Search results for

This year, there are only three entries in the Academy Awards' best song category. It's only the second time in Oscar history that just three songs were nominated. Murray Horwitz, director of the American Film Institute's Silver Theater, talks about this year's nominees.

Stuart Murdoch is the front man for the Scottish indie-pop band Belle and Sebastian. For the group's new CD, The Life Pursuit, they've broken two long-standing traditions: making quietly precious music, and refusing to embrace the media.

The first thing listeners will probably notice about the indie-pop band Tilly and the Wall is its use of tap-dancing in place of drumming. But it's the group's infectious blend of girl-group vocal harmonies and tightly constructed pop that makes it far more than the sum of its gimmicks.

The CodeTalkers don't look like your everyday jam band. But don't let the dark suits they wear in concert fool you. The Atlanta-based trio doesn't take itself too seriously, despite the formal attire.

Kaki King and Vienna Teng first performed on Weekend Edition Sunday in 2004. Since then, their musical styles have evolved. Teng's forthcoming album intimately showcases her talent as a pianist and vocalist. King has moved past the acoustic instrumentals of her earlier discs with her latest album, coming in August.

The two pianos in Studio 4A didn't match, so five brand-new instruments had to be moved in for The 5 Browns, who play Rimsky-Korsakov's Flight of the Bumblebee and a five-piano arrangement of Leonard Bernstein's West Side Story Suite.

This year's winner is a songwriter from Boston, Mass., whose winning song is an ode to feeling like she doesn't fit neatly into any one box.

A lifelong Dolly Parton fan born in Germany who used country music to understand American culture and survived hardship with poise and wit.

The London duo Johnny Boy releases a single that's as catchy as its title is long. With a sound rooted in '60s pop, the result is an underground rock masterpiece: Sly and timeless, it works on multiple levels.

On "Mrs. O," The Dresden Dolls' Amanda Palmer sings with such melodramatic ferocity that niceties such as relation to pitch become irrelevant. She howls, she keens, and she throws her voice as hard as she can against anyone listening.