VIA PRESS RELEASE | First released three decades ago, The Beatles’ eight-part Anthology series reinvented the music documentary. Instead of a standard treatment centred on an outside narrator and talking heads, The Anthology featured John Lennon, Paul McCartney, George Harrison, and Ringo Starr candidly telling their own story, with all its complexities and contradictions. It introduced The Beatles to new generations of viewers and listeners and marked the start of a creative and commercial afterlife that continues to this day. Now, The Beatles Anthology returns in its ultimate form for a comprehensive global release campaign—on screen, on record, and in print.

The Beatles Anthology Documentary Series | Now a Nine-Part Series Featuring a Brand-new Episode Nine Streaming Exclusively on Disney+ Beginning November 26

The Beatles’ landmark Anthology documentary series has been restored and remastered. The series’ original eight episodes trace the legendary journey that began in Liverpool and Hamburg and soon captivated the world. They bring to life the timeless stories of Beatlemania, the band’s groundbreaking arrival in the USA, their role at the forefront of the 1960s counterculture, their spiritual exploration in India, and their eventual breakup. And through it all, the constant thread: the music, always the music.

There is now a completely new Episode Nine, including unseen behind-the-scenes footage of Paul, George, and Ringo coming together between 1994 and 1995 to work on The Anthology and reflecting on their shared life as The Beatles. The restoration has been overseen by Apple Corps’ production team, working with Peter Jackson’s Wingnut Films & Park Road Post teams, along with Giles Martin, who has created new audio mixes for the majority of the featured music.

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Remembering Joe Strummer, born on this date in 1952. —Ed.

Vocalist, guitarist and songwriter John Graham Mellor, better known by his recording and performance handle Joe Strummer, was a co-founder of one of the most important, and in the view of some, the very finest band in UK punk rock’s original wave. That would be The Clash, but the man’s activities preceded and extended far beyond that group. The Ignition label spotlighted the results with Joe Strummer 001, totaling 35 tracks, including a dozen unreleased.

It can feel (and will surely be read as) contrarian to say it, but I’ve never been greatly enthusiastic over The Clash. Sure, the first two albums, ’77’s The Clash and the following year’s Give ‘Em Enough Rope, are essential, and the third, ’79’s London Calling arguably so, but when they took a nosedive in quality after that they did so with gusto, following up a double album with triple album Sandinista!, a display of excess that no matter how well-intentioned sent them into a tailspin from which they never recovered, though folks who discovered them through the rather tepid pop move Combat Rock might disagree.

The bigger problem, at least for me, was how the band came to represent what I’ll call the Springsteenization of punk rock. That is, The Clash were often, and well into the 1980s after their breakup, championed as the exception to the rule that punk rock sucked. By extension, certain folks frequently openly professed Clash-fandom as a way to prove they weren’t complete moldy figs.

Now, most of my punk-loving friends adored The Clash, and I could surely listen to them (the good stuff, anyway) without trouble; merely appreciating the group wasn’t a problem. It’s just that loving their output while deriding The Damned and Buzzcocks and The Lurkers and yes indeed the Sex Pistols (to limit myself to a short list of UK outfits) was and remains downright suspect.

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VIA PRESS RELEASE | “Just What I Needed.” “My Best Friend’s Girl.” “Drive.” “Let’s Go.” “Good Times Roll.” “Shake It Up.” “Moving in Stereo.” “You Might Think.” Decades after they first hit the airwaves, whenever one of these incredible songs by The Cars comes on the radio, there’s still only one thing to do—crank that volume knob all the way up and keep it right there for the duration of the ride.

Moving in Stereo: Ric Ocasek, the Driving Force of The Cars is the first-ever biography of Ocasek, the primary frontman and songwriter of the new wave hitmakers. The book finds noted author and musician Peter Aaron lifting the hood for a long-awaited look at the life of this influential, era-defining, and famously guarded artist and producer via in-depth research and interviews with his fellow Cars members and others.

Ocasek remains one of the most well-known—and most mysterious—figures in the history of rock ’n’ roll. A complex, intensely guarded artist, he revealed little during his life about the existence he’d led before The Cars, keeping his personal backstory well hidden, not only from his fans but his bandmates as well. And much of that story has remained deeply buried—until now.

Through personal interviews and intensive research, Moving in Stereo finds acclaimed author Peter Aaron following the elusive Ocasek over the arc of his colorful career while connecting him with the context of his time to show how he was influenced by—and in some cases helped to shape—the music he loved.

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The Doobie Brothers are back with their first album in four years. The first recording phase of the group ended with 1980’s One Step Closer. After reforming as a touring unit again, in 1989 they started recording again. Tom Johnston returned but Michael McDonald had become a solo artist and was not involved with the group’s recording since 1980. For their fifth album since 1989, Southbound in 2014, McDonald recorded with the group again. McDonald is back once more and while the group has done some fine post-breakup albums, this is their strongest album and plays on all the strengths of the group’s collective talents.

The album’s opening title cut is, in essence, what makes The Doobie Brothers so special. The song brings together many American roots music strains to create an unmistakable musical gumbo. There are blues, gospel, their singular vocal harmony blend, shades of their former label-mates Little Feat, and a guest spot on vocals from Mavis Staples.

The Little Feat connection extends to sharing the same producer in the ’70s (Ted Templeman) and having Bill Payne contribute on keyboards to both groups. Speaking of gumbo, “Angels and Mercy” has a distinct New Orleans feel, a sound the group has often made part of their music. In a better world, “Call Me” would be a hit. Michael McDonald brings his peerless soul vocal style to “Learning to Let Go.” “State of Grace” is another Patrick Simmons classic. He is the heartbeat of the band and is the only member of the group to play on every album and be on every tour.

Tom Johnston’s “Here to Stay” is another solid rocker. “The Kind That Lasts” again mixes in some New Orleans spice, with a little reggae beat, and shows off McDonald’s vocal chops. “New Orleans” further delves into the music of that city. “Speed of Pain” is yet another stellar McDonald track. The album closes with the Hawaii-influenced “Lahaina” and includes guests Jake Shimabukuro, Henry Kapono, and Mick Fleetwood, who has had a house in Hawaii for decades.

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The world’s in an ever-worsening state of disrepair. It’s a situation that’s impossible to deny, and with their new record Songs in the Key of Yikes, Superchunk are once again throwing down an album that recognizes and rails against the precariousness of the current moment by just persevering in what they’ve always done well. This latest set of catchy scorchers finds the band honing a sharp, heavy power-pop edge that suits them very well. It’s available on vinyl with color variants, compact disc, and digital August 22 through Merge Records, of course.

The current recording lineup of Superchunk is guitarist-vocalist Mac McCaughan, guitarist Jim Wilbur, bassist Laura Balance, and now, touring drummer Laura King. That’s three out of four members from the band’s heyday holding firm in the studio. Balance hasn’t toured in a while, with Betsy Wright of Ex Hex taking her place in the van. Wright lends additional vocals to “Care Less” here, as Rosali Middleman and Bella Quinlan and Holly Thomas of Quivers also guest on the album.

Opener “Is It Making You Feel Something” taps into the stream of classique melodicism that’s solidified the core of their recent output. It’s anthemic without sacrificing the smart punk verve that’s been the essence of the whole Superchunk shebang since day one. Graduates of the 1980s underground rock scene with roots spanning back to suburban hardcore (those Corrosion of Conformity t-shirts still fit very well), the band has avoided getting stale by embracing strains of songwriting that predate the mosh-pit.

The way they rev it up and soar in “Bruised Lung” is still recognizably Superchunk, and then “No Hope” picks up the tempo that’ll be perfect for pogo frenzy when they take it on tour. “Care Less” slows it down without losing the punk steam, carrying in its riffs a hint of the Undertones; the solos cinch the deal. Hilariously, the song titles: “No Hope,” “Care Less,” and “Climb the Walls” radiate like a batch of no-frills HC released by Mystic Records in the early ’80s, but the names of the tunes are more reflective of the times we’re currently enduring.

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NOBLESVILLE, IN | The “Where the Party At Tour” turned Ruoff Music Center into a time capsule on Saturday night, transporting fans straight back to the early 2000s. From the moment the gates opened, the crowd’s enthusiasm was clear—many arrived in velour tracksuits, bucket hats, oversized jerseys, and denim-on-denim looks that paid homage to the era. The atmosphere was one of pure excitement, with fans ready to relive the soundtrack of their youth.

Instead of a traditional opening act, a DJ kept the energy high with a steady stream of hits that set the tone for the night. When Eve took the stage, her confident delivery and unmistakable voice reminded everyone why she has remained one of hip-hop’s most respected artists. Ja Rule followed with a set packed full of sing-along anthems, and his gritty vocals and commanding presence had the audience shouting every chorus back at him.

Nelly closed the evening with a performance that felt like a celebration of his career and influence. Tracks like “Country Grammar” and “Hot in Herre” carried the same infectious energy that made them defining songs of their time. His charisma and crowd interaction kept the momentum rolling, transforming the concert into what felt less like a performance and more like a massive block party.

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VIA PRESS RELEASE | Brazilian jazz fans will receive a special treat when Resonance Records, the genre’s leader in archival releases, will issue the Charlie Rouse Band’s Brazilian jazz classic Cinnamon Flower as an expanded two-LP set, single-CD and digital download on September 19, 2025.

The LP package will be issued in a limited edition of 1,000 copies pressed on 180-gram vinyl; the set has been transferred from the original tape reels and mastered by Matthew Lutthans at The Mastering Lab. The first disc reprises the tenor saxophonist’s album as it was released in 1977 by Douglas Records, the Casablanca-distributed imprint of producer Alan Douglas; the second LP presents the record for the first time in its original form, without Douglas’ overdubbing, as it was engineered by Resonance founder and co-president George Klabin, and includes an unreleased bonus track. The CD edition will also include both versions of the record and the extra track.

The ’77 recording date featured Rouse, who had served as the tenor player in Thelonious Monk’s combo for 11 years, playing potent Brazil-inflected music with elegance and soul. He had previously explored the Latin American country’s sound on his 1962 Blue Note album Bossa Nova Bacchanal.

Rouse’s 11-piece Cinnamon Flower band included such notables as trumpeter Claudio Roditi, pianist Dom Salvador, bassist Ron Carter, and drummer Portinho. Before the album was released, producer Douglas—known for adding instrumentation on posthumously released material by guitarist Jimi Hendrix—sweetened it with such additional players as soul drummer Bernard “Pretty” Purdie, keyboardist Roger Powell of Todd Rundgren’s Utopia, and trombonist Clifford Adams of funk group Kool & the Gang.

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Celebrating Ian Gillan on his 80th birthday. —Ed.

At first nobody could figure out how they did it. How did a gaggle of English metalheads with symphonic tendencies manage to sneak up to Mt. Rushmore, replace the mugs of Washington, Jefferson, Lincoln, and the other guy whose name I can never remember with their own mugs, and do it in one night?

Then it came to me. They did it with their heavy music! After doing some serious investigative journalism I discovered the truth: they drove six hundred trucks with huge speakers on the back to the base of Mt. Rushmore and played their seminal 1970 metal opus In Rock at top volume and through precision design of each note on the album SOUND-CARVED their faces over the faces of Washington, Jefferson, Lincoln and the guy whose name I can never remember! And it only took them three plays!

All of which is to say that the guys in Deep Purple are heavy metal geniuses, and In Rock isn’t just a genre touchstone, it’s the greatest rock-blasting and precision sculpting tool ever invented! Sure, they’re still at the top of the National Park Service’s Most Wanted List, and lots of people now think George Washington looks like Ritchie Blackmore, but they sure got themselves a great album cover.

In Rock was Deep Purple’s fourth release, and the first studio album to feature the new Mark II line-up of guitarist Ritchie Blackmore, organ king Jon Lord, drummer Ian Paice, and new acquisitions lead vocalist Ian Gillan and bassist Roger Glover, both of whom they acquired from the New York Mets for former lead singer Rod Evans (who’d lost his fastball) and a couple of lousy draft picks, none of whom ever made the bigs. It was a real steal.

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The Oakland, CA-based Filipino-American guitarist Karl Evangelista is a dynamic and versatile player. On August 22 his quintet Apura releases Bukas, a live set, on compact disc in a digipak limited to 300 copies through 577 Records. Along with Evangelista, Apura features Lewis Jordan on alto sax and voice, Francis Wong on tenor sax, Rei Scampavia on keyboards and electronics, and Lisa Mezzacappa on bass. For Bukas, the group welcomes veteran drummer Andrew Cyrille back into their lineup, with the rapport superb throughout.

Karl Evangelista has been on the scene for a while, leading Apura (the name is Tagalog for “very urgent”) and releasing Ngayon on the Astral Spirits label in 2023, a record that also included Andrew Cyrille but lacked in input of Lewis Jordan. Prior, there was Apura!, a quartet session with pianist Alexander Hawkins, drummer Louis Moholo-Moholo, and saxophonist Trevor Watts, which Astral Spirits released in 2020.

Evangelista is also half of the duo Grex alongside multi-instrumentalist Rei Scampavia. They most recently released Everything You Said Was Wrong on LP through Geomancy Records in 2020. Earlier this year, the quintet session Solace Angles, featuring Evangelista with Bobby Bradford on cornet and voice, William Roper on tuba and voice, Scampavia on keyboards, and Robert Lopez on drums, became available.

It’s clear that Evangelista enjoys dialogue with musicians from earlier generations. For Bukas, his first recording for 577, Cyrille returns to the Apura fold. However, the first track on the album, “For Good,” is a spoken piece by Jordan that grows increasingly glitchy as it progresses and slowly fades out, giving way to “What I Am Concerned About Now,” where everybody contributes, but with Scampavia and Evangelista shining in particular.

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VIA PRESS RELEASE | Home recordings by the Rock & Roll Hall of Famer, Songwriters Hall of Famers, International Folk Music Award Lifetime Achievement honoree, and GRAMMY Lifetime Achievement Award winner Woody Guthrie were released in the two-volume landmark collection Woody At Home – Volumes 1 & 2 on one CD, LP, digital download, and streaming release via Shamus Records, label subsidiary of TRO Essex Music Group, Woody’s publisher, on August 1.

This collection contains 22 previously-unreleased recordings, including 13 Guthrie songs not heard on any of his other recordings as well as three spoken word tracks. The collection also includes previously unheard home recordings of “Biggest Thing That Man Has Ever Done,” “Pastures of Plenty,” and “Jesus Christ.” These recently restored analog tapes were released alongside previously unpublished family photographs, artwork, and lyric sheets.

In audio found on these original home tapes, Guthrie himself explains: “I just want to tell you fellers that I’m awful glad sending this batch of songs to you. This sounds like about the best tape I made so far… I was here at home watching the kids by myself. So the kids tapes I’m sending you, the ones with me and the kids on them, I don’t want you sending them back or anything like that. I just want you to keep them and play them, and see the place from whence all good folk songs breed and spring.”

On July 14, Woody’s only known recording of his original song “Deportee (Woody’s Home Tape)” was released as a single. “Deportee (Woody’s Home Tape),” (also known as “Plane Wreck at Los Gatos”) was originally written in 1948 in response to a New York Times article about a plane crash in Los Gatos Canyon, California that killed 32 people, including 28 migrant farm workers.

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