Celebrating Dave Clark on his 86th birthday. —Ed.

The Dave Clark Five were one of the most successful and acclaimed bands of the British Invasion of the 1960s. Unlike The Beatles and many others of that time and place, however, they were not from Liverpool. The group was from Tottenham, in north London. Their big, booming, stomping, brassy and infectious sound propelled them to seven top-ten UK singles and eight top-ten US singles.

The DC5’s unique sound centered around Clark’s pounding drums, Mike Smith’s full-throated voice and wide-ranging keyboard styles, and Denis Payton’s honking sax. The group was rounded out by guitarist Lenny Davidson and bassist Rick Huxley. Huxley also played harmonica and all four members, other than Smith, supplied bracing backing vocals. Unlike most of the groups of the British Invasion, their sound did not center around guitars. They were the first British group after The Beatles to appear on The Ed Sullivan Show and they were inducted into the Rock ‘n’ Roll Hall of Fame in 2008.

The group disbanded in 1970, but Dave Clark, who was the group’s manager and producer, has always curated the group’s legacy with aplomb. Among his many other activities through the years are acquiring the rights to the seminal British music television show Ready Steady Go! and, in the 1980s, he wrote and produced the 1986 theatrical musical Time.

There have been excellent collections of the group’s music on CD and vinyl, but the latest reissue is the best yet. The group’s debut U.S. album Glad All Over, originally released in 1964 and one of four albums released by the group in the U.S. that year, has been reissued on white vinyl in glorious mono, from the original master tapes from BMG.

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Here I spent decades, hell, most of my life, thinking Eddy Grant’s synth-fueled, hard-rocking, reggae-flavored, let’s dance dawn-of-the-eighties MTV anthem “Electric Avenue” was about having a good time. I guess it would have helped to listen to the lyrics.

Because, and you probably know this, my lyrics-conscious brothers and sisters, it’s actually about a riot, the Brixton Riot of 1981 to be specific, and Eddy isn’t heading on down to Electric Avenue to have a good time, as I spent decades believing. He’s going to light shit up, and I’m not talking electricity. And it wasn’t the first protest song by the Guyanese-British musician–he’d been on the front lines since the mid-sixties as guitarist of the Equals, the UK’s first major interracial rock group, for whom he wrote the incendiary tracks “Police on My Back” (which the Clash culturally appropriated!) and “Black Skinned Blue Eyed Boys.”

The Equals were a top-notch rock/soul/reggae/pop act, and their most popular songs were apolitical, from their first (and biggest) hit “Baby Come Back” (1967) to “Viva Bobby Joe” (sample lines: “Bobby Joe and his funk machine, yeah, yeah/Everybody’s gonna see a sensation, a sensation”).

They had some bubblegum in them too; “Michael and the Slipper Tree” must have resonated with the kiddie crowd, ditto “Rub a Dub Dub” (the Equals Jamaican-born lead vocalist Dervan “Derv” Gordon wants to smell like a rose for his baby). And “Laurel and Hardy” is kiddie novelty rock at its most blatant. “Honey Gum” isn’t as chewy chewy as you’d expect, but it still has bubble-blowing appeal. Why, they even recorded a cover of The Music Machine’s bubblegum standard “Little Bit of Soul.”

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VIA PRESS RELEASE | Rhino High Fidelity (Rhino Hi-Fi) expands its acclaimed series of limited-edition, audiophile vinyl reissues today with two pivotal albums: T. Rex’s Electric Warrior and Devo’s Q: Are We Not Men? A: We Are Devo!.

Each album was cut from the original analog master tapes by Kevin Gray and pressed on 180-gram black vinyl at Optimal in Germany. Both releases are limited to 5,000 individually numbered copies and available exclusively at Rhino.com and select Warner Music Group stores internationally. As a bonus, Electric Warrior has two 7-inch singles, “Hot Love” and “Bang A Gong (Get It On),” available to bundle. Order HERE.

Recently released as part of Rhino’s High Fidelity Reel-to-Reel line, Electric Warrior crystallized Marc Bolan’s transformation from cult folk hero to the godfather of glam with its release in 1971. The album topped the charts in the UK and was certified gold in the US, powered by hits like “Bang A Gong (Get It On)” and “Jeepster.” Working with producer Tony Visconti, the band built a sleek, groove-driven sound—equal parts grit and glitter—that came to define glam’s golden age.

In the new liner notes, Visconti recalls how sessions for the album gained momentum when the band moved from London to Los Angeles, and finally New York, where they cut three songs in a day, including “Lean Woman Blues” and “Jeepster.” “I could tell this was one of the best times of Marc’s life from how great these tracks turned out—they fully complemented the tracks we had just recorded in LA. He was so happy,” he writes. “We knew we had a hit album.”

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VIA PRESS RELEASE | Think of Melanie and, once past “Brand New Key” and “Lay Down,” the most immediate image is probably a shy, nervous 22 year old stepping out alone onto the Woodstock stage, knowing that hardly anyone in that vast sea of humanity had even heard of her before.

A few had. The previous year, her debut album Born To Be caught some radio play around New York (and spawned a couple of hits in Europe); earlier in ’69, her sophomore set, Melanie, was built around songs she recorded on a much-acclaimed visit to the UK. Still America regarded her as a total newcomer and, while she was happy to discuss her folk club past, she was equally willing to let people hold onto that preconception. How wrong, however, it was. And if history had taken a slightly different turn around 1964, the whole world would already have known exactly who Melanie was.

Dropping on January 2, There Should Have Been A Rainbow is, effectively, Melanie’s true debut album and, as such, it readily stands alongside Bob Dylan’s recently released Bootleg Series examination of this same period, an unerring portrait of a young artist heading for fame. Indeed, while the CD includes 19 songs from throughout this period, the 11 song vinyl is a direct approximation of how that first LP might have lined up.

Recorded in a New York apartment across four sessions between 1963–1965, There Should Have Been A Rainbow captures the teenager already in full control of the voice and guitar style that would so single her out for attention (and adoration) at the end of the decade—only the songwriting has still to fully develop, but even the handful of her own songs that are included here pack plenty of pointers for the future.

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It’s been a busy year for Paul McCartney, and he capped off 2025 with the conclusion of another tour and a retrospective of the music of his band Wings. This will make the third Wings/McCartney best-of, after the single Wings Greatest album, double Wingspan, and double All The Best. All of these sets include both Wings and solo McCartney tracks. This is truly the first all Wings set and the best of the sets in every way.

The Wings 3 LP Limited Edition Color Collection, available exclusively through Paul McCartney’s website, is a three-album set of 180-gram color vinyl, featuring clear, green, and pink colors, respectively, housed in a die-cut hardback slipcase box. Sometimes, reissue projects can appear rushed, make questionable choices, and prompt fans and critics to debate format and approach. By contrast, it’s evident that great care and thought went into the packaging of this set.

McCartney has again recruited Hipgnosis legend Aubrey “Po” Powell as the Creative Director. His involvement here is a key factor in how well-conceived this box is and what a welcome addition it is to McCartney’s extensive reissues and archival projects over the years. Powell had previously worked with McCartney on projects such as Venus and Mars, Wings Greatest, video projects, and tours.

Along with two posters, an art print litho, and a sheet of stickers, the booklet in this package is beautifully designed. This is a textbook case in how to create an information-rich yet aesthetically pleasing booklet. Each Wings album, presented in chronological order, is given a two-page spread featuring photos and artwork for the sleeve, album, and single jackets. Also included are sidebars that tell the story of Wings in a way that is neither dry nor the typical factual history, and that include a summary of releases, tour dates, and session notes.

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VIA PRESS RELEASE | First Real Gone Music put out all of Fanny’s Reprise albums on CD—now they’re doing the same on LP!

Yes, that’s right, Fanny fans—we’re finally giving the band’s 1973 album Mothers Pride its first vinyl reissue. All four Reprise albums have their champions among Fanny followers, but Mothers Pride is definitely the most controversial entry in the band’s catalog, as Todd Rundgren agreed to produce the album on the condition that he and he alone oversee the album mix. The result was a record that cemented Fanny’s popularity in the UK but failed to make a dent in the charts here in the States despite such classics as “Summer Song.”

The two-page insert includes not just the lyric sheet but the rare promo flyer that accompanied some copies, and they’ve had the album remastered for its baby pink vinyl release. Another seminal ‘70s rock record from everybody’s favorite “forgotten” all-female rock band!

It’s true, the old saying—give 50 monkeys electric guitars and sooner or later they’ll write “Louie Louie.” And the proof lies in one of the greatest unsung bands of the bubblegum music era, Lancelot Link and the Evolution Revolution.

How unsung? They don’t even merit a chapter in the 2001 Feral House Bubblegum Bible Bubblegum Music Is the Naked Truth. Or a mention even. And this despite the fact that Lancelot Link and the Evolution Revolution were real live chimpanzees! Who played cool kiddie punk songs like “Sha-La Love You” and “Magic Feeling”! And looked even cooler playing them!

Could it be because playing rock and roll wasn’t Lancelot Link’s day job? Link spent the bulk of his time foiling the evil plots of C.H.U.M.P.’s nemesis, such as Baron von Butcher, Creto (his chauffeur), and Ali Assa. Seen on ABC Television’s Saturday morning all-live-chimp Lancelot Link, Secret Chimp. Being a secret agent is a time-consuming gig, which could be the reason why Lancelot Link and band only released one LP, 1970’s Lancelot Link and the Evolution Revolution. That or the TV show got cancelled after one season.

Here’s a fun fact—the chimpanzee actors on Lancelot Link, Secret Chimp, were given chewing gum to get them to move their mouths so that human voices could be dubbed over them. You can’t get any more bubblegum than that! You didn’t have to give the guys in the 1910 Fruitgum Company chewing gum to get them to sing “1,2,3 Red Light”! The poor bastards were working for peanuts!

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VIA PRESS RELEASE | Few albums have defined an era and redefined a generation of pop music quite like Faith, George Michael’s groundbreaking 1987 debut solo album. Nearly four decades later, its influence continues to resonate across music, fashion, and culture, an enduring testament to the artistry, courage, and creative vision of one of the world’s most beloved and successful performers.

To celebrate its continued impact and influence, George Michael Entertainment and Sony Music have announced that on 20th February 2026, multiple limited-edition Faith vinyl variants will be available on Red + Black Marble vinyl, Picture Disc as well as 1LP and 2LP black vinyl plus audio Blu-Ray. More than a decade since Faith has been available to purchase in vinyl anywhere in the world, today’s announcement marks an exciting new era for any avid vinyl collector and George Michael fan. Pre-order here.

Written, arranged, produced, and performed almost entirely by George Michael, Faith marked the emergence of a new type of pop icon, an artist capable of blending soul, R&B, and rock into a sleek, emotionally charged, and deeply personal sound.

The album catapulted the then 24-year-old artist to global superstardom, outselling Michael Jackson, Madonna, and Prince, and earning him a GRAMMY® Award for Album of the Year, three American Music Awards, and a record-breaking run of four US No. 1 singles, including “Faith,” “Father Figure,” “One More Try,” and “Monkey.” All of which makes George the only British male solo artist ever to achieve four US number-one singles from a single album on the Billboard Hot 100, a record that remains unmatched.

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VIA PRESS RELEASE | Wewantsounds is delighted to continue its Yoshiko Sai reissue program with the release of Mikkou, the Japanese singer-songwriter’s 2nd album released in 1976 on Black Records.

The album, produced by ace arranger Isamu Haruna, keeps the same formula as Mangekyou with Yoshiko Sai’s beautiful songs and dreamy vocals over cool funky arrangements, this time featuring legendary guitarist Masayoshi Takanaka. This is the first time Mikkou is widely available outside of Japan, with remastered audio, original artwork, and a 4 page insert including new liner notes by Hashim Kotaro Bharoocha who interviewed Yoshiko Sai for this special occasion.

Yoshiko Sai holds a singular place in Japanese music history. Since her 1975 debut Mangekyou, the Japanese singer-songwriter has captivated listeners with her ethereal voice, poetic lyrics, and enigmatic presence, earning a devoted cult following that endures decades later.

Building on the highly acclaimed reissue of her debut Mangekyou, Wewantsounds is pleased to present Mikkou, Sai’s second album, originally released in 1976 on Black Records. Produced by Isamu Haruna and featuring some of Japan’s finest session musicians, including the cult guitarist Masayoshi Takanaka, the record showcases Sai’s signature blend of poetic songwriting and ethereal vocals, carried by subtly funky arrangements. Yet Mikkou represents a bold broadening of her artistic palette, drawing inspiration from the Silk Road and the rich cultural heritage of her native Nara.

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Remembering Dickey Betts in advance of his birthdate tomorrow.
—Ed.

When it comes to your bad karma and shitty luck, The Allman Brothers Band is a tough act to follow. And no, I’m not just talking about the tragedy that was Allman and Woman. I’m talking about the motorcycle accidents that claimed the lives of Duane Allman and Berry Oakley; rampant infighting and supernatural drug use; and a big-time cocaine distribution bust that led Gregg Allman to testify against his road manager in order to save his own ass. But despite the deaths, the duplicity, and even Cher and Man, The Allmans remain the most influential Southern blues-rock band of all time, and next to Lynyrd Skynyrd, the best damn band to hail from south of the Mason-Dixon Line.

But here’s the thing about the Allmans; I can honestly say I never much cared for them until Duane Allman took that fatal spill on his motorcycle. Because Duane, God bless his totally rad facial hair, was a blues player, and the fact is I despise the blues. As The Simpsons’ Bleeding Gums Murphy immortally said, “The blues isn’t about feeling better. It’s about making other people feel WORSE.” Don’t get me wrong; I can handle them if they’ve been radically tweaked, freaked, warped, or twisted. But Duane, a traditionalist, played ‘em old school, making me the dick at the party who ran out screaming every time somebody put on “Statesboro Blues” or, even worse, “Stormy Monday.” As for “Whipping Post,” it’s way up there on my Shit Parade alongside “Midnight Rambler,” “People Have the Power,” and the entire recorded output of The Clash.

The bottom line? One man’s tragedy is another man’s blessing, and Duane’s untimely demise had the ironic effect of transforming The Allman Brothers Band into a group whose music I actually like. 1972’s Eat a Peach had a few great songs, such as “Blue Sky” and “Melissa,” that took the band in a non-blues direction, but it also included the infamous “Mountain Jam”—really, did the world really need a song so long it took up two sides of a double LP? It took the advent of guitarist/vocalist Dickey Betts as the Allman’s de facto leader to produce 1973’s Brothers and Sisters, which emphasized a unique hybrid of country rock over the blues, and threw in some good-times boogie for good measure.

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The estimable Western Vinyl label of Austin, TX has just released the very necessary compilation Passages: Artists in Solidarity with Immigrants, Refugees, and Asylum Seekers, which benefits American Gateways and Casa Marianella, two Texas-based nonprofits dedicated to ensuring safe passage and living conditions for those in need of it. Along with the 17 artists contributing these selections, all the labor and costs related to the production, design, and manufacturing of this set were donated or fundraised separately so that all of the proceeds go to these organizations. The LP and digital are available now.

Due to the urgency of the cause that has motivated this compilation into existence, the lineup of musicians is unsurprisingly diverse, but with a tangible level of cohesiveness, as the contributors are generally part of the contemporary indie and experimental scenes. Alan Sparhawk opens the set with the gripping intensity of “No More Darkness,” utilizing just an acoustic guitar and a booming vocal.

Mexican/Colombian multihyphenate St. Panther (Daniela Bojorges-Giraldo) is next, flowing forth with a blend of art-pop and hip-hop in the vibrant “Everybody Is.” Daniel Lopatin follows with “Country,” a track whose prettiness gets expertly hassled with bursts and layers of twistedness.

Benjamin Booker, who reemerged early in 2025 with the album Lower, contributes “A Place for Us,” which is folk-bluesy with just a hint of gospel in the equation. After that is Lambchop with “Afterburner,” another cut featuring just vocals and guitar (contrasting with the sound of recent Lambchop). And then there is Quin Kirchner’s too-brief serving of ambient drift “Home,” which takes its title from the words spoken in the track by TX-based Eritrean artist Tekle Mezghebe.

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