VIA PRESS RELEASE | In 1985, Fine Young Cannibals made an unforgettable first impression with their debut single “Johnny Come Home” and their self-titled album, showcasing a fully-formed act with a sharp, soulful sound and potent songs.

It was 1989’s The Raw & The Cooked that propelled them onto the global stage, becoming their defining masterpiece. Powered by hits like “She Drives Me Crazy,” “Good Thing” (both US Billboard #1s), and their inspired take on the Buzzcocks’ “Ever Fallen In Love,” the album encapsulated 30 years of music in 35 minutes and sold over five million copies worldwide, topping charts on both sides of the Atlantic, and earned the band two BRIT Awards, an Ivor Novello, four MTV Music Video nominations and three Grammy nominations. After their tidal wave of success, they closed in 1996 with the elegiac final single “The Flame.”

Fine Young Cannibals’ rise was almost as unlikely as it was spectacular. When UK outfit The Beat split unceremoniously at their peak, bassist David Steele and guitarist Andy Cox forged a creative alliance and pushed past waning industry enthusiasm for the fading 2 Tone scene. Teaming up with former Ska band Akrylykz frontman Roland Gift, a singer with matinee-idol looks and a voice steeped in Otis Redding-esque soul, they forged a sound that would make them one the most internationally successful acts of their generation.

Forty years on and the enduring influence of the band and their sound continues to resonate, with their songs making prominent appearances in film (“Johnny Come Home” in the Andrew Haigh’s award winning film All of Us Strangers and TV (“She Drives Me Crazy” in Season 4 of the acclaimed series The Bear), as well as “She Drives Me Crazy” becoming the musical centerpiece for the Chanel 2025 Handbag campaign starring Dua Lipa and Jennie from BLACKPINK.

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Talk about your gross miscarriages of justice—here, Feral House put out an entire book, encyclopedic (if idiosyncratic) in scope, about bubblegum music, and other than one small mention, it has nothing to say about Mansfield, Ohio bubble-garage greats The Music Explosion. Who bequeathed us the great “Little Bit O’ Soul!”

I swear, I scoured 2001’s Bubblegum Music Is the Naked Truth: The Dark History of Prepubescent Pop, from the Banana Splits to Britney Spears, and nada!

Which I find inexplicable, because like many of your great bubblegum acts, the Music Explosion were signed, produced, and shamelessly manipulated by evil bubblegum Uber-producers Jerry Kasenetz and Jeffrey Katz, whose legendary machinations under the auspices of Super K Productions swept the whole concept of artistic integrity into the dustbin of music history, where it belongs! Both of these shysters, and I’ve seen the medical records, underwent scruples-removal surgery before they got into the record biz. At least today’s seniors have boomerbenefits.com to decode Medicare, which is more guidance than Super K Productions ever gave its disposable pop stars.

Their most famous antics involved The Ohio Express. The songs were written Brill Building style and recorded by studio musicians. There was no Ohio Express. But, and this is the great part, a band of ringers toured as The Ohio Express, and communications between Kasenetz-Katz back at Shyster Central and the touring band were so poor that the latter didn’t even know they had a hit single (the great “Chewy Chewy”) on the charts because they’d never heard it and nobody had bothered to tell them.

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VIA PRESS RELEASE | With its inspired marriage of bossa nova and cool electronics, Bebel Gilberto’s acclaimed debut album, Tanto Tempo has perfectly captured the mood of the times.

Released by Crammed Discs in 2000 on its Ziriguiboom imprint, Tanto Tempo has become an international best seller, making it one of the most globally successful albums of Brazilian music ever. Produced by Suba (the São Paulo-based Serbian producer who tragically passed away just before the release of the album), and featuring collaborations with Amon Tobin, Mario Caldato, Chris Franck & Nina Miranda, and Thievery Corporation.

From the original press release: The album features guest appearances by prestigious musicians such as veteran pianist/arranger João Donato, guitarists Celso Fonseca and Luis do Monte, percussionists João Parahyba and Carlinhos Brown, drummer Robertinho Silva, and a couple of horn sections who play in a genuine ’70s samba-soul-funk style.

Tanto Tempo’s modernist angle is supplied by Suba’s typical arrangements and production, as well as by contributions from young electro-Brazilophiles such as Smoke City, Thievery Corporation, Beastie Boys producer Mario Caldato Jr., and Ninja Tune artist Amon Tobin.

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Remembering Gary Rossington, born on this day in 1951. —Ed.

It is my unreconstituted thunk that Lynyrd Skynyrd is America’s second greatest rock’n’roll band, right behind the Velvet Underground. Hyperbole? Mebbe. But during the four short years before fate shot their airship down, the Southern rockers produced a veritable shitload of immortal (and yes smart) tunes that I, for one, have been listening to with pleasure for decades.

1975’s appropriately titled Nuthin’ Fancy isn’t the best Skynyrd LP out there. It may even be the worst of the five albums the original Lynyrd Skynyrd—which is the only Lynyrd Skynyrd that matters—recorded between 1973 and 1977. It lacks the sublime touches that make Skynyrd’s first and second albums rock landmarks, and the assortment of to-die-for songs (“That Smell,” “One More Time,” “All I Can Do Is Write About It”) scattered throughout the two LPs that came after it. The way I see it, Nuthin’ Fancy only boasts two songs—I’m talking about “Saturday Night Special” and “Am I Losin’”—that are truly indispensible.

The biggest problem lies in the songs, natch, and the problem with the songs is that they were written in a rush, in the studio between tours. I’ll stand Ronnie Van Zant up against any American songwriter (exceptin’ B. Dylan) ever, but when it came to Nuthin’ Fancy he simply didn’t have the same amount of time he’d had to write such immortal tunes as “Sweet Home Alabama,” “Tuesday’s Gone,” or “Simple Man” from 1973’s (Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd) and 1974’s Second Helping. (Indeed, he’d never again have the time to sit down and do some leisurely songwriting during his lifetime, which is why Lynyrd Skynyrd was never able to top the transcendental brilliance of its first two LPs.)

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On Hold Fast, Mac Lloyd cuts deep. The multi-talented singer, songwriter, and producer delivers his most introspective and musically ambitious work to date, an album that fuses Blues grit, Neo-Soul warmth, and Americana storytelling into one emotionally charged package.

Lloyd’s baritone is a commanding presence throughout. Weathered yet expressive, equally at home soaring over smooth R&B soundscapes as it is growling through slide-guitar blues. His voice doesn’t just carry melodies; it carries the weight of lived experience.

Addiction, depression, fatherhood, grief, homelessness, Hold Fast is shaped by the difficult roads he’s walked, and his writing refuses to sanitize any of it. Yet this is not a record steeped in defeat. Instead, it’s about resilience, about McLeod family mottos, and the refusal to let hardship halt creativity or love.

While the subject matter often sits in the shadows, the production shines; lush, soulful layering contrasted with stripped-back vulnerability when the moment calls for it. Each track seems engineered to mirror the emotional arc of its lyrics: redemption comes with a groove, doubt hides behind warm harmonies, and every guitar bend feels like a breath drawn before pushing on.

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Any fan of solo guitar that’s not clued in to the Tompkins Square label’s long-running Imaginational Anthem series is in for an exquisite awakening. The most recent collection, Vol. XIV: Ireland is out now on vinyl (with a few test pressings still available) and compact disc. It’s an illuminating geographical dive assembled by the terrific Dublin-based guitarist Cian Nugent, who provides notes. Also, for those not yet hip to the Imaginational Anthem experience, the bundle of 12 volumes on CD (including this new one) is on sale through Bandcamp for a very affordable price.

To get right down to business, David Murphy has extensive session credits playing pedal steel, but only one album so far, Cuímhne Ghlinn: Explorations in Irish Music for Pedal Steel Guitar, released last year on vinyl by Rollercoaster Records. Murphy’s meditative and very pretty version of the traditional “The March of the King of Laois,” which serves as Vol. XIV’s opener appears to be an exclusive track.

Brendan Jenkinson has also played on a bunch of other people’s records, including a few as a keyboardist in the band of this album’s curator, Cian Nugent. Jenkinson’s original composition “Paris Blues” is a delightful serving of fingerpicking that should please fans of the American Primitive impulse that set the Imaginational Anthem series into motion.

The nimbleness of finger continues across “The Lark in the Morning,” a wonderfully warm interpretation of a traditional piece by Junior Brother, aka Ronan Kealy. As Junior Brother, Kealy has recorded three full-length albums and a bunch of EPs, with everything on vinyl.

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WORDS AND IMAGES: DANA WALSH IN AUSTIN, TX | Joe Bonamassa’s set at ACL Live flowed effortlessly, moving between loud, gritty, electrifying numbers and slower, more introspective, deeply emotional moments. But one thing remained constant: the music moved you. Surrounded by fellow blues-rock enthusiasts and musicians, all soaking up every note, it was easy to feel part of something bigger. Whether sitting or standing, everyone seemed fully immersed in the moment. It felt good—really good—to be there.

The night had it all: warmth, soul, and a musical pulse you could feel in your chest. If you were looking for a show that lifts the spirit and gets you grooving, this one delivered in full force. As someone who isn’t originally from Austin, nights like this remind me how lucky I am to live in a city where live music isn’t just entertainment—it’s a way of life. Every show feels like opening an extraordinary gift, and tonight’s performance was every bit as captivating. Music is alive in Austin in a way that feels constant and rare; it is the heartbeat of the city.

Being given the chance not only to attend the show but also to photograph it and write about it genuinely blew me away. Everything about the night felt as though it was meant to be. Despite forecasts of rain, the weather was perfect—cool air, a gentle breeze, and a clear sky. From leaving home to settling into my hotel afterward, the night flowed seamlessly.

Joe opened with “Breakthrough,” the title track from his latest album. The song bursts to life with bold, driving guitar, keys, and a tight rhythm section, combining to create a vibrant, catchy groove. His clear, confident vocals carry an uplifting message that immediately draws the listener in. A highlight was when Sue Foley joined him for “See See Baby.” She’s a powerhouse, and watching them trade energy on stage was electrifying, creating one of the night’s standout moments.

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VIA PRESS RELEASE | To celebrate 45 years of one of post-punk’s most iconic albums, we’re proud to present a special anniversary edition of Tuxedomoon’s landmark release: Desire.

Out now on vinyl, CD, and digital, this new edition has been remastered from the original tapes and features three previously-unreleased tracks, two rare cuts and live versions, recollections and liner notes by Steven Brown, Gareth Jones (engineer and co-producer), John Foxx, plus writings from Blaine Reininger and Peter Principle (2015) and of course some archival photos and memorabilia.

Desire captures Tuxedomoon at their most cinematic and atmospheric. Its mood of haunted romanticism and its category-defying blend of music have kept it influential among generations of musicians exploring the intersections of rock, electronic music, cabaret, minimal, jazz, and classical music.

Desire was written just before the band’s relocation from San Francisco to Europe. It was recorded in the UK and released in 1981 on Ralph Records, The Residents’ own label, before being reissued in 1987 on CramBoy, the imprint created by Crammed Discs to host the band’s output.

Tuxedomoon’s considerable body of work (16 albums to date, with a new one currently in the works) remains unique, as relevant today as it’s ever been, thanks to the band’s visionary ability to transcend genres, and to the romantic, rebellious, and imaginative spirit which illuminates their music.

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A look back at what was in stores, and perhaps some of your scores.

Maybe the best Record Store Day Black Friday 2025 release was The Complete Elektra Albums from Love. The box set comprises five vinyl records, including the first four albums from the pioneering 1960s LA group, and a bonus disc of rarities. Love was one of the most important bands of the West Coast ’60s music scene, which had a devoted cult following that is nearly unequaled for that time and place.

The group was led by Arthur Lee, who, like Jimi Hendrix, was a black man whose sound was rooted almost entirely in rock. Signed by Jac Holzman of Elektra Records, the band was one of the first rock signings of the mostly folk and roots Elektra label, but it became overshadowed by the other rock signing of that period, The Doors.

Love’s self-titled debut, its first album in 1966, came out the year before the self-titled debut of The Doors. While it showed real rock muscle and had a garage sound with tinges of psychedelia to come, and included such superb covers as “Little Red Book” and “Hey Joe,” it was the group’s next album, Da Capo, also released in 1966, that was a revelation. Fully embracing subtle psychedelic touches, its baroque instrumentation and production, along with Lee’s emotive singing, made it an instant cult classic that has lost none of its luster nearly 60 years later.

However, this was truly a band, and key member Bryan MacLean’s contributions are significant, particularly on “Orange Skies.” Additionally, the production team, comprising engineers Bruce Botnick (who also co-produces) and Dave Hassinger, along with the production supervision of label boss Holzman, makes this a textbook on ’60s record-making. The group’s next album, Forever Changes (1967), was an even better release. While a long-extended jam took up all of side two of Da Capo, Forever Changes was an 11-track masterpiece.

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I recently spoke with Daniel Ash, musician, songwriter, and singer—and a founding member of Bauhaus, Tones on Tail, and Love and Rockets.

Daniel and I talk about his electromagnetic tendencies, the formation of Bauhaus, his love of solitude and city, chrome, gear, how he first discovered the EBow, music he loves, and the Ashes and Diamonds album.

The new band consists of Daniel in his usual roles bringing his signature post-punk, glam and experimental style. He is joined by Bruce Smith on drums, programming, and backing vocals. Bruce is a veteran of Public Image Ltd. and The Pop Group. Paul Spencer Denman is on bass. Paul is best known as the bassist for Sade and Sweetback.

Ashes and Diamonds have released the single and video for “On A Rocka” whose video was directed by Jake Scott, and their latest single “Setting Yourself Up for Love.” The full album is out on Halloween through Cleopatra Records via streaming and limited edition vinyl. It’s all gorgeous!

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.

On the scene in the Southern USA since the mid-’90s, Tyler Keith specializes in what one might call roots punk. He’s played in numerous bands and even released a few records under his own name along the way. His latest, I Confess, is the byproduct of tough personal circumstances. Faced with a lack of ducats, no musical compadres, and rising rent, Keith made a series of wise decisions; he grabbed his instruments, set up his 4-track, and cut a truly solo record in his kitchen. Raw and bluesy, the 12-song set is out now on vinyl and digital through Black & Wyatt Records.

Way back in the boom years of the 1990s, Tyler Keith’s band The Neckbones earned the distinction of being the first, and for a long while, the only rock band on the Fat Possum label. Garage punk was the style, and after The Neckbones finally snapped, Keith fronted the Preachers’ Kids for a handful of albums, then moved on to Tyler Keith & the Apostles and Teardrop City.

Under his own name, with backup, he recorded The Last Drag in 2020 and Hell to Pay in 2023. Now here comes I Confess, which is Keith going it wholly alone with appropriately crude overdubs in the spirit of dangerous times. Opener “Out on a Limb” rips right into high gear, dishing a jagged blues-rock grind with a legit air of desperation about it.

“Lost in the Desert” is a downright doomy journey into echo overload with convulsions of harmonica. “Buckskin Girl” sounds like a Nuggets-styled act that took a wrong turn and ended up playing their one song at gunpoint on the outskirts of some demented backwoods carnival. And then “Black Cloud Blues” takes a further offramp into acidic paroxysmal pessimism; it’s a bit like a late-night dark arts communion of John Lee Hooker and Jeffrey Lee Pierce.

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