want to be ABSOLUTELY CLEAR and say that my problem is NOT with bloodshot. It is with the other part-owner (Warshaw), holding the company hostage after she was rightfully forced-out for choosing to protect a sexual predator over the artist he preyed on.

Rob and the staff at bloodshot have done nothing but fight for me, tooth and nail, since I signed with them a year and a half ago. I thought hard about sharing this, but ultimately decided I was not okay with Nan not having to face this publicly.

This is the crop reaped from the seeds sown by sexual assault. Take it very seriously, and please hold the right people accountable. And do whatever you can to put a stop to this kind of bullshit in your own industry/workplace.”

Last year Bloodshot Records co-founder Nan Warshaw resigned from her position at the label following allegations of sexual misconduct made Bloodshot recording artist Lydia Loveless against Warshaw’s domestic partner, Mark Panick. Warshaw’s resignation was announced in a statement from the label, which reads, “co-founder Nan Warshaw is resigning from Bloodshot. Remaining co-founder Rob Miller, along with the entire highly dedicated staff, will continue the work of Bloodshot, while ensuring that the core values of the company are consistently represented by all associated w/ the label.”(see tweet)

Bloodshot Records was founded by Rob Miller and Nan Warshaw in 1993 as an “insurgent country” record label catering to the coutry roots loving younger fans that grew up on punk and looked for a fusion of the sounds. Bloodshot was home to many of the genre’s pioneers like Ryan Adams, Neko Case, The Waco Brothers, Scott H. Biram, Wayne “The Train” Hancock, The Old 97’s, The Meat Purveyors, Robbie Fulks and Justin Townes Earle, and currently has on it’s roster Sarah Shook and the Disarmers, Jason Hawk Harris, Ruby Boots, The Vandoliers, and others.

Old 97s New Album “Twelfth” Out This Summer

Remember alt.country? The Old 97’s and their legions of fans worldwide haven’t. And those fans will be rewarded when the Dallas’ stalwarts deliver their 12th album, ‘Twelfth,’ on August 21st.

To drive home the title even further the cover features the most famous #12 of them all, the legendary Dallas Cowboys quarterback Roger Staubach airborne and in fine form.

The band began recording ‘Twelfth’ in Nashville’s Sputnik Sound Studio last spring, just as tornadoes ripped through the city as they watched from their rented condo.

Though The Old 97’s records and live performances are rollicking fun with a debauchery chaser, the new release will reflect singer and principal songwriter Rhett Miller’s newfound sobriety (five years this summer.) Though the topics might be more clear-eyed and focused if the newly releaseD cut ‘Turn Off The TV’ (see the Liam Lynch directed video below) is representative of the rest of the album, it’s still sure to be lots of fun.

https://www.instagram.com/p/B9j4UewhtgN/?utm_source=ig_web_copy_link

Pre-order’Twelfth’

‘Twelfth’ track list:
– Confessional Boxing
– Diamonds On Neptune
– I Like You Better
– Happy Hour
– Absence (What We’ve Got)
– Turn Off The TV
– This House Got Ghosts
– Why Don’t We Ever Say We’re Sorry
– Belmont Hotel
– Bottle Rocket Baby
– Our Year
– The Dropouts