Greetings from Laurel Canyon!
And all of my friends were there / And no one cared
Say what they may, all of my friends were there / Not just my friends but their best friends too / All of my friends were there
The fools of April continue to do their thing. All in all, my vibe has been to thank my lucky stars to have a healthy family and cool friends.
I think I’ll take a Sunday bike ride and listen to this week’s Idelic set.
PHOENIX, AZ | Shakey Graves and the 10th anniversary of And The War Came tour came through Phoenix on April Fools Day, and the show was no joke. Celebrating the 10-year anniversary of some of his biggest hits, Shaky Graves delivers a consistent message with the same power.
I have seen Shakey live before, but nothing quite like this. He wrote the songs on that record at a low point in his life, and the lyrics stem from challenges he has battled. To take them back on the road 10 years later, at such a different point in his career, is something special to witness from the artist.
He’s also quite the storyteller, both sonically and on the mic. He spoke in between almost every song with little tidbits about the song or his journey. It was very stream-of-consciousness and offered an intimate insight into the brain of Shakey Graves. He mixed in two of his most popular songs at the end, but the tour captures And The War Came straight through.
Shakey plays both extremely complicated guitar parts while effectively marching in place with one foot hitting a kick drum and the other a tambourine—he’s been doing this for years, yet still plays with a band. They make a lot of noise because Shakey is an octopus, and he’s one of the most impressive, unique guitar players I have seen live. He mixes in a little bit of bluegrass, rock, folk—and a mystery blend that I have only heard from Shakey.
VIA PRESS RELEASE | Craft Latino announces a special reissue of 1969’s Guisando: Doing a Job, the third collaboration from pioneering salsa duo Willie Colón featuring Héctor Lavoe. With such classic tracks as “No Me Den Candela,” the instrumental “I Wish I Had a Watermelon” (Colón’s response to Herbie Hancock’s “Watermelon Man”) and “Guisando,” the album is a must-have for fans of classic salsa.
Returning to wax for the first time in over half a century, Guisando was mastered from its original analog tapes by Dave Polster and Clint Holley at Well Made Music and pressed on 180-gram vinyl for an optimal listening experience. The album, which arrives May 30th, will also make its debut in hi-res digital. A limited-edition “Candela Orange” color vinyl variant (limited to 300 copies), with an exclusive bundle option that includes a Fania T-shirt, is available at Fania.com. Click here to pre-order Guisando: Doing a Job.
In 1967, Willie Colón and Héctor Lavoe were just 16 and 21, respectively, when Fania Records co-founder and musical director, Johnny Pacheco, paired them in the studio. Before long, the talented young men would become one of Latin music’s most formidable duos. Known as “El Cantante,” Lavoe (1946–1993) was one of the great interpreters of salsa music, revered for his bright vocals, seamless phrasing, and witty, ad-libbed anecdotes.
Colón (b. 1950), meanwhile, quickly became a key figure in the scene, who shaped the sound of salsa on and off stage as a trombonist, composer, producer, and leader of his namesake orchestra. Together, Colón and Lavoe defined one of Latin music’s most exciting eras through 11 legendary albums, beginning with two classics: 1967’s El Malo and 1968’s The Hustler.
Remembering Muddy Waters, born on this day in 1913. —Ed.
Where to start with the music of that sly titan of 20th century music Muddy Waters? Some will advise an inquisitive newbie to invest in an exhaustive multi-disc box set that retails in the neighborhood of a Franklin, while a closet Johnny Winter-aficionado might recommend one of his late-‘70s LPs for the Blue Sky label (and that’s definitely not the place to begin.) However, the most sensible way to commence a journey into the everlasting goodness of McKinley Morganfield is to simply follow the path many thousands have already made, and it leads directly to the doorstep of 1958’s extraordinarily enlightening The Best of Muddy Waters.
While a certifiable embarrassment of great LPs have been made since the format was first introduced in 1948, they don’t all command the same level of historical respect, even from individuals that happen to hold a deep relationship to the sounds those less revered records contain. For instance, after giving the realms of heavy-duty music connoisseurship a good inspection, there is no doubt that the Best of/Greatest Hits LP continues to shoulder something of a bad reputation, with its appeal often denigrated as being directed mostly to dabblers.
These records, awarded to artists who had managed to secure a handful of creative and/or commercial highpoints either in one fast spurt or in some period of sustained longevity, are reliably frowned upon by more intense listeners as essentially being easy primers designed by cash hungry record labels with the intention of giving more casual ears a quick fix and some level of conversance (a sort of career Cliff Notes, if you will) to discographies of considerable distinction.
That’s not necessarily an incorrect assessment. But there are other elements in the scenario, as anyone who ever got turned on to Donovan through their parent’s well-worn copy of his wildly popular Greatest Hits LP can surely understand. And when handed down by older siblings as they slouched off to spend four years in a cramped college dorm, the Best of/Greatest Hits album has surely functioned as a gateway into substantial musical discoveries of all types.
Post-punk legends The Chameleons are gearing up for a brand new full-length album due later this year—their first full-length in over 20 years! They’ve released two new EPs “Where Are You?” and “Tomorrow Remember Yesterday”—the former consisting of new material and the latter of archival material recorded with the current lineup.
Their latest five song EP “Tomorrow Remember Yesterday” is a collection of newly recorded songs whose origins harken back decades. Says Vox, “These songs were amongst the very earliest songs we got together pre-Peel session in 1981, but were discarded at the time due to them feeling unfinished.”
I sat down with vocalist/bassist Vox (fka Mark Burgess) for this episode and it was quite a ride! We talked about Peel Sessions, spotting his favorite Dr. Who on the stairs at the BBC, Steve Lillywhite, LinnDrums, ayahuasca, therapy, love, and The Psychedelic Furs.
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.
The hit you know, and for a reason (it’s vintage Lennon), the rest you probably don’t know, and for a reason (they vary from fair to middling to awful), and one thing is clear–1973’s Mind Games is the work of a John Lennon who’d lost his way and would never find it again, unless you count 1980’s Double Fantasy, which was tanking until he was assassinated outside the Dakota, at which point grieving critics and fans alike decided (because the story had to have some kind of redemptive ending) that it was a return to form.
Martyrdom (if that’s what you want to call it) is a sure-fire way of winning a Grammy Award for Best Album of the Year. I recommend it to every famous artist on his or her way down.
Recorded as his relationship with Yoko Ono was deteriorating (he’d soon begin his infamous LA “Lost Weekend” with May Pang and constant companion in drunken debauchery Harry Nilsson) and he was being hassled by the U.S. government, Mind Games is a mixture of the personal and the political, but overall the album is a throwaway-heavy muddle.
Rolling Stone’s Jon Landau called it Lennon’s “worst writing yet,” adding that that Lennon was “helplessly trying to impose his own gargantuan ego upon an audience … [that] is waiting hopefully for him to chart a new course.” Another wrote that it “consisted of so-so songs that hardly lodged in the memory.” The least commercially successful Beatle wasn’t moving forward, which is hardly surprising when one considers that he was in a muddle when he wrote its songs—or rather tossed them off in the course of a single week.
AU | Australian Vinyl Record Prices Set to Rise Again in May 2025: Vinyl record prices are set to rise again. Universal Music Australia has confirmed that prices will increase on May 5th. In a letter to retail partners Alisa Lai, VP of Commercial at Universal Music Group Australia, states that, “Due to cost pressures in materials, manufacturing, and logistics, we are required to implement a PPD increase across a selected range of vinyl titles, despite our best efforts to absorb this increase in costs.” Brisbane record seller Wax Lyrical shared Universal’s letter on Instagram, expressing concern over the rising costs. “Becoming impossible to exist,” they share. …My view is this. The joy of collecting won’t fade, but the collecting dynamic will certainly shift.
Pharr, TX | Vinyl Frontier: The Record Store That Resurrects Rio Grande Valley’s Lost Grooves. In the middle of the 20th century, the South Texas border region became the epicenter of influential, international musical styles. Labels like Falcon Records, in the farming community of McAllen, and Rio Grande Music Company, in San Benito, the birthplace of Texas music legend Freddy Fender, put on vinyl genres that mixed musical styles from across Mexico with those of local performers and European immigrants. There flourished Tejano Conjunto, small groups that prominently feature the button accordion from central Europe and the bajo sexto, a stringed instrument popular in Mexico that provides a bass line. There sprouted the orquestas tejanas, larger groups that incorporate horn sections. And there took root norteño, a blend of genres with a more prominent bass and percussion.
Lichfield, UK | Stylus Records celebrate their third Record Store Day: Stylus Records Limited is excited to announce that it will be celebrating its third Record Store Day on Saturday, April 12, bringing music lovers together for an unforgettable experience in the heart of Lichfield. This annual event honours the unique culture of independent record stores around the world and is set to be a day of exclusive releases, live energy, and community camaraderie. Located in the charming Grade II listed building at Minster Pool Walk, Stylus Records has quickly become a local music haven since opening in 2022. With its eclectic mix of new and pre-owned vinyl albums, CDs singles, and cassettes spanning every genre, the store has built a loyal following of customers, who rely on Tim and his passionate team of music enthusiasts for their expert knowledge and personalised service.
Newton Abbot, UK | Record shop’s last ‘Record Store Day’ before moving to new premises: A Newton Abbot record shop is preparing for this year’s Record Store Day and it will be the last before moving to new premises Roger and Marsha Cox, owners of Phoenix Sounds, the town’s independent record store, are looking forward to bringing the town together for Record Store Day 2025 on Saturday, April 12 at their shop on Queen Street. Not least because it is one of the most significant dates in any vinyl enthusiast’s diary, but also because it will be the couple’s last in their current premises. The store will move to East Street, a stones throw from the clock tower, in June. Doors will open at 8am, where keen collectors can snap up rare and limited-edition Record Store Day releases on a strictly first-come, first-served basis – once they’re gone, they truly are gone, Phoenix Sounds says. ‘Record Store Day is a highlight for us.’
Bloodywood stormed the O2 Forum Kentish Town last Thursday, delivering a cultural hurricane that London won’t forget anytime soon. The New Delhi-based band has gained serious attention since their early YouTube days, and from the moment they launched into “Dana Dan,” it was clear why. It was a statement from start to finish, unlike anything I’ve ever heard before.
Currently touring in support of their highly anticipated second album, Nu Delhi, Bloodywood is on a mission and clearly enjoying every moment of their meteoric rise. I missed them the first few times they came to London, as they gradually moved to larger venues, but this was the band at their absolute peak. Jayant Bhadula’s powerful clean vocals went head-to-head with Raoul Kerr’s sharp rap verses, while Sarthak Pahwa’s thunderous dhol percussion hit like a freight train. The sound was seismic, a frenzy unleashed on the crowd, ripping through every corner of the venue.
The set was relentless, never losing intensity, even though it came in a bit short at around 60 minutes. They opened with “Dana Dan” before diving into the title track from their new album, “Nu Delhi,” and kept the energy high with tracks like “Aaj” and “Tadka.” By the time they hit “Gaddaar” at the end, the place was absolutely buzzing.
What sets Bloodywood apart is more than just their technical skill—it’s the audacity of their vision. They’re blending worlds that shouldn’t work—metal aggression, hip-hop swagger, and traditional Indian folk instrumentation. This is the type of fusion we need more of, not only in metal but across all genres. Too many bands sound like copies of what came before, but these guys have created something genuinely original.
VIA PRESS RELEASE | Rough Trade Records is celebrating its formative years with the release of a limited boxset on June 20, 2025, featuring several of its key, early seven-inch singles.
Boasting eight classic 45s that followed the label’s formation out the original Rough Trade shop in West London in 1978, Rough Trade 45s: Volume 1 features the likes of Augustus Pablo, The Raincoats and Young Marble Giants.
The eight singles, which have been recreated especially for this edition, were handpicked by Rough Trade Records co-MDs, Jeannette Lee and Geoff Travis, who were key players in the DIY nexus that formed around the first Rough Trade shop in the late 1970s.
“There wasn’t much commercial thinking behind starting a label out of the first Rough Trade shop, not much planning,” recalls Geoff Travis of Rough Trade Records’ beginnings. “We were just doing things out of love really.”
Reflecting this passion behind its foundation, rather than a dry definitive history of the label’s early years, the boxset represents a personal and musical history, as inspired by Rough Trade’s recent 45th anniversary, Geoff and Jeannette have selected tracks that represent moments of true creative spark from the time.
Remembering Richard Manuel, born on this day in 1943. —Ed.
When I think of The Band, which just happens to be my favorite group in the whole wide world, it’s not “The Weight” that first comes to mind, or “This Wheel’s on Fire” or “Rockin’ Chair” or even the brilliant body of ramshackle demos they recorded with Bob Dylan in the basement of the rented house they dubbed Big Pink in West Saugerties, New York in 1967.
No, what I think about is the scene in 2003’s Festival Express—a documentary about the financially ill-fated but fun for all involved 1970 rock tour that crossed Canada by train—where Rick Danko leads a lounge car full of rock stars (including Janis Joplin and Jerry Garcia) in a wonderfully wasted rendition of “Ain’t No More Cane (On the Brazos).” Danko is so gloriously fucked-up, and his crazed smile and arm-waving performance so full of joy, that it seems the embodiment of the spirit of The Band itself, whose ensemble playing brimmed over with high spirits, camaraderie, and the sheer joy of making music.
The Band—whose country and Motown-tinged roots rock and wonderful songs filled with colorful characters conjured up the topsy-turvy spirit of a mythical and long-lost America—released only one live album during its original incarnation, 1972’s double-live Rock of Ages. Recorded during a triumphant four-night stint at NYC’s Academy of Music as 1971 came to a close, Rock of Ages featured The Band supplemented by a five-piece horn section arranged by New Orleans’ Allen Toussaint, as well as a guest appearance by Bob Dylan. It remains one of rock’s greatest live albums, along with Bob Dylan at Budokan… er, make that Live 1966: The “Royal Albert Hall” Concert and Killdozer’s The Last Waltz, which is not to be confused with another album bearing the same name by a band I can’t think of at the moment.
VIA PRESS RELEASE | Bob Moog’s invention of the analog Moog synthesizer ignited an explosion of creativity across the music spectrum. On the classical side, there was Isao Tomita and Wendy Carlos; on the more avant-garde side, such artists as Mort Garson and Craig Leon used the new technology to explore the limits of sound production while rockers like Keith Emerson incorporated the technology into their music.
And, of course, there was also a silly pop side to the synth mania, or “moogsploitation” as some wags put it; albums by The Moog Machine, The Happy Moog, and other similarly-entitled acts provide good examples of that. But the one man straddling all these camps was Gershon Kingsley. Kingsley studied with John Cage before making a pair of groundbreaking albums with fellow electronic music pioneer Jean-Jacques Perry (their “Baroque Hoedown” was the theme for the Main Street Electrical Parade attractions in Walt Disney theme parks).
Kingsley then embarked on a solo career and scored an instant hit with this album, 1968’s Music to Moog By, and its signature track, “Pop Corn.” “Popcorn” (one word) became an international smash for Hot Butter four years later, but Music to Moog By also caught consumer ears with its blend of originals, classical, and especially versions of Beatles tunes (though you will have to excuse the egregious misspelling of “Paperback Writer” as “Paperback Rider”)!
Ever in pursuit of pop music’s most eccentric manifestations, we at Real Gone are proud to reissue Music to Moog By for the first time in the US, complete with the 8-page “The Book of Moog” that was inside some original copies.
Guitarist Mike Baggetta, bassist Mike Watt, and drummer Stephen Hodges comprise the trio mssv. Their latest LP is On and On, available now on vinyl in an edition of 500 copies and digital through BIG EGO Records. The digital release offers eight tracks and the LP adds six band-improvised link pieces to the eight selections to create two continuous and sweetly psychedelic album sides. The vividly twisted cover art by John Herndon of Tortoise complements these atmospheres very nicely. mssv is currently touring and play tonight 4/3 in Washington, DC at the Pearl Street Warehouse.
mssv describe themselves as a post-genre power trio. This essentially means they roam around a lot stylistically, which fits given the band’s diversity of background. Baggetta comes from the jazz scene where he’s part of a contemporary guitar renaissance of sorts. Hodges has recorded extensively as a session drummer with recurring credits in the discographies of Tom Waits and Mavis Staples. And Watt is the highest profile member of mssv, having played a crucial role in the Minutemen, fIREHOSE, and the reunited Stooges plus solo work and additional band projects and session gigs of his own.
Naturally, there is some overlap in the backgrounds that’s pertinent to the formation of mssv. Hodges was one third of the band that recorded Watt’s 1997 album Contemplating the Engine Room. Guitarist Nels Cline completed the Engine Room trio; he joined mssv for a 2-song 45 released in 2022. Most importantly, in 2019 Baggetta and Watt cut the Wall of Flowers album with Jim Keltner on drums. Keltner doesn’t tour, so Hodges stepped in for the live shows, which resulted in Live Flowers, a 2019 CD credited to main steam stop valve (or mssv for short).
From there, mssv has cut three studio full-lengths, Main Steam Stop Valve (2020), Human Reaction (2023), and now, On and On. Two additional 45s, “Media Kittens” b/w “When the Hoarding Has Ended” (2020) and “The Scott Aicher EP” (2021) complete the mssv discography. Baggetta, Keltner, and Watt also released a second album, Everywhen You Go (2022).
UK | Ahead of Record Store Day, physical sales surge in Q1 as UK artists make a chart impact: Physical music sales have surged in Q1 for 2025, Music Week can reveal. The results come ahead of Record Store Day this month, which has traditionally delivered a huge boost for physical music early in the second quarter of the year. Sam Fender, who is the Record Store Day UK ambassador, had the biggest-selling physical release in Q1 with People Watching (Polydor). The UK singer-songwriter moved 103,101 physical units of his third album (142,419 units in total). People Watching is the biggest album of Q1 among titles released in 2025. It is No.2 overall behind fellow Polydor artist Sabrina Carpenter’s 2024 LP Short N’ Sweet (196,059 units in 2025—596,016 in total). There were also strong Q1 results in the albums rankings for UK acts Ed Sheeran, Central Cee, Elton John and Charli XCX, while Lola Young had the biggest single of the quarter with Messy.
Petaluma, CA | Coming to Petaluma: Record Store Day. April has arrived, and with it—hopefully soon—spring weather. As I write this, it’s a rainy day, but I’m looking ahead to sunnier days, perfect for sitting under a tree with headphones on and reading a book. Good thing we’ve got two big dates coming up this month to help facilitate such leisure activity. Record Store Day on Saturday, April 12, and Indie Bookstore Day on Saturday, April 26. I can’t speak for the record store end of things, but I’m sure our local music vendors—including Rain Dog Records and Paradise Found—are doing plenty of behind-the-scenes work to bring the awesome this year. That’s what we’re doing at the Word Horde Emporium of the Weird & Fantastic and the folks at Copperfield’s are reportedly doing as well. After all, with exclusive products, giveaways, and more, it’s a lot to look forward to each year.
Bemidji, MN | Celebrate Record Store Day with KAXE/KBXE on April 12 in Bemidji: KAXE/KBXE’s Record Store Day sale is 9 a.m.-1 p.m. Saturday, April 12, 2025, at Rail River Folk School in Bemidji. Shop for gently used vinyl and CDs. Record Store Day began across the United States in 2008. In 2015, there weren’t any record stores in our listening area or even many places to buy vinyl. So KAXE/KBXE started hosting an annual pop-up used vinyl and CD sale at various locations in Bemidji. Join us this year on the internationally celebrated Record Store Day, 9 a.m.-1 p.m. April 12 at Rail River Folk School in Bemidji. Sift through bins and crates of donated music to find some “new to you” treasures. Even if you are not looking to add to your collection, it’s always a fun community of music lovers gathering with some of our on-air volunteers spinning vinyl throughout.
Adelaide, AU | Seven of the best record stores in Adelaide: Record Store Day is less than two weeks away, so we’ve teamed up with seven of our favourite record stores to give you the lowdown on what they are about and why you should visit them. Crackle & Pop Records: Founded by Mark Cnotek in 2014, Crackle & Pop Records began as a stall at Gilles Street Markets. Arriving at a time when demand for vinyl was on the up, Mark’s side hustle exploded in popularity, with the stall transforming into a mobile pop-up that has since set up digs at pubs, festivals and fairs across the state. Mark handed the Crackle & Pop Records reins over to Adam and Jack Buckley in 2023. The father-and-son duo have relished the opportunity to continue the founder’s legacy, travelling with the pop-up interstate and, most recently, finding it a permanent home at Adelaide’s latest (and biggest) vintage marketplace.
VIA PRESS RELEASE | Varèse Sarabande and Craft Recordings announce deluxe reissues for Blade and Blade II, from prolific composers Mark Isham and Marco Beltrami. Debuting on vinyl for the first time, both soundtracks—equally celebrated as unique contributions to the film canon—will be released in multiple unique color variants.
Releasing on May 16th and available for pre-order today, these classic scores will be pressed on “Bloodbath” red vinyl exclusively via Barnes & Noble, and “Blood Splatter” clear and black translucent vinyl in a limited-edition run of 500 on the Varèse Sarabande store. Both scores will be available as 2-LP gatefold packages with brand-new artwork by acclaimed illustrator Micha Huigen. Directed for the big screen by effects artist turned filmmaker Stephen Norrington (Death Machine) and written by Dark City’s David S. Goyer (with uncredited assistance from David Fincher, who originally intended to direct), 1998’s Blade tapped into the Goth Avenger vein of the adaptations of The Crow and Spawn.
Like those undead superheroes out to decimate their killers, Blade moved in the shadows of a big city built from eerily sleek visuals and Hong Kong—influenced action, as powered by the relentless beat of the era’s youth-appealing indie, grunge, and electronica bands.
At first offered to The Prodigy, Blade’s score eventually went to Mark Isham, whose origin as a jazz trumpeter didn’t suggest the most predictable fit. It was, though, Isham’s Southwestern gothic score for 1986’s The Hitcher that marked him as a musician worthy of this daunting task.
VIA PRESS RELEASE | Following the Eagles’ groundbreaking residency at the Sphere in Las Vegas, Rhino will celebrate the 25th anniversary of Don Henley’s Inside Job with a newly remastered version on May 23. Henley’s fourth solo album will be reissued in multiple configurations, including a 180g 2-LP, 1CD, and digital versions. Pre-order/pre-save HERE. Giving audiences a preview of what to expect, the newly remastered version of “Taking You Home” is available today, digitally.
Inside Job initially arrived on May 23, 2000. Upon release, it bowed at #7 on the Billboard 200, notching Henley’s highest debut as a solo artist. The album went on to earn a Platinum certification from the RIAA. The lead single, “Taking You Home,” catapulted to #1 on the Adult Contemporary chart and remains one of the album’s signature songs. Henley co-produced Inside Job with longtime collaborator Stan Lynch, delivering standouts such as “Everything Is Different Now” and “For My Wedding.” The reissue of Inside Job follows 2024 reissues of I Can’t Stand Still (1982), Building The Perfect Beast (1984), and Cass County (2015).
Best known as co-founder of the legendary rock band, the Eagles, as well as an influential solo artist, Don Henley has maintained an extraordinary commitment to music and various philanthropic efforts throughout his career, including a dedication to environmental issues and artists’ rights. Raised in a small East Texas town, Henley was drawn to the sounds of exotic music broadcast from distant radio stations in New Orleans, Nashville, and Ciudad Acuna, Mexico. These stations introduced him to the blues, bluegrass, gospel, jazz, and rock and roll, paving the way for his future as an artist.
