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The sax solo as we know it today would not exist without Gerry Rafferty. His 1978 soft-rock classic 'Baker Street' has to be the 'Ulysses' of rock & roll saxophone, giving the entire chorus over to Raphael Ravenscroft's sax solo, creating one of the Seventies' most enduringly creepy sounds.

Rob Sheffield

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Rob Sheffield
Age: 58
Born: 1966
Born: February 2
Journalist
Music Critic
Writer
the United States of America
Robert James Sheffield
Would
Rocks
Solo
Ulysses
Exist
Soft
Raphael
Creating
Classic
Baker
Streets
Roll
Bakers
Sound
Sounds
Saxophone
Today
Street
Creepy
Without
Entire
Chorus
Giving
Rock
Seventies
Gerry

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Every mix tape tells a story. Put them together, and they add up to the story of life.
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Anyone watching '30 Rock' always knew Tina Fey was playing a fictionalized version of herself, a workaholic comedy writer who also plays one on TV. She's the boss Liz Lemon just works here.
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When I started out as a music journalist, at the end of the 1980s, it was generally assumed that we were living through the lamest music era the world would ever see. But those were also the years when hip-hop exploded, beatbox disco soared, indie rock took off, and new wave invented a language of teen angst.
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It's kind of amazing how popular 'Grey's Anatomy' is. What other show can boast such an annoyingly sincere cast of doctors, sniveling through such perfunctory love triangles?
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...some people aren't worth the trouble of being kind to, because they have neither the brains nor the power to make something for themselves out of your kindness.
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There are all kinds of mix tapes. There is always a reason to make one.
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On 'Idol,' Steven Tyler will be sitting at a table with two other judges, and part of his job will be keeping his yap zipped while they talk. This makes no sense at all, since Tyler has zero yap-zipping skills.
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I realize that I will never fully understand the millions of bizarre ways that music brings people together.
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'American Horror' goes for a very specific kind of Seventies suburban downer ambience - 'Flowers in the Attic' paperbacks, Black Sabbath album covers and late-night flicks like 'Let's Scare Jessica to Death.' It even has 'Go Ask Alice'-era urban legends.
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You can't beat the beehive for glam punkette attitude.
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The dilemma of the eighth-grade dance is that boys and girls use music in different ways. Girls enjoy music they can dance to, music with strong vocals and catchy melodies. Boys, on the other hand, enjoy music they can improve by making up filthy new lyrics.
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When you stick a song on a tape, you set it free.
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The Stones suggested that if you dabble in decadence, you could turn into a devil-worshipping junkie. Paul McCartney suggested that if you mess around with girl worship, you could turn into a husband. So Paul was a lot scarier.
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Seeing Taylor Swift live in 2013 is seeing a maestro at the top of her or anyone's game. No other pop auteur can touch her right now for emotional excess or musical reach - her punk is so punk, her disco is so disco. The red sequins on her guitar match the ones on her microphone, her shoes and 80 percent of the crowd.
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The hungry feeling and the lonely feeling merged until it was hard to tell them apart.
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The first season of 'Community' stumbled a bit because the plotlines too often veered into realism, but that is not a problem anymore. Not when prize episodes concern a campuswide blanket fort, or a secret garden with a magic trampoline.
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I was totally clueless about social interaction, and completely scared of girls. All I knew was that music was going to make girls fall in love with me.
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It's always that one song that gets to you. You can hide, but the song comes to find you.
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When Ke$ha tries to rap like L'Trimm, she sounds like any ordinary lonely teenage girl stuck in a nowhere town, singing along to her radio and dreaming of a party where she's the star. Ke$ha's greatness is that in her voice, you can hear both the loser girl and the star. All hail the Queen of Noi$e!
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