Crosley Radio is celebrating its 18th year as a founding sponsor of Record Store Day with the launch of the The Rolling Stones RSD3 Mini Turntable, a collectible turntable that channels the legendary energy of The Rolling Stones. Available at participating record stores on Record Store Day, April 18th, 2026, this limited-edition release is a must-have for collectors and music fans alike.
Small, bold, and unapologetically rock ’n’ roll, The Rolling Stones RSD3 Mini Turntable comes with a matching storage crate that holds up to sixteen 3-inch records and showcases exclusive Rolling Stones artwork. The package includes six 3-inch singles, each featuring reproduced picture sleeves originally released in the U.S. including “Get Off of My Cloud,” “Play With Fire,” “Heart of Stone,” “Mother’s Little Helper,” “Have You Seen Your Mother, Baby, Standing In The Shadow?” and “Honky Tonk Women.”
Despite its compact size, the RSD3 Mini Turntable delivers, with a pre-mounted Audio-Technica cartridge, adjustable pitch control, supported platter, and a built-in speaker. For bigger sound, users can connect via Bluetooth to external speakers. Portable power options include micro-USB or four AA batteries, making it perfect for on-the-go listening. Full-size features such as a dust cover, headphone jack, and post adapters for large-hole records ensure the mini player performs as impressively as it looks
“We’re thrilled to add this Rolling Stones product to our exclusive Record Store Day releases,” said Crosley Radio President Keith Starr. “Combining Crosley’s passion for records with the band’s legendary legacy creates a collectible we know fans will be excited to spin.”
Available at participating independent record stores on Record Store Day, April 18th, 2026. Quantities are limited. For a list of participating Record Store Day locations, visit https://recordstoreday.com/stores
Mashup architect Bill McClintock bridges 1967 Paris soul and hair metal sleaze by pairing James Brown’s legendary live performance of “Cold Sweat” with Mötley Crüe’s “She Goes Down”. The combination works far better than logic suggests – which means anyone other than the genius Bill – with Brown’s rhythm section locking into the Crüe’s glam crunch like they were always meant to share stage space.
Andy Kaufman turned a children’s song into performance art on Van Dyke and Company in 1976, recruiting four audience volunteers who had no idea what they were walking into. The comedian galloped onstage with a record player, lip synced his way through “Old MacDonald Had a Farm” while directing the confused participants to handle various animal sounds, then galloped right back off once the track ended.
Dynamic singer-songwriter Brock Phillips releases his debut song “Something Else,” out via Local Hay Records. Leaning into his melodic sensibilities, Phillips explores a familiar, temporary relationship becoming more permanent.
“I went through over 200 songs and narrowed it down to one – ‘Something Else’ as the track to introduce myself with,” shares Phillips. “This is just the beginning!”
The song written by Phillips alongside Brad Clawson and Jacob Durrett was produced by Scott Cooke. An upbeat track with an electric guitar motif leading the way, “Something Else” hooks from the start. A classic pop country song with a unique storyline, the new track marks a strong start for the triple threat singer-songwriter / producer.
Signed to Local Hay Records and Big Loud Publishing, Phillips has been immersed in music all his life. Wearing many musical hats out of both passion and necessity, he began his journey studying music in high school before continuing to Berklee College of Music, where he began creating his own personal style and sound influenced by Chris Stapleton, John Mayer, Kings of Leon and Ariel Posen.
Canadian-born singer-songwriter / producer Brock Phillips has been immersed in music all his life. Wearing many musical hats out of both passion and necessity, Phillips began his journey studying music in high school before continuing to Berklee College of Music, where he began creating his own personal style and sound influenced by Chris Stapleton, John Mayer, Kings of Leon and Ariel Posen. Returning to Canada, Phillips took his skills to Vancouver, booking weekly residencies at clubs and bars that morphed into opening gigs for multi-platinum artists like Dallas Smith, Josh Ross, and MacKenzie Porter. In 2024, Phillips relocated to Nashville and inked a publishing deal with Big Loud Publishing/Local Hay.
The Jane Barnes Band returns to stages across Australia with a five-state tour that captures the warmth and spontaneity of a family gathering. What started as a lockdown project in 2020 has transformed into something much bigger, drawing from a diverse repertoire that spans Otis Redding to Doris Day and Dolly Parton, Cold Chisel to John Denver and Glen Campbell, and Leonard Cohen to The Beatles. The shows reflect the band’s organic growth, born from those early days when the Barnes family wanted to reach isolated listeners through music that offered comfort and connection rather than just familiar hits.
The run launches at the Country Club Showroom in Launceston on Thursday, January 15, moving through Adelaide’s Her Majesty’s Theatre on Friday, January 30, then Bunbury Regional Entertainment Centre on Thursday, February 5 and Twin Towns in Tweed Heads on Thursday, March 19 before wrapping at Ulumbarra Theatre in Bendigo on Wednesday, April 8. Jimmy Barnes and Mahalia Barnes join as special guests throughout. After selling out venues in 2023, the ensemble brings that same energy to theater settings where audiences can experience the intimate, varied performances that made the band such a resonant presence. Jane describes the experience as a family party worth joining, and the invitation feels genuine given how naturally the band evolved from verandah sessions to full-scale productions.
This tour positions The Jane Barnes Band for what comes next while honoring what made them special in the first place. Every performance offers glimpses of the hope and connection that fueled those early bedroom broadcasts, now amplified by musicians who grew into their roles together. The production stays stripped down, letting the songs and voices carry the weight, and that approach works beautifully for material drawn from such rich musical territory.
Robben Ford returns in exceptional form with “Two Shades of Blue”, a record defined by its sophistication, taste, and timeless musicality. The new studio album will be released on March 27th, 2026, via Provogue/Artone.
The album opens exquisitely with the brittle groove of “Make My Own Weather”. “That’s one of my favorite straight-up, slamming blues things I’ve ever written”, says Ford. “It’s about a guy reclaiming his freedom. I tried to create the rumble of a motorcycle with the rhythm guitar”.
Robben Ford is a man in motion. Scan the five-time Grammy nominee’s back catalogue – a half-century hot-streak that darts between jazz, rock, fusion and blues – and you’ll find a musician in a constant state of metamorphosis. Spin new album “Two Shades of Blue” – a transatlantic modern classic that shapeshifted as the sessions unfolded – and you’ll feel the risks taken and rules broken. “I have that curse”, smiles the 74-year-old guitarist. “I don’t have two records that sound the same…”
With a new album around the corner, Robben feels at the top of his game right now. To be released on March 27th, 2026, on Provogue / Artone, “Two Shades of Blue” is not the album Ford was planning to make – but it’s all the better for it. Tracked in the U.S. and U.K. with two different crack-squad bands, this album paints with his inimitable palette, from the low-slung funk-blues of lead single “Make My Own Weather” to skyscraping instrumentals that even test the limits of a player ranked amongst the 100 Greatest Guitarists Of The 20th Century by Musician Magazine.
From his early days, Ford was a special talent. The 60’s saw him backing Mississippi harp wizard Charlie Musselwhite and stretching those skills across Los Angeles with jazz giant Jimmy Witherspoon, before he fell in with the fearless adventurism of saxophonist Tom Scott’s esteemed ‘70s fusion outfit, The L.A. Express.
That lineup’s blazing skills saw them recruited by Joni Mitchell for two classic albums (“the most formative two years of my musical life”), before Ford stepped out with rock royalty on George Harrison’s Dark Horse tour. That collaborative streak would continue throughout his career, from Bonnie Raitt to Bob Dylan. “I’m out there on the bandstand and this rocket ship takes off”, he recalls of his mid-’80s debut with jazz talisman Miles Davis. “For my solo, I put my head down and played every note I knew, as fast as I could. I look up, and Miles just goes: ‘Yeah’. And I’m like, ‘OK, he likes it’”.
“Two Shades of Blue” was loosely sparked by Ford’s move to London, where his antennae picked up the echoes of a sadly departed British blues-boomer. In the same period, having launched the Robben Ford Guitar Dojo with partner Milam Kelly Roberts, he felt the burning urge to explore the instrument’s outer limits.
“The way this album started, I planned it as a tribute to Jeff Beck”, he recalls. “Meanwhile, the Guitar Dojo had reinvigorated my playing, so writing instrumental music became fresh for me again. I didn’t own a Stratocaster, so I literally went out and bought one for this project. Then Daniel Steinhardt from That Pedal Show put together a new pedalboard for me, along the lines of what Jeff Beck was using. I wanted to do something different, set myself a challenge”.
Loading into Eastcote Studios with engineer George Murphy, the chemistry is palpable, with Ford’s guitar and vocals leading a first-call band that takes in drummer Ianto Thomas (Mark Knopfler), keys man Jonny Henderson (Otis Grand), bassist Robin Mullarkey (Paloma Faith) and a brass section comprising of Paul Booth (saxophone), Ryan Quigley (trumpet) and Trevor Mires (trombone). “Great Cats”, smiles Ford. “London has been incredible for finding musicians. This place is loaded, even better for me than Nashville or L.A.”. The album also features the incredible talents of bassist, Darryl Jones (The Rolling Stones), keyboardist Larry Goldings and Gary Husband on drums for the instrumental songs, “The Fire Flute”, “The Light Fandango” and “Feeling’s Mutual”.
“I still love to play”, he considers. “I’ve kept writing better music and become more acquainted with what it is to make a record. The fact that I’m all over the place musically has confused some people over the years. But I always need a change. I always want to do something different. And I’ve been that way since the very beginning…”
Tracklist: 1. Make My Own Weather 2. Jealous Guy 3. Perfect Illusion 4. Black Night 5. Two Shades of Blue 6. The Fire Flute 7. The Light Fandango 8. Feeling’s Mutual
Ultrabomb share “Artificial Stars,” the first release from their forthcoming full-length album ‘The Bridges That We Burn,’ arriving April 3, 2026 via DC-Jam Records and Virgin Music Group. The track delivers the band’s signature mix of urgency, melody, and grit, channeling decades of lived punk experience while exploring isolation, endurance, and the instinct to keep moving forward. As Greg Norton puts it, the song reflects a world where the stars feel distant, yet the reach toward them never stops.
Purity Ring deliver a spellbinding live session for KEXP, performing four immersive tracks recorded in the station’s iconic studio. Featuring Megan James on vocals and Corin Roddick on instrumentals, the set flows through “many lives,” “red the sunrise,” “place of my own,” and “the long night,” with host Cheryl Waters guiding a performance that highlights the duo’s crystalline melodies, heavy low-end, and emotional precision.
Sweet Petunia has released their new single “Good Part” on Righteous Babe Records. Driven by lilting banjos, brazen guitars, and pounding drums, “Good Part” is the quintessential Sweet Petunia track and a rousing label debut from members Madison Simpson and Mairead Guy.
“‘Good Part’ was written after a particularly emotional night at the college house a lot of our friends lived in,” Simpson remembers. “The house was nearly always in total disrepair – dishes piled up in the sink with a leaking tap, records skipping on the record player while nobody paid attention – and I absolutely loved being there. Most of the song is about how I felt I was being neglected by somebody I loved dearly, mirroring the ways in which their house was also not cared for. The chorus reflects the betrayal I was feeling, and the plugged-in instrumentation (electric guitar, drums) we decided on adds to this emotional turmoil.”
The Muppet Show spirit is back in full force as Kermit, Miss Piggy, and the entire Muppet gang reunite for a brand new special event filmed inside the original Muppet Theatre, this time joined by special guest Sabrina Carpenter. Packed with music, comedy, and the kind of carefully unplanned chaos only The Muppets can deliver, the special brings classic backstage antics together with modern pop energy, promising songs, sketches, and delightful derailments. Premiering February 4 on Disney+ and ABC, the event marks a joyful return to familiar felt-lined mayhem, and I am here for it.
