Category Archives: The TVD Storefront

VIA PRESS RELEASE | Craft Latino celebrates the 45th anniversary of ¡Que sentimiento!, the sixth studio album from legendary salsa singer Héctor Lavoe.

Marking Lavoe’s first and only self-produced album, the 1981 title features eight timeless salsa tracks, including “El son,” “No hay quien te aguante,” and “Soy vagabundo”—all of which are bolstered by lush arrangements from such esteemed figures as Luís Cruz, Louie Ramírez, and José Febles. Out of print for 45 years, ¡Que Sentimiento! arrives on 180-gram vinyl on October 2 and features all-analog (AAA) mastering.

A limited-edition Rojo Amor (Red Love) color pressing (only 300 copies) will also be available as a standalone or bundled with a Fania Classic Logo T-shirt at Fania.com. The remastered album will also be available in digital format, including Hi-Res audio for the first time.

One of salsa music’s greatest vocalists, Héctor Lavoe (1946–1993) was an influential force in the genre, thanks to his charming stage presence, impeccable delivery, and witty improvisations. Born Héctor Juan Pérez Martínez in Ponce, Puerto Rico, the artist relocated to New York City at 17, where he built a name for himself performing in bands led by Roberto García, Kako, and Fania Records founder Johnny Pacheco. It was through Pacheco that Lavoe met 16-year-old Willie Colón, with whom he would form one of Latin music’s most celebrated partnerships.

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Remembering Phil Lynott, born on this day in 1949. —Ed.

You wanna hear a miracle? I lived for almost five-and-a-half decades without ever hearing Jailbreak, or any other Thin Lizzy album for that matter. Here, vocalist/bassist and chief songwriter Phil Lynott and his Irish compatriots put out a truly tremendous LP in America’s Bicentennial Year, not to mention a parcel of other great LPs, and what was I doing? Listening to Elton John, John Denver, England Dan, and John Ford Coley, any band basically with a guy named John in it. If Debbie Gibson’s middle name had been John, I would have listened to her, too.

I would love to be able to say I wasn’t into hard rock back then, but I owned albums by Bad Company, UFO (UFO? Me? Inexplicable!), Robin Trower, and Foghat, so that’s sheer bunk. But there’s no point in crying over guilty milk, and it’s never too late to make up for past mistakes, that is, unless you’re Lee Harvey Oswald or that chimpanzee (name: Travis) who ripped a woman’s face off in 2009, and I’m neither of those personages.

So here I am making up for atoning for my inexplicable oversight, and listening to Jailbreak, which mixes tremendous twin-guitar hard rockers with sweeter fare, all of which I love with the possible exception of “Cowboy Song”—in which Lynott, a black Irishman, plays rodeo cowpoke.

But I take that back. “Cowboy Song” may start slowly, but its guitar solos are tremendous, and Lynott’s vocals are impassioned (especially when he sings, “It’s okay amigo/Just let me go/Riding in the rodeo”), and the jam at the song’s end is a bono fido guitar marvel. Turns out I love the damn thing! Just as I love everything about the LP, except for its cover. Too sci-fi for my decidedly earthbound tastes.

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VIA PRESS RELEASE | Thirty years after its original release, De La Soul celebrates the legacy of Stakes Is High with a definitive 30th Anniversary Edition, arriving October 23, 2026 via A.O.I. Records, distributed by Chrysalis. Available for pre-order, the expanded release honors one of hip-hop’s most influential albums with newly remastered audio, a wealth of bonus material, and exclusive collectible editions for longtime fans and new listeners alike.

Originally released in 1996, Stakes Is High marked a pivotal moment in De La Soul’s career. As the trio’s fourth studio album and their first without longtime collaborator Prince Paul, it ushered in a more stripped-back, hard-edged sound while remaining rooted in the wit, intelligence, and musical adventurousness that defined the group’s work. Featuring the title track produced by a then-rising J Dilla, the album found De La Soul confronting the changing landscape of hip-hop with clarity, confidence, and uncompromising artistry.

The title track would become one of the group’s defining statements, peaking at No. 53 on Billboard’s Hot R&B/Hip-Hop Songs chart, while the album reached No. 4 on Billboard’s Top R&B/Hip-Hop Albums chart. Beyond its commercial success, Stakes Is High has only grown in stature over the past three decades, celebrated as one of hip-hop’s most insightful and forward-thinking releases.

Tracks including “The Bizness” featuring Common, “Itzsoweezee (HOT),” and “Pony Ride” showcase De La Soul at their most focused, balancing soulful production, razor-sharp lyricism, and social commentary that remains remarkably relevant today.

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Remembering Isaac Hayes, born on this day in 1942. —Ed.

Released in 1969, Hot Buttered Soul brought Isaac Hayes widespread attention as he helped lead the charge into a new decade of soul music innovations. An impeccable album in a genre that hitherto had been largely dominated by singles, Hayes’ achievement is a perfect addition to Craft Recordings’ Small Batch series. Pressed on 180 gram vinyl at RTI with Neotech’s VR900 compound using lacquers cut from the master tapes by Bernie Grundman, the edition of 3,000 arrived in stores in 2024.

Given how Hot Buttered Soul has consistently pulled in new listeners across a span of generations since its smash hit release, it can be easy to misplace the record’s reality as a groundbreaker. Featuring two songs on each side, the LP did something almost unheard of, hitting the marketplace without any accompanying singles; radio edits of “Walk on By” and “By the Time I Get to Phoenix” were subsequently issued (and charted) after the record’s unexpected success.

That Stax (through subsidiary Enterprise) allowed Hayes such creative freedom is not only unusual but also pretty risky, as the set’s bold conception couldn’t have been inexpensive. The scoop is that Hot Buttered Soul became a reality through Stax honcho Al Bell’s directive to the label’s active roster to cut a slew of albums for release in a very tight timeframe, a decision made because Stax had lost its entire back catalog to Atlantic Records.

Presenting Isaac Hayes, the artist’s debut from 1968, proved a disappointment, and to nobody more than Hayes himself, who responded to Bell’s album initiative with a demand for complete creative control. That the resulting LP received the necessary promotional push to take root with consumers and then catch fire is a testament to Hayes’ talent but also to Bell’s stature as a record man.

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HARRISBURG, PA | Certain live performances feel less like a concert and more like reconnecting with an old friend. Slightly Stoopid has always been one of those bands for me. I’ve seen them many times over the years, but somehow it had been a couple of years since our paths crossed. Their Road Trippin’ Summer Tour 2026, rolling into Harrisburg’s Riverfront Park with The Elovaters and DENM, was the perfect way to fix that.

Riverfront Park might also be one of the best settings in Pennsylvania for a reggae show. Stretching alongside the Susquehanna River between the shoreline and Front Street, the park provided a beautiful backdrop for a summer evening filled with reggae, rock, hip-hop, and plenty of good vibes.

Before the music even started, I ran into another familiar face: Ray Broome. If you spend enough time around reggae shows in the Northeast, chances are you’ve crossed paths with Ray. Artists know and love him, bands know and love him, and fans know and love him. He’s simply one of those genuinely good people who seem to be everywhere, but it had also been a couple of years since I’d seen him. There was really only one proper greeting for the occasion. Sheeeesh!

Before his set, I also had the opportunity to meet up with DENM for a few photos and a quick conversation. He was exactly what his music suggests—super laid-back and incredibly cool. My only complaint was that we didn’t have more time to talk. Then he hit the stage and flipped the switch.

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VIA PRESS RELEASE | Mercury Studios commemorates the 25th anniversary of legendary progressive rock band Yes’s 2001 album Magnification with a dynamic half-speed remaster, available September 18. Combining the Rock & Roll Hall of Fame band’s signature progressive rock sound with sweeping symphonic arrangements, Magnification will be released on vinyl for the first time as a 2LP set, alongside a limited-edition 500-unit cassette release available in the US and UK.

Originally released in September 2001, Magnification is Yes’s 19th studio album and the first recorded as a four-piece, featuring the classic core lineup of Jon Anderson (lead vocals, MIDI guitar), Chris Squire (bass, backing vocals, lead vocals on “Can You Imagine”), Steve Howe (acoustic, electric & pedal steel guitars, backing vocals), and Alan White (drums, piano, backing vocals). There was no dedicated keyboard player on the sessions, and perhaps the harmonic freedom this provided inspired an adventurous musicality that harkened back to the band’s early days.

Compositions such as “Dreamtime” and “In the Presence Of” feature extended instrumental sections, while songs including “Can You Imagine” and “Time Is Time” reflect Yes’s post-1980s pop sensibility. Seamlessly woven throughout the album are ambitious orchestral arrangements performed by the San Diego Symphony Orchestra under the direction of three-time Emmy Award-winning film composer Larry Groupé.

Magnification marked only the second time Yes had recorded with a full orchestra, following 1970’s Time and a Word. The band supported the album with its acclaimed Yessymphonic Tour, where songs including the “Magnification,” “Don’t Go,” and “In the Presence Of” were brought to life with a full orchestra onstage.

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VIA PRESS RELEASE | Rhino’s Quadio series explores an eclectic selection of music from the heart of the 1970s with four new quadraphonic releases: Herbie Mann’s Hold On, I’m Coming, David Gates’ First/Never Let Her Go, James Gang’s Miami, and James Taylor’s Gorilla. All four arrive on Blu-ray.

Each disc pairs the original quadraphonic mix with a hi-res 192 kHz/24-bit stereo transfer. Each is sourced from its respective analog master tape, with the exception of the Herbie Mann quad mix, which was sourced from a commercial reel. Available exclusively through Rhino.com and select Warner Music Group stores worldwide, each title lists for $24.98, or $79.98 as a four-disc bundle. Order HERE.

Hold On, I’m Coming (1973) captures the legendary jazz flutist Herbie Mann playing to huge audiences at Yankee Stadium and the Montreux Jazz Festival. Backed by a razor-sharp band, he locks into a heavy R&B groove across the entire set. Standouts include a percussion-driven reading of the Memphis Horns’ “(Gimme Some Of That Good Old) Soul Beat Momma,” while tight, rhythmic covers of hits like “Respect Yourself” bridge the gap between the jazz club and the dance floor.

First/Never Let Her Go (1973/1975) brings together the first two solo albums from Bread’s brilliant mastermind, David Gates. Following his departure from the chart-topping soft-rock group, Gates proved he hadn’t lost his touch for immaculate pop. First shines with the quirky “Soap (I Use The)” and the lush “Suite: Clouds, Rain,” while Never Let Her Go delivers melody-driven gems like the title track—a #3 Adult Contemporary hit—and the easygoing “Playin’ On My Guitar.” Together, these two albums offer a double dose of the pristine arrangements that made Gates a 1970s radio staple.

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The Rolling Stones are true rock ‘n’ roll survivors. Even in the midst of losing one of their key founding members, drummer extraordinaire, Charlie Watts, in 2021, and with its three principal members (Mick Jagger, Keith Richards, and Ronnie Wood) headed toward or going past the ripe old age of 80, the group is in one of its most creative and successful recording phases since the late ’70s and early ’80s.

Beginning in 2016, the group has released three excellent albums, with its newest and maybe its best album in nearly 50 years. Rather than trying to awkwardly adapt to the current flavor of the week in pop music, the group does what they do best on their new album, but with a newfound vigor and just enough studio sheen to make the album more than just a nostalgic trip down classic rock music main street.

Like Paul McCartney, the group has enlisted the help of producer and, in many ways, co-collaborator Andrew Watt. Watt is a guitar rocker at heart, and he clearly knows what makes the Stones tick. He’s not trying to control them or make them sound too modern. He’s letting them be and allowing their unique bluesy sway, even with Charlie Watts gone, to shine through. What this album also highlights, which is sometimes overlooked, is that the Stones know how to write great songs.

Their image, reputation as the world’s greatest rock band, and epic narrative history often overshadow what is, in fact, a truly robust catalog of songs, primarily written by Jagger and Richards, that they can still pull off with aplomb. Of the fourteen tracks, Jagger and Richards are assisted in writing by Watt on two tracks and by Matt Clifford on one. Clifford also wrote one song with Richards. On their previous album, Watt also produced and co-wrote three songs.

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Formed in the early 1970s by rock impresario Kim Fowley in a manner similar to his more famous aggregation The Runaways, The Hollywood Stars existed in the space betwixt three big rocks, specifically glam, hard, and punk. Although positioned for success, the band’s existence was rocky, and they released a sole album in 1977 before breaking up and becoming the stuff of legend. Archival albums and a reformation followed, with Hey! L.A! emerging as the band’s second LP of new material. It’s a solid effort out now on vinyl, compact disc, and digital through Rum Bar Records.

The short description of The Hollywood Stars is that Kim Fowley assembled them as a West Coast answer to the New York Dolls. Some might be turned off by the blatant attempt to manufacture a group, but Fowley was an old-school figure who unabashedly functioned as part of the music business. That he was seeking to create a version of a band that was struggling on the fringes of glam and proto-punk reflects Fowley’s habit of chalking up his successes from the often disreputable margins.

The Hollywood Stars are also associated with two Fowley songs, “Escape” and “King of the Night Time World,” that are better known through contemporaneous recordings by Alice Cooper and Kiss, respectively. Neither song is part of the self-titled 1977 album by the Hollywood Stars, a set cut for Arista after a failed dalliance with Columbia Records and a prior breakup.

Shine Like a Radio: The Great Lost Album of 1974, released in 2013 by the Last Summer label, resurrects sessions for Columbia that included versions of “Escape” and “King of the Night Time World.” Although far from a brain-melter stylistically, the record is a fine listening experience, as it provides a glimpse into an upstart new thing transpiring on the California rock landscape of the era.

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NEWPORT, RI | Newport Folk Festival’s final day feels like a victory lap, a closing chapter where the boundaries between artists dissolve completely. The 2026 festival finale proved no exception, delivering a balance of blistering political anthems, lush pop-country, and an all-star curtain call that will echo in Fort Adams history.

Tom Morello packed the Quad Stage tent to absolute capacity for an explosive, politically charged acoustic-and-electric set. He brought his teenage son, Roman Morello, on stage to shred guitar on a high-energy performance of the Rage Against the Machine classic “Killing in the Name.”

Rousing the crowd with rebellious riffs and singalong anthems, Morello brought a punk-rock urgency that reminded everyone of folk music’s long history as the music of protest.

“I make anti-racist songs for anti-racists,” said Morello. “I make anti-fascist songs for anti-fascists. And I make anti-Nazi songs for anti-Nazis. On his new song, “‘Date Night’ is really a ‘which side are you on?’ song. If any of that offends you, do the math. Oh, and Roman Morello wrote the killer riff in this tune.”

Meanwhile, Irish sensation CMAT brought country-pop flair and theatrical wit to the Fort Stage, showcasing cuts from Euro Country. The highlight came when she invited Brandi Carlile out for a joy-filled duet of “I’d Want U,” sparking one of the biggest crowd roars of the afternoon. “Do you like me?” CMAT cheekily asked, receiving a wave of applause and cheers. “Well, that’s good!”

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VIA PRESS RELEASE | Mobile Fidelity Sound Lab (MoFi), the leader in high-fidelity audio reissues, is proud to reissue Warren Zevon’s Bad Luck Streak in Dancing School in audiophile sound for the first time on vinyl and as a Hybrid SACD. Available for order beginning August 14, MoFi’s numbered-edition 180g 45RPM 2LP Set (order HERE) and limited-edition Hybrid SACD (order HERE) present the gold-certified record with exceptional presence, detail, and ultra-quiet backgrounds.

The regal strings and successive gunshots that announce the start of Bad Luck Streak in Dancing School encapsulate the contrasts Warren Zevon deftly navigates on an album that further telescoped his witty, neo-noir songwriting to a broad audience. Recorded as the Chicago native struggled to overcome toxic addictions and advance from a soured marriage, the 1980 record showcases his interest in classical arrangements and knack for incisive observation, tongue-in-cheek fun, and heartbreaking emotion.

Sourced from the original analog master tapes (1/4″ / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe), pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set presents Zevon’s fourth album in audiophile sound. MoFi’s hybrid SACD is also sourced from the original analog master tapes, housed in mini-LP-style packaging, and strictly limited to 2,500 numbered copies.

Co-produced by Zevon and longtime studio partner Greg Ladanyi, Bad Luck Streak in Dancing School benefits from key collaborations with ace musicians such as Jackson Browne, Linda Ronstadt, Ben Keith, Waddy Wachtel, J.D. Souther, and Eagles members Glenn Frey, Don Henley, Joe Walsh, and Don Felder.

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Remembering Carl Wayne, born on this day in 1944. —Ed.

This is what fans of The Move call a masterpiece? You might 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 takes 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 employed in their masterpiece of absurdity, “Shirts.” Trouble is, with the exception of the old woman 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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Veteran producer-musician Bleu has a new record set for release. Tapping into the power pop mainline, the cuts that comprise Sargeant Pepper Grinder, the Los Angeles-based artist’s seventh album, are bold in conception and bright in execution. It’s radio-ready pop-rock with infusions of glam and flashes of tuneful psychedelia. It’s out on August 20 through Miracle Records with the vinyl mastered by Licorice Pizza Records.

Sargeant Pepper Grinder is coming out at the right time, as it is very much a volume-up, windows-down, acceleration-to-the-floor kind of record. As the tracks pile up, the scale broadens considerably, but the shebang starts in a mode closer to singer-songwriter pop with a baroque psych tinge.

That’s the title track, which will get a reprise in the record’s tail end, but next is the catchy stomping rocker “Start a Band,” loaded with guitar zest and anthemic dynamic shifts wild enough to turn even the most finicky power pop fan’s frown upside down. Next is “This Song Won’t Sell,” which swings from calm and contemplative to pummeling and explosive in a manner that’s maximal but engagingly non-trite.

“Where the Colors Bleed,” which features guest vocals by Los Angeles musician Carly Paige, finds Bleu hanging in the same neighborhood that housed Jeff Lynne in the second half of the 1970s. “Scooch” is just as catchy but considerably more glammed-out, with adrenaline-gush momentum, a ripping guitar solo, and a rave-up ending plus high vocal notes galore.

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NEWPORT, RI | If Friday at Newport Folk Festival is about setting the stage, Saturday is when the magic boils over. Under a high summer sun and clear Rhode Island skies, day two of the 2026 festival brought an eclectic mix of pristine bluegrass picking, intimate indie-pop confessionals, and a full-blown funk dance party to Fort Adams State Park.

By mid-afternoon, the grounds were humming with energy that only Newport can cultivate—a space where acoustic guitars and slap-bass solos exist in complete harmony.

The morning began on a gentle, local note as Newport’s own mystic-folk trio, Princess June, opened the Fort Stage with three-part vocal harmonies that drifted softly across the harbor. They set a baseline of vocal precision that echoed throughout the day—from the intricate acoustic weaving of Yasmin Williams & William Tyler at the Harbor Stage to an upbeat, harmony-packed set by vocal trio Trousdale.

The Sea to Shining Sea Project crew set out across America this summer to answer the question, “How does music help to build community?” Hosted by Devon Gilfillian, the quad stage crowd embraced their much-anticipated, heartfelt performance, which served as a collection of answers to this very question.

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NEWPORT, RI | Newport Folk Festival 2026 opened with unscripted magic. By Friday afternoon, as the July sun hit the historic granite of Fort Adams, thousands of music lovers had already staked out their lawn chairs, feeling the cool ocean breeze drift off Narragansett Bay. Day one proved once again that while genres evolve, the spirit of Newport—spontaneous, intimate, and deeply collaborative—remains unmatched.

“I’m so happy to be back here. I have dreams set in Newport,” said Lucy Dacus, who charmed her audience with a vulnerable set, bringing the crowd to its feet when she invited Hayley Williams onstage for a surprise duet of “Bullseye.” Meanwhile, Australian rocker Courtney Barnett tore through a gritty set, highlighting songs from Creature of Habit, proving her lyricism is made for outdoor festival grounds.

The legendary Jefferson Airplane guitarist Jorma Kaukonen teamed up with longtime friend and bassist Jack Casady for Hot Tuna’s inaugural set at Newport Folk Festival, with Kaukonen playing his storied J-50 alongside Casady’s long-lost Guild Starfire. At 85, Grammy-winning Rock and Roll Hall of Fame inductee Kaukonen isn’t slowing down; he’s enjoying the ride.

At the Quad Stage, anticipation reached a fever pitch for Ms. Lauryn Hill. Though a delayed stage setup pushed her performance back by 40 minutes, the moment she stepped under the lights alongside Philadelphia brass powerhouse Snacktime, the frustration evaporated. Hill delivered a commanding, brass-heavy performance that recontextualized her classic catalog into a memorable experience.

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