MUSIC DISC REVIEWS

We bring you, at last, the full version of our talk with Henry Rollins that ran in the September print and iPad editions of Sound+Vision. Enjoy!

Watch out, hip-hop: If you don’t stay on top of your game, you might get bumped out of the limelight by other forms of pop music. That’s the meaning behind the title of Jay-Z and Kanye West’s brash, lavishly produced collaboration, as Jay himself has acknowledged.

YOU’RE SCRAMBLING NOW, thinking, Wait — I recognize her . . . don’t I? Yes — yes, you do. Can’t quite place her though, hmm? (She might actually appreciate that; she doesn’t like or seek being typecast.)

Throughout its long history, country music has often found itself staring at the mirror and trying to make sense of the reflection.

Jane's Addiction is back in action, with a brand-new album on the way and a tour in progress.

Dave Grohl and I are crouched together on a hot blacktop driveway that encircles the SoCal locale where the photo session for this exclusive S+V cover story is taking place. To the onlookers who shuffle past us and sometimes hover at a respectful distance, it appears as if these two hunched, animated, close-talking bearded longhairs are plotting to take over the world — and perhaps that’s not an entirely wrong assumption.

Back in September 2002, I interviewed Michael Tilson Thomas about the launch of a bold new project with the San Francisco Symphony: a complete cycle of the Mahler symphonies to be released on hybrid multichannel SACD via the orchestra’s fledgling in-house label, SFS Media. At the time, Thomas already had clearly formed ideas about the sound he wanted: