VIA PRESS RELEASE | “You don’t have to be a Michelin-starred chef to know when you are eating a spectacular meal. And you don’t need a doctorate in music theory to enjoy Bach, Eric Dolphy, or Stravinsky. In this beautifully written book, Craig Havighurst reminds us that with an active ear, we all have the potential to participate in the flight of great music.” —Béla Fleck

Music journalist and broadcaster Craig Havighurst is proud to announce his new book, Musicality For Modern Humans: How To Listen Like An Artist, published this week through independent publisher The Sager Group. Inspired by more than 25 years of reporting on music and musicians in Nashville, Havighurst’s guide to the pursuit of musicality will inspire and inform readers of all levels, redefining music appreciation for the 21st century.

Musicality is a self-enrichment book about the inner game of sound-based art for curious people who wish they could get deeper into music, including those who feel confused, overwhelmed, or intimidated. It’s for anyone looking to shake up their habits, get free of algorithms, and listen for more in music across all genres and time periods.

For the past nine years, Craig has been Editorial Director at NPR affiliate WMOT 89.5 FM, where he hosts The String, a thought-provoking weekly interview show covering American roots music. He has reported on Americana music for NPR, The Tennessean, No Depression, Bluegrass Unlimited, Acoustic Guitar, The Wall Street Journal, and other leading outlets.

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Celebrating Joni Mitchell on her 82nd birthday. —Ed.

After reports that her death was imminent in 2015 after she had an aneurysm, Joni Mitchell has risen, phoenix-like, to resume a somewhat normal life and even make public appearances, although she has difficulties walking.

Through Rhino Records, Mitchell has now embarked on the most ambitious and thus far fruitful archival reissue series of her long and illustrious career. She has never been a fan of greatest hits or archival releases, as she feels they can lead to a halt in sales of individual albums.

The initial batch of archival releases included Live At Canterbury House 1967 as a three-album vinyl set, recorded in Ann Arbor, Michigan; Early Joni as a single vinyl album; and Joni Mitchell Archives – Vol. 1: The Early Years (1963–1967), which included radio, television, live recordings, tapes, demos, and more previously unreleased material as well as the Live at Canterbury House 1967 performances available as a 5-CD set. There has also been the “Joni Mitchell Blue 50 (Demos & Outtakes)” Digital EP Flac release, which includes five previously unreleased recordings from the 1971 Blue sessions.

The latest release is Joni Mitchell The Reprise Albums (1968 – 1971) available as either a 4-CD set, or a limited edition of 10,000 copies, four-LP vinyl box set. The limited edition vinyl box set is beautifully packaged in a slip-case and features authentic gatefold replicas of her first four albums on 180 gram vinyl: Song To A Seagull (1968), Clouds (1969), Ladies Of The Canyon (1970) and Blue (1971).

Mitchell’s debut album is presented in a brand-new mix by Matt Lee, overseen by Mitchell, and all the albums have been remastered by Bernie Grundman. The cover art of the outer box is by Joni Mitchell and there is an essay included by Brandi Carlile. Carlile will actually be performing the entire Blue album at Carnegie Hall on November 7th. She has done this once before in Los Angeles at the Walt Disney Concert Hall in 2019.

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I recently caught up with Tytti Roto, who’s been a big part of the Helsinki underground for years—you might know her from Rosettes, Modem, Plastic Tones, or Ty Roxy.

I met Tytti back in September when we played the same Synthicide night, and I was completely blown away by her and her band Modem. They’re a synth-pop duo she started with Ville Valavuo in 2020, drawing on their shared love of the electronic sounds of the ’80s.

When we talked, Tytti was in the studio working on the new Plastic Tones record—her first band—while Modem had just dropped their second full-length, Interface. And knowing her, I’m sure something’s cooking for Ty Roxy too.

Go check it all out: Modem via Don Giovanni Records, Ty Roxy via Fonal Records, and all things Tytti on Instagram.

Radar features discussions with artists and industry leaders who are creators and devotees of music and is produced by Dylan Hundley and The Vinyl District. Dylan Hundley is an artist and performer, and the co-creator and lead singer of Lulu Lewis and all things at Darling Black. She co-curates and hosts Salon Lulu which is a New York based multidisciplinary performance series. She is also a cast member of the iconic New York film Metropolitan.

Celebrating Roy Wood in advance of his 79th birthday tomorrow.
—Ed.

This is what fans of The Move call a masterpiece? You might it expect it to be, seeing as how it’s the product of the bizarre mind of professional eccentric Roy Wood, future co-founder of Electric Light Orchestra and founder of the glam rock band Wizzard. And that’s the major flaw of 1970’s Shazam–despite the presence of Wood, the album isn’t eccentric enough.

The Move take a scattershot approach on Shazam, delving into art rock, classical rock, raga rock, and proto-metal, while also taking stabs at The Beatles and sixties folk rock. But their most important influence is the Bonzo Dog Doo-Dah Band, and that’s where things fall apart. The Bonzo Dog Doo-Dah Band kept whimsical tongue firmly planted firmly in dada cheek, but on Shazam The Move want to have it both ways. They wander into Stanshall/Innes territory on a couple of cuts, but for the most part they play it straight. Shazam is a case of a split personality, and it’s too late for it to seek therapy.

“Cherry Blossom Clinic” makes the comedy grade, what with its light-hearted treatment of “they’re coming to take me away ha ha” lunacy, but the song is ruined for me by the extended foray into the music of Bach and Paul Dukas. Sure, it’s all in fun, but I don’t enjoy being classically gassed–if I wanted to listen to the likes of Bach I’d have to become a different person, because the person I am is bored stiff by the stuff.

Far less funny is the opening of the tender and very serious “Beautiful Daughter,” in which the band takes the same “talk to the man in the street” approach the Bonzo Dog Band employ in their masterpiece of absurdity “Shirts.” Trouble is, with the exception of the old women who responds to the question of whether she likes pop music by saying, “Well, it’s nice in its way, you know some of it, not uh, not when they go naked,” the Q and A just ain’t that funny. One laugh line doesn’t not a comedy classic make.

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WORDS AND IMAGES: DANA WALSH IN AUSTIN, TX | It was a night of nostalgia, energy, and pure joy as Devo and The B-52s took the stage at Germania Amphitheater in Austin. From the stormy build-up to the electric atmosphere inside, the evening was a rollercoaster of emotions that culminated in unforgettable performances by two iconic bands that helped define an era. Whether you were there to shimmy to “Love Shack” or lose yourself in the chaotic brilliance of “Whip It,” this show was a celebration of bold, unapologetic music that still feels as fresh and fun as ever. Curious how the night unfolded? Let me take you through the highs, the surprises, and the moments that made it magical.

Let me set the scene. The drive to the venue was a stormy adventure—rain on and off for nearly an hour and a half. When I finally pulled in (a solid three hours early), the sky looked ominous, heavy clouds rolling with flashes of lightning in the distance. Dread started to creep in, but I tried to stay hopeful.

About an hour before showtime, the storm hit full force. Then it stopped. Then it threatened again. So, we all waited it out in our cars, refreshing social media for updates. I got a text saying the show was delayed and that they’d keep us posted. A little relief, but still that nervous “what if” feeling. Half an hour later, I noticed a few people walking toward the stairwell where we were supposed to enter. I got out and crossed the lot to check with security. I’d barely been standing there thirty seconds when someone came over the guard’s radio: “They’re letting people in.”

Instant excitement. From our spot, you couldn’t see the main entrance, so it felt deserted—like maybe the storm had scared everyone off. Nope. Once inside, the place was packed. The air was electric, the crowd buzzing with relief and anticipation. The speakers blasted tracks straight out of my high school years, and the nostalgia was real. The anticipation built, and I couldn’t help thinking how much The B-52s and Devo had really helped shape that era. They were bold, bizarre, and utterly unapologetic about being different. We could use more of that today.

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VIA PRESS RELEASE | Filmmaker, author, comedian, and cultural icon extraordinaire, John Waters, 79, returns with his second Christmas parody single (and third holiday single with Sub Pop), “John Waters covers ‘Little Cindy,’” produced again by his longtime friend and colleague, Grammy-winner, Ian Brennan (Tinariwen, Parchman Prison Project, The Good Ones [Rwanda], Ramblin’ Jack Elliott).

Waters says, “In the tradition of novelty records, which I’ve always loved, this year I pay tribute to one of my favorite hymns that was once included in my John Waters Christmas album—sung by the ever-holy child vocalist Little Cindy. I have never been in drag professionally, but with this little sticks-and-stones gift record to bad children everywhere, I channel Little Cindy’s voice and aura, even stumbling over the exact words she did on the original 45rpm version.

Little Cindy is beyond saintly in my opinion, a minor miracle, a human spiritual sacrament who brings her devoted sanctity to this psalm of southern sentimentality. For a few vinyl minutes, I hope listeners will agree: John Waters IS Little Cindy.

Side B is beyond the valley of gimmicks, over the top of parody and underneath the mountain of linguistics, recorded in Pig Latin—a secret dialect my mother taught me in the ‘50s. I don’t take easily to learning a new language but this maddeningly ugly way of speaking is a tongue I eventually licked. I even used Pig Latin in Pink Flamingos where Divine’s family skipped, happily chanting, ‘We Are The Filthiest People Alive.’ What better way to remind my public of this lunatic way of communication (even the Three Stooges spoke it in some of their 1930s movies) than to translate this beloved poem into a consonantly confused vernacular? ‘A Visit from St. Nick?’ As-tway E-thay Ight-nay Efore-bay Istmas-kray!

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VIA PRESS RELEASE | Connie Francis’ beloved holiday classic, Christmas In My Heart, is now available on vinyl—on standard black or limited edition “lipstick-red” color vinyl—and as an expanded edition on CD with two bonus tracks, “Blue Winter” and “Happy New Year Baby” via Republic/UMe, ready to soundtrack your holiday season.

Originally released in 1959, Christmas In My Heart remains one of Francis’ most cherished albums, capturing the warmth, nostalgia, and spirit of the season with her unmistakable voice. The album found Francis teaming with producer Arnold Maxin to capture two distinct sides of the holidays on the two sides of the record. Side A features Francis’ charming renditions of such holiday staples as “I’ll Be Home for Christmas,” “Winter Wonderland,” “White Christmas,” and “Have Yourself A Merry Little Christmas,” while side B includes more reverent material like “Adeste Fidelis (O Come All Ye Faithful),” “Ava Maria,” and “Silent Night.”

The album was reissued in 1966 as Connie’s Christmas, with the addition of her 1962 hit single, “I’m Gonna Be Warm This Winter” (with the little known b-side “Pretty Little Baby”), which peaked at No. 18 on both the Billboard Hot 100 and the Cash Box Top 100. Christmas In My Heart meanwhile, peaked at No. 19 on Billboard’s Christmas Records album chart upon release. “I’m Gonna Be Warm This Winter” experienced renewed popularity in 2015 when pop star Kylie Minogue covered it on her album, Kylie Christmas.

In honor of the extraordinary life and enduring legacy of the late Francis, one of the most iconic voices of the 20th century, much of her timeless music is available to enjoy in a variety of formats. Francis passed away on July 16 at the age of 87.

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Remembering Doug Sahm, born on this day in 1941. —Ed.

Hank Williams’ very last performance in this life was at the Skyline Club in Austin, Texas in December 1953. On stage with him was an unusual figure; the 11-year-old Douglas Wayne Sahm, a prodigy who had made his radio debut at the age of five. Come 1965, Sahm became the front man of The Sir Douglas Quintet, whose “She’s About a Mover” is nothing less than one of the greatest songs ever. (Yeah, that’s right.) Now jump forward to 1973 and Jerry Wexler of Atlantic Records, who produced Sahm’s debut solo LP, Doug Sahm and Band.

That “band” was misleading; the folks in that studio were nothing less than a supergroup, and had no intention of hitting the road together. Bob Dylan, Dr. John, David Bromberg, and the Tejano Mexican accordionist Flaco Jiménez were all involved, as was famed saxophonist David “Fathead” Newman and ex-Sir Douglas Quintet keyboardist Augie Meyers, who produced that great organ sound on “She’s About a Mover.”

It could have turned into a self-indulgent fiasco, as so many sessions crowded with big names do, but instead it was an instant classic—energetic, ecstatic, and in general the kind of LP guaranteed to put a smile on your face. Its mix of Tex-Mex, blues, and rock’n’roll means it’s all over the place, but the band put their magic touch on whatever genre they turned their heads to. Sahm wrote only 3 of the LP’s 12 songs—other contributors included Dylan, Willie Nelson, and T-Bone Walker, amongst others—but he managed to make them his own.

This is one of those LPs that, if you don’t own it, when you die and go to Heaven the good Lord is going to ask you why. He’s going to say, “’Wallflower’ was the best Dylan tune since The Basement Tapes, and you missed it. Doug and Bob kick ass on the hillbilly vocals, and David Bromberg plays one hot dobro. This one’s a better vocal collaboration than Dylan and Johnny Cash, although I give them kudos for being drunk off their asses when they recorded it.”

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VIA PRESS RELEASE | Interscope-Capitol Records announces Nat King Cole’s timeless holiday classic, The Christmas Song, as the next release in the label’s acclaimed Definitive Sound Series (DSS), a premium audiophile series presenting iconic albums from the label’s respective catalogs using the state-of-the-art One Step manufacturing process.

First released in 1962, Nat King Cole’s The Christmas Song album stands as one of the most iconic holiday recordings of all time. Built around his timeless rendition of “The Christmas Song (Chestnuts Roasting on an Open Fire),” the record blends traditional carols with newer holiday standards with a warmth and sophistication that has become synonymous with the season. This special edition features two songs not on the original album, “O Come All Ye Faithful” and “God Rest Ye Merry Gentlemen.”

Sourced from the original three-track master tapes, the album was pressed at Record Technology, Inc., and mastered by Chris Bellman at Bernie Grundman Mastering. The LP, 180g high-definition vinyl ($99.98), arrives on November 21, just in time for the holiday season.

Designed for collectors and audiophiles, the Definitive Sound Series features numbered, limited-edition runs of 3,000 copies per title. Featuring the original album artwork, each 180g high-definition vinyl album is packaged in tip-on gatefold jacket, crafted to the highest archival standards, housed in a custom-designed Definitive Sound Series slipcase that showcases the album art, track listing, and the One Step process details. Each copy comes with a certificate of authenticity, giving the owner a guarantee of mastering, plating, and pressing details.

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The impact of the African-American gospel tradition on soul and rock ‘n’ roll is long-established. Craft Recordings’ Jesus Rocked the Jukebox: Small Group Black Gospel (1951-1965) spreads the evidence across six vinyl sides as they provide an expansive overview of the undiluted spiritual spark. Mingling well-known artists who made the jump into pop territory (Sam Cooke, Lou Rawls, The Staple Singers) with giants in the gospel field (The Blind Boys of Alabama, The Swan Silvertones, The Harmonizing Four), the results are an unmitigated joy. 

The give and take between the sacred and the secular was long and productive across the 20th century, and for the details, this set’s notes by Robert M. Marovich do an outstanding job. But really, the beauty of Jesus Rocked the Jukebox is that all one needs to do is listen; the elements of the crossover to soul and rock and of course to the pop charts, is abundant here, and frequently from artists who themselves made the thematic transition.

None were bigger than Sam Cooke. Unlike Ray Charles, who built his career on honing a blend of blues, R&B, jazz, and gospel into a cornerstone of soul, prior to a foray into pop, Cooke was well-known as a member of the already long-running Soul Stirrers. Indeed, the quartet’s greatest success essentially spanned Cooke’s tenure, with the a cappella “Jesus Gave Me Water” an early hit (from 1951, exactly) and one that was clearly influential on doo wop’s explosion later in the decade.

From the following year, “Just Another Day” begins with the vocalist’s immediately identifiable style, blending it with rich harmonizing and simple but driving rhythmic accompaniment that as Marovich explains, was often the design of record labels, in this comp’s case Specialty and Vee-Jay, in hopes of shifting more units. Naturally, this addition is important to gospel’s impact on secular music, particularly R&B and rock. Here, it intensifies the Stirrers’ considerably more emphatic “Come and Go to that Land” and the splendid “Sinner Run to Jesus” (from ’57, a year before Cooke left the group).

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VIA PRESS RELEASE | Varèse Sarabande announces the release of the Original Motion Picture Soundtrack for Roofman, featuring music by composer, arranger and multi-instrumentalist Christopher Bear (Grizzly Bear) with contributions from GRAMMY®-winning multi-instrumentalist Jon Natchez (The War on Drugs).

Available now across digital platforms in both standard and HD audio, the soundtrack will also be released on vinyl and CD February 20 and is available now for pre-order. Each physical edition includes liner notes by Bear and the film’s director, Derek Cianfrance (Blue Valentine, The Place Beyond the Pines). The biographical crime-comedy film, which stars Channing Tatum, Kirsten Dunst, and Peter Dinklage, opened to broad acclaim on October 10th, and is currently playing in theaters globally.

Roofman tells the unbelievable true story of Jeffrey Manchester (Channing Tatum), a struggling Army veteran who robbed dozens of fast-food restaurants across the country—sneaking in through holes he cut in their roofs and waiting for unsuspecting employees to arrive the next morning.

Known to authorities as “Roofman,” Manchester was no ordinary criminal: he avoided violence, showed compassion toward his victims, and even made sure they had coats before locking them in walk-in freezers. Eventually captured and sentenced to 45 years in prison, Manchester’s story took an even stranger turn when he escaped—spending six months hiding inside a Charlotte, NC, Toys “R” Us, where he created a secret double life and fell in love with a single mother (Kirsten Dunst).

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