Black Eyed Sons unleash their cover of Mink DeVille’s classic “Savoir Faire” with a new video featuring Alan Clayton of The Dirty Strangers. The visual pairs the band’s raw energy with cinematic nods to the Bowery, Times Square neon and downtown rock clubs, serving as a love letter to the mid seventies New York scene that shaped their sound. Guy Griffin explains the band wanted a live performance video with a rough storyline rooted in that era when bands like Mink DeVille were making their mark, noting both he and Clayton share deep appreciation for that scene. The involvement of Steve Conte, who actually played in Willy DeVille’s band, adds authentic lineage to the project, connecting past and present through people who lived it.
The track closes out ‘Cowboys in Pinstriped Suits,’ the band’s UK number one album, arriving as Black Eyed Sons hit the road for their first run of UK shows this December. The Cowboys in Pinstriped Suits Tour Part 1 continues across the country with Revenant, The Dirty Strangers, Liberty Slaves and Alan Clayton joining on select dates. Griffin promises fresh material plus tracks not heard live before, suggesting audiences should prepare for surprises when the band takes the stage.
Yungblud and The Smashing Pumpkins join forces on a reimagined version of “Zombie,” marking the first time in their storied career that the iconic rock band has featured on another artist’s recording. Produced by Matt Schwartz and Billy Corgan, the collaboration transforms Yungblud’s Grammy nominated Best Rock Song into something heavier and more urgent, infused with Corgan’s signature guitar sound. The original track already stands as Yungblud’s fastest streaming solo single with over 100 million plays and continues climbing at alternative radio, currently sitting at number nine for his third career Top 10 at the format and highest charting single there in three years with more than 15,000 spins across all formats. An official music video directed by Charlie Sarsfield starring both Yungblud and The Smashing Pumpkins accompanies the release, kicking off the new year ahead of his sold out North American tour starting May 1st.
The partnership between Yungblud and Corgan traces back to their first meeting in Birmingham last July during Black Sabbath’s farewell concert Back To The Beginning, though Corgan discovered Yungblud years earlier through a live performance video. Corgan spoke about Yungblud’s trajectory in a 2023 interview with Allison Hagendorf, predicting people would be talking about him for the next 50 years, and later compared his evolution to Elton John on his podcast The Magnificent Ones. That belief resonated deeply with Yungblud and helped inspire the rock album he had long envisioned, bringing the collaboration full circle when he invited Corgan to reimagine “Zombie,” a song the Smashing Pumpkins frontman had indirectly influenced years earlier. Yungblud describes ‘Siamese Dream’ as an album that supported him through formative years, making the chance to create music with the band behind it nearly incomprehensible while noting Corgan’s recent role as mentor and his outlook on truth in art.
The reimagined “Zombie” arrives during massive momentum for Yungblud following a landmark 2025 that included his Grammy nominated Best Rock Album ‘Idols,’ a sold out world tour, and an emotional tribute to Ozzy Osbourne and Black Sabbath that earned him a Grammy nomination for Best Rock Performance. His collaborative EP with Aerosmith ‘One More Time’ scored his first Top 10 debut on the Billboard 200, hit number one on Billboard’s Top Rock Albums chart and topped the UK Albums Chart. The British rockstar completed a sold out North American headline tour and announced a 24 date 2026 North American run that sold out within minutes featuring the largest venues of his career alongside a sold out UK arena tour, plus delivered a widely praised MTV Video Music Awards tribute to Ozzy Osbourne performing alongside Steven Tyler, Joe Perry and Nuno Bettencourt. Corgan notes that Yungblud’s star shines bright and expresses pride in lending The Smashing Pumpkins’ voice to “Zombie,” making the rendition as personal as possible to honor him in return.
Veil Of The Serpent closes out the year with “We Are The Stars,” a massive ballad that explores mortality through acceptance rather than fear. Taken from the upcoming album ‘Born To Burn’ arriving March 20th on CD and digital formats, the track reveals the band’s melodic and introspective range while maintaining their signature heaviness through atmospheric tension, soaring melodies and commanding guitar work. Within the album’s space saga framework that spans rebellion, transformation and survival across a collapsing universe, “We Are The Stars” functions as a reflective turning point that introduces guidance and redemption amid conflict and destruction. The cinematic metal ballad balances emotional depth with the sonic power Veil Of The Serpent built their reputation on, delivering one of the most epic moments in their catalog while dealing with what remains when everything else disappears.
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.
