I feel like Substack is now, in many ways, the vanguard of music criticism in which both pros like Greil Marcus, Nelson George, Ted Gioia, Robert Christgau and David Cantwell (and many, many others) and aspiring critics (I don't hesitate in calling myself a music critic - that's where I hope to go one day) can thrive. The diversity of wr…
I feel like Substack is now, in many ways, the vanguard of music criticism in which both pros like Greil Marcus, Nelson George, Ted Gioia, Robert Christgau and David Cantwell (and many, many others) and aspiring critics (I don't hesitate in calling myself a music critic - that's where I hope to go one day) can thrive. The diversity of writing and coverage is awe-inspiring. Probably the best music publication there is these days.
Also love the inclusion of the clip from Elvis' Comeback Special - part of my favourite moment from the special. The whole gospel medley from which 'Sometimes I Feel Like a Motherless Clip' and "Where Do I Go But To the Lord' comes from (after these two songs, there's a quick appearance of 'Up Above My Head,' then a short transitional piece written by W. Earl Brown, the writer of 'If I Could Dream,' and then Leiber and Stoller's 'Saved') is incredible - Elvis is singing like his very life is on the line (it kind of was).
I feel like Substack is now, in many ways, the vanguard of music criticism in which both pros like Greil Marcus, Nelson George, Ted Gioia, Robert Christgau and David Cantwell (and many, many others) and aspiring critics (I don't hesitate in calling myself a music critic - that's where I hope to go one day) can thrive. The diversity of writing and coverage is awe-inspiring. Probably the best music publication there is these days.
Also love the inclusion of the clip from Elvis' Comeback Special - part of my favourite moment from the special. The whole gospel medley from which 'Sometimes I Feel Like a Motherless Clip' and "Where Do I Go But To the Lord' comes from (after these two songs, there's a quick appearance of 'Up Above My Head,' then a short transitional piece written by W. Earl Brown, the writer of 'If I Could Dream,' and then Leiber and Stoller's 'Saved') is incredible - Elvis is singing like his very life is on the line (it kind of was).