Alison Fensterstock
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The Pogues' Spider Stacy, Leyla McCalla and the saxophonist Dickie Landry contribute to a deep, atavistic and swampy version of "Kalenda."
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Having cycled through a full generation of performers (not to mention audience), how does the grandpa of festival culture compete in the Coachella-sized market it helped create?
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Pan-generational brass bands join this joyous, weird trip through New Orleans cemeteries and streets, with cameos from stalwarts of local street culture.
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The second album by Rickie Lee Jones was released in 1981, following a breakup and the response to Jones' Grammy-winning debut, and gets its name and its concept from a band of local drug smugglers.
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The family gospel trio's new album is soul-stirring praise music married to the electric rhythms of Memphis.
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Alynda Segarra takes her love of The Ronettes' lust-drenched rock 'n' roll Rosetta stone one step further and re-creates the trio's iconic 1965 TV performance.
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Foster's easy-rocking slice of gospel soul is shot through with Derek Trucks' blissful slide guitar and tapping high heels recorded on her old church floor.
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In the midst of her searching, tough and vulnerable Raw, written after her divorce from Neil Young, Pegi Young covers a Ray Charles tune that seems to come from the other side of love.
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Gone 'Til November, transcribed from the journal he kept while at Rikers, isn't particularly revealing, but it offers a chance to stop and take stock of where the rapper has been since.
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The familial feeling at the annual New Orleans gathering comes partly from its perennial performers, but now, 22 years in, whose nostalgia is being served?