After 16 years, The Cure returned with an album that was worth every second of the wait. Songs of a Lost World, released on November 1, 2024, brought Robert Smith’s introspection, moonlit melancholy, and synth-drenched drama back to the top of the charts — and the hearts of fans across the world. Here are five beautiful facts about an album that proves the world’s still listening when The Cure sings.
Robert Smith Wrote Everything — Just Like 1985 For the first time since The Head on the Door, every lyric, melody, and arrangement on Songs of a Lost World came from Robert Smith alone. The result is a deeply personal and cohesive listen, full of poetic weight and sonic depth. It’s not just The Cure’s album — it’s his world, and we’re just lucky to hear it.
The Album’s Emotional Core Came From Grief “I Can Never Say Goodbye” was written after Smith lost his brother. Rather than dominate the track with heavy lyrics, he let the music carry the grief — creating one of the most emotionally powerful songs in the Cure catalog. He called it cathartic. Listeners called it unforgettable.
It Was Almost Too Dark to Release The original version of the album was so bleak that Smith’s wife Mary reportedly told him, “people won’t listen to this.” So, tracks like “Warsong” and “Drone:Nodrone” were added to balance things out. Even Bodiam Sky, a gorgeous lost finale, was cut but left like a ghost in the liner notes.
It Was a Global Smash — And a Halloween Wish Smith personally requested the album drop after Halloween. At midnight on November 1, 2024, it arrived — and immediately went to #1 in the UK, France, Germany, and beyond. It even outsold the entire UK Top 10 combined in its first week.
The Companion Albums Keep Coming The Cure celebrated the release with a live album (Songs of a Live World) and a massive remix collection (Mixes of a Lost World) featuring Four Tet, Orbital, and more. Every version — from cassette to glow-in-the-dark vinyl — reminds us The Cure still cares deeply about how music feels in your hands.
With Songs of a Lost World, Robert Smith remembered, reflected, and rewrote what a Cure album could be. New textures. Old ghosts. Huge choruses. And one more reminder that beauty often begins in darkness.
Van Halen’s OU812 was built on it with big riffs, deeper lyrics, midnight jam sessions, and a dash of Cabo sunshine. With Sammy Hagar at the mic for round two, the band blended slick musicianship with stadium-sized hooks, delivering four Top 40 hits and a legacy that still sounds loud and clear. Here are 5 wild and wonderful facts about this 1988 rock staple.
It Was Self-Produced—and It Shows After their 5150 tour, the band skipped hiring a producer and instead crafted OU812 on their own. Without someone calling the shots, they followed their instincts, giving us a mix of serious songwriting and playful experimentation. The result? A sound that’s polished but still purely Van Halen.
“When It’s Love” Was Born From a Piano Demo Eddie showed Sammy Hagar a piano-and-drum demo he’d cooked up with Alex Van Halen—and it became “When It’s Love,” one of their biggest power ballads. The song soared to #5 on the Billboard Hot 100 and featured a guitar solo Eddie called a nod to Eric Clapton. Proof that a little keyboard magic and a lot of heart can still light up a stadium.
The Late-Night Balcony Jam That Became a Hit “Finish What Ya Started” almost didn’t make the album—until Eddie knocked on Hagar’s door at 2 a.m. with a new riff. They jammed on his balcony with unplugged guitars until the song was done. Sammy stayed up to write the lyrics, which he later described with a wink as being about “blue balls.”
Cabo, Montrose, and a Song Called “Cabo Wabo” While writing lyrics in his house in Cabo San Lucas, Hagar channeled the relaxed beach vibe into “Cabo Wabo.” The song borrowed melody lines from a Montrose track he wrote years earlier, and it ended up inspiring the name of Hagar’s legendary nightclub and tequila brand. Not just a song — a lifestyle.
The Album Name Came From a Truck on the Freeway The title OU812 (read aloud: “Oh, you ate one too”) wasn’t a coded jab or grand statement—it was something Sammy saw on the side of a delivery truck and found funny. The band even considered naming the album Bone first, but Alex Van Halen wasn’t having it. We all owe that delivery truck a thank-you.
OU812 was dedicated to Eddie and Alex’s father, Jan, whose clarinet had appeared on Diver Down. With stadium rock power and beachside creativity, the album blended heart and humor, riffs and reflection. It was Van Halen doing what they did best—loud, loose, and totally themselves.
Van Halen’s 1984 was a neon-lit, synth-drenched, high-octane leap into the future of rock. Released at the start of the year it’s named after, this record captured a band at the peak of its powers and rewrote what a rock album could sound like. From synths to school buses, here are 5 wild facts about one of the most iconic albums of the ‘80s.
Eddie Built a Studio, Then a Whole New Sound Eddie Van Halen wanted more control — so he built his own home studio, 5150, named after the California code for a psychiatric hold. There, with engineer Donn Landee, he explored synths and sounds without pushback. That’s where “Jump” was born, reshaping Van Halen’s identity from riff kings to synth rock pioneers.
“Jump” Almost Didn’t Happen Eddie had the iconic synth riff for “Jump” in his back pocket for years — but David Lee Roth wasn’t convinced. After years of resistance, Roth finally gave it a shot, writing lyrics in the backseat of his Mercury convertible. A TV story about a potential jumper inspired the title, but the message became one of joy and seizing the moment.
That’s Eddie’s Actual Lamborghini in “Panama” During the breakdown of “Panama,” that revving engine isn’t from a sound bank — it’s Eddie’s real 1972 Lamborghini Miura S. He backed it up to the studio, mic’d the tailpipes, and floored it. Rock history, meet car culture. It’s the most musical burnout ever caught on tape.
“Hot for Teacher” Was as Wild Onscreen as On Record The music video for “Hot for Teacher” took glam metal, childhood chaos, and red suits under a disco ball and blended them into a pure MTV fever dream. Complete with kid versions of the band, stripping teachers, and a urination gag that flew under the radar, it’s still one of the most unforgettable — and unhinged — rock videos of all time.
They Gave Away a “Lost Weekend” with the Band To promote the album, Van Halen and MTV launched a “Lost Weekend” contest. Over a million fans sent in postcards. Winner Kurt Jeffries flew to Detroit, got caked and showered in champagne onstage, and probably still doesn’t remember half of it. As Roth promised: “You won’t know where you are, and when you come back, you won’t remember it.” Rock ‘n’ roll at its most chaotic and generous.
1984 sold 10 million records and it changed the trajectory of Van Halen forever. Synths met shredding, and rock met radio in a whole new way. Whether it’s the swagger of “Panama,” the precision of “Jump,” or the schoolyard chaos of “Hot for Teacher,” this album lives on as a monument to when Van Halen truly ruled the airwaves, the charts, and MTV.
Some albums are recorded. Others are lived. Double Fantasy, the final studio album from John Lennon and Yoko Ono released just weeks before Lennon’s tragic death in 1980, falls firmly into the latter category. Born from sailing adventures, seasickness, dad life, and love letters set to music, this album is full of incredible moments that go way beyond the music. Here are five wild and true facts that make Double Fantasy as unforgettable as the couple who made it.
John Lennon’s Sea Storm Epiphany In June 1980, Lennon sailed from Rhode Island to Bermuda—and when a nasty storm hit, he was the last man standing. The rest of the crew were knocked out with seasickness, leaving Lennon to steer a 43-foot schooner alone for six hours. Afterward, he said it centered him, tuned him into the cosmos, and inspired a flood of new songs. Forget a studio—this album started on the open sea.
The Album Was Named After a Flower No metaphor here—Double Fantasy is literally the name of a flower Lennon saw in the Bermuda Botanical Gardens. He thought it perfectly described his relationship with Yoko. It’s not often a rock record and a freesia share a name, but for John and Yoko, love bloomed everywhere.
A Secret Session with Cheap Trick Producer Jack Douglas invited Rick Nielsen and Bun E. Carlos of Cheap Trick to secretly play on two tracks: “I’m Losing You” and “I’m Moving On.” Lennon loved the energy, but those versions were ultimately re-recorded with the regular session band. Still, the Cheap Trick version made its way to the John Lennon Anthology years later. That’s a rock ‘n’ roll what-if for the ages.
“Starting Over” Was Lennon’s Elvis Orbison Moment When recording the first single, Lennon jokingly called it his “Elvis Orbison” track, as he playfully mimicked the vocal styles of both legends. He even opened the stripped-down remix with a dedication: “This one’s for Gene, and Eddie, and Elvis… and Buddy.” A comeback single inspired by the greats, from a great returning to form.
A Hammered Dulcimer Saved the Day “Watching the Wheels” features a hammered dulcimer—but not by design. Producer Jack Douglas wanted a “circular” sound and found a street performer in New York, Matthew Cunningham, to play it. He wasn’t in the Musicians’ Union, but his dulcimer brought exactly the vibe the song needed. From the sidewalk to the studio—now that’s serendipity.
Double Fantasy was more than a comeback; it was a celebration of life, love, fatherhood, partnership, and artistry. Its story is full of storms and stillness, risk and reward, loss and legacy. Lennon and Ono called it A Heart Play—and forty-plus years later, we’re still listening with ours.
The ‘90s were a sonic playground where grunge exploded, indie bloomed, hip hop stormed the charts and alt-rock went global. It was a decade where vulnerability met volume, where genre lines blurred, and where artists dared to be sprawling, strange, and sincere. These 20 albums defined culture, soundtracked change, and carved out new lanes in music history.
Achtung Baby – U2 U2 stepped out of their comfort zone and into a kaleidoscope of distortion, dance beats, and spiritual searching — and in the process, completely reinvented their sound.
Aquemini – OutKast OutKast brought the soul and philosophy of rock to hip-hop with this Southern masterpiece, layered with live instrumentation and space-age ideas.
Automatic for the People – R.E.M. Gentle, introspective, and achingly beautiful, this album proved that emotional depth could move just as many people as distortion ever could.
Blood Sugar Sex Magik – Red Hot Chili Peppers Equal parts funk, rock, and raw feeling, this record turned the Chili Peppers into icons and gave us some of the decade’s most electric grooves.
Car Wheels on a Gravel Road – Lucinda Williams This alt-country gem delivered storytelling with grit and grace — blending folk, blues, and rock into one of the ’90s’ most emotionally rich records.
Crooked Rain, Crooked Rain – Pavement Witty, loose, and endlessly quotable, this indie rock touchstone helped define slacker cool and gave us hooks disguised as shrugs.
Dirt – Alice in Chains Dark and hypnotic, Dirt channeled inner turmoil into a grunge-metal masterpiece that’s as heavy emotionally as it is sonically.
Exile in Guyville – Liz Phair Bold, biting, and fiercely personal, Liz Phair’s debut redefined indie rock and flipped the male-dominated alt world on its head.
Grace – Jeff Buckley With an otherworldly voice and poetic touch, Buckley delivered a transcendent debut that still resonates like a quiet thunderstorm.
In the Aeroplane Over the Sea – Neutral Milk Hotel Surreal, lo-fi, and full of aching beauty, this cult classic stitched together folk, fuzz, and feeling in a way no one else dared to try.
In Utero – Nirvana A jagged, unapologetic response to fame, In Utero peeled back the polish and let the raw wounds show — Nirvana at their most honest.
Loveless – My Bloody Valentine An ocean of reverb and blissed-out noise, Loveless captured dreamlike distortion and redefined what guitar music could feel like.
Mellon Collie and the Infinite Sadness – The Smashing Pumpkins Ambitious and orchestral, loud and tender, this sprawling double album felt like the band’s entire soul pressed onto wax.
Nevermind – Nirvana The album that cracked the mainstream wide open. Nevermind wasn’t just grunge — it was a revolution wrapped in flannel and feedback.
OK Computer – Radiohead Apocalyptic, intricate, and endlessly influential, OK Computer felt like the sound of the future — one that still hasn’t arrived.
Slanted and Enchanted – Pavement The lo-fi masterpiece that made indie feel infinite. Jangly, weird, and unexpectedly deep, it became the blueprint for a generation of underground rock.
Superunknown – Soundgarden Chris Cornell’s voice meets thunderous riffs in this genre-defining grunge record — heavy, haunting, and somehow ethereal.
Ten – Pearl Jam Passionate, spiritual, and filled with riffs that still shake arenas, Ten made Pearl Jam torchbearers of a generation seeking meaning.
The Bends – Radiohead Where Radiohead evolved from grunge also-rans to something more expansive — and delivered soaring anthems with introspective guts.
Wildflowers – Tom Petty Petty at his most vulnerable and timeless, Wildflowers is a quiet triumph of songwriting, simplicity, and soul-searching.
From basement shows to arena tours, bedroom headphones to record store walls, these records are woven into the cultural fabric of the ‘90s. Whether you lived it loud back then or are discovering it now, their echoes still ring true.
We’ve all been there — someone slides a contract across the table (or screen), and you’re tempted to just skim and sign. But whether it’s for work, a rental, or a streaming deal you’re not totally sure about, reading the fine print matters. Here are 10 simple, smart tips for reading contracts before putting pen to paper — because signing something you don’t understand isn’t confidence, it’s chaos in waiting.
1. Slow Down and Take Your Time Contracts aren’t a race. Take a breath and read it thoroughly — even if someone’s pressuring you to sign quickly. If something feels rushed, it probably deserves more time.
2. Look for Key Terms First Scan for the basics: payment terms, deadlines, cancellation clauses, RECOUPMENT and what each party is responsible for. These often set the tone for everything else in the agreement.
3. Don’t Assume Standard Means Safe Just because it’s a “standard contract” doesn’t mean it’s fair or right for your situation. Templates get reused — but your needs are specific. Trust your instincts.
4. Highlight and Annotate as You Go Use a highlighter, sticky notes, or comments to flag anything that stands out, confuses you, or needs clarification. Contracts are easier to review when you’ve already mapped the important bits.
5. Check the Cancellation or Termination Clauses Can you get out if needed? Will it cost you? Understanding how to exit the contract is just as important as knowing what you’re agreeing to.
6. Ask Questions — It’s Your Right If something’s unclear, ask. If the answer feels vague, ask again. Any professional worth working with will respect you for wanting clarity.
7. Be Wary of “Forever” Language Watch out for automatic renewals, indefinite commitments, or sneaky clauses that tie you up longer than expected. Flexibility matters.
8. Know What’s Missing Sometimes it’s not what’s in the contract — it’s what isn’t. Make sure any verbal promises or expectations are written in. If it’s not on the page, it doesn’t exist legally.
9. Get a Second Set of Eyes Ask a friend, mentor, or (ideally) a lawyer to take a quick look. A fresh perspective can catch red flags you might miss the first time.
10. Trust Yourself Before You Sign If something doesn’t feel right, don’t sign — at least not yet. A contract should feel like a clear agreement, not a gamble.
Reading a contract isn’t about suspicion — it’s about self-respect. You don’t need a law degree to understand the basics, just a little time, attention, and confidence. Because the best kind of signature? The kind you don’t regret later.
Today, we celebrate Simplicity Day, inspired by Henry David Thoreau — a man who knew the power of living deliberately, thoughtfully, and with joy. In honor of a day that reminds us to slow down, breathe deep, and embrace what matters, here are 10 songs that offer timeless reminders to live well, live simply, and live true.
Whether you’re sipping something cold on a porch swing or watching clouds drift by, these songs are the soundtrack to a life that feels good — and knows it.
1. “Lovely Day” – Bill Withers Withers doesn’t just sing a song, he hands you a mood. That opening line, “When I wake up in the morning…” sets the tone for a day that’s already won.
2. “Good Life” – OneRepublic A globe-trotting anthem that never forgets gratitude. The chorus alone feels like a sunbeam through the window.
3. “Three Little Birds” – Bob Marley & The Wailers Marley offers more than advice — it’s a mantra. “Don’t worry ‘bout a thing” has never felt more freeing.
4. “Feeling Good” – Nina Simone Everything about this track soars — from the strings to the vocals to the message: life’s here, now, and it’s beautiful.
5. “Happy” – Pharrell Williams You can’t listen without moving. You just can’t. Pure joy, bottled in under four minutes.
6. “It’s a Beautiful Day” – Michael Bublé This one’s got swing, spark, and a touch of sass. Sometimes life’s best moments are the ones you didn’t plan.
7. “Good to Be Alive (Hallelujah)” – Andy Grammer Every line feels like a celebration. “I think I finally found my hallelujah” — yes, and thank you.
8. “Simple Things” – Miguel A love song to less. “I just want the simple things” is a powerful reminder in a world that often wants more.
9. “Pocketful of Sunshine” – Natasha Bedingfield Some songs feel like a vacation — this is one of them. A bright, breezy reminder that joy can be carried anywhere.
10. “Live Your Life” – T.I. feat. Rihanna With Rihanna on the hook and a beat that lifts the soul, this track is a mission statement: live it loud, live it proud.
Whether you’re unplugging, decluttering, or just smiling at the sky, remember: the good life isn’t about having more — it’s about feeling more. So turn up the music, breathe deep, and go be part of the sunshine.
“Wonderwall” by Oasis, released in 1995, became the defining anthem of ‘90s Britpop and the unofficial soundtrack to dorm room guitar jams everywhere. Written by Noel Gallagher and described as a song about “an imaginary friend who’s gonna come and save you from yourself,” it captured a generation’s yearning in under four chords. Topping charts in Australia and New Zealand and going octuple platinum in the UK, it remains Oasis’ most iconic track — and probably the most requested song at open mic nights ever since.
Remember Drowning Pool’s “Bodies”? Now imagine it sung by heavy metal Muppets who can only count to four. That’s exactly what Psychostick did in their parody “Numbers”—or as literally everyone calls it, “I Can Only Count to Four.” Chaos. Genius. Sesame Street gone metal.
Today multi-platinum singer-songwriter JP Saxe and indie-electronic producer Shallou release “I Haven’t Said Enough (Shallou Remix)” out now via Arista Records. The pair have joined together to bring brand new energy to the R.E.M. classic “Losing My Religion.”
JP Saxe and Shallou collaborate for the first time on the remix for “I Haven’t Said Enough” recently released on Make Yourself At Home, as it is now infused with Shallou’s atmospheric beat-driven production. On the story behind “I Haven’t Said Enough” JP Saxe explains, “I had these verses for months. I wanted them to feel devastatingly committed to remaining moved in the face of phone screen imagery that slow drip kills your willingness to feel like a human, but I couldn’t get that feeling right, and then one day in the studio I started singing R.E.M.’s ‘Losing My Religion’ along with my verses, and it was perfect. I asked them if I could use it, and to my immensely grateful surprise, they said yes. So, here’s my interpolation of one of my favorite songs of all time, at a time when remaining a big feeling person committed to compassion is getting increasingly complicated.”
Discussing collaborating with JP Saxe, Shallou shares, “JP has a rare ability to write lyrics and songs that seem to reach out from the speakers and grab you. In this case, I deeply resonated with the message of the song—and as a longtime fan of R.E.M., that connection ran even deeper. While most interpolations tend to fall flat for me, this one stood out as an excellent reinterpretation of the original concept, thoughtfully recontextualized for a modern audience. With the remix, all I aimed to do was enhance the beautiful elements already present—adding a bit of top-down, volume-all-the-way-up energy. The kind of sound you blast in the car letting those feelings of frustration pour out.”
Recently, Saxe shared his album Make Yourself At Home exploring universal emotions and experiences with charismatic vocals and relatable self-examination. While diving into themes of belonging, desire, and discipline, Saxe is unafraid of questioning his own desires and motivations. The album included, “STRANGERS” featuring Argentinian star TINI, a gorgeously tense and highly relatable song that balances nostalgia with acceptance for a relationship that’s run its course. The single is part of a run of tracks that perfectly pair thoughtful and bluntly real emotional exploration with evocative instrumentation throughout the two-part album.
Before that came Articulate Excuses singles including: “SAFE,” which explored masculinity in an R&B-kissed pop track co-written/produced by Malay (Frank Ocean, Lorde, FLETCHER); “SMARTPHONE MAKE ME DUMB,” a deeply vulnerable meditation on modern escapism; and “I WANNA MOVE TO BROOKLYN,” an apology for being the worst part of oneself turned into an addictive pop song.
In 2024, Saxe wrapped up his sold-out, headlining A Grey Area World Tour following his support of John Mayer’s 2023 arena run and the release of Saxe’s last album, A Gray Area. That reflective set was largely produced by Malay and included the single“I Don’t Miss You” with Mayer, plus collaborations with Latin-GRAMMY®-winning Colombian artist Camilo, the folk-pop trio Tiny Habits, and beloved singer-songwriter Lizzy McAlpine. The album garnered praise from Billboard, People, Forbes, Entertainment Weekly, Rolling Stone, and more.
Saxe shared a pair of performance LPs last year: A Grey Area (Live Sessions) — featuring acclaimed guest instrumentalists like Cory Henry and Tal Wilkenfeld — and Live on Stage, which included a solo version of his 2019 blockbuster, “If the World Was Ending,” a 4x Platinum GRAMMY® nominated song that has been streamed over 2 billion times worldwide. Saxe has already proven himself to be a master of off-the-cuff intimacy, but in his current era, it’s clear he’s intent on bringing us in even closer — experience that in-person at one of the upcoming dates below.
JP Saxe Tour Dates:
Sep 9 – Edmonton, AB @ Midway Music Hall
Sep 10 – Calgary, AB @ The Palace Theatre
Sep 12 – Seattle, WA @ The Showbox
Sep 13 – Victoria, BC @ Rifflandia Music Festival
Sep 14 – Vancouver, BC @ Orpheum
Sep 15 – Eugene, OR @ McDonald Theatre
Sep 17 – San Luis Obispo, CA @ Fremont Theater
Sep 18 – Los Angeles, CA @ The Ford
Sep 19 – San Francisco, CA @ The Masonic
Sep 21 – Salt Lake City, UT @ The Depot
Sep 22 – Denver, CO @ Gothic Theatre
Sep 24 – Dallas, TX @ The Echo Lounge & Music Hall
Sep 26 – Nashville, TN @ Cannery Hall
Sep 27 – Chicago, IL @ The Vic Theatre
Sep 28 – Minneapolis, MN @ Varsity Theater
Sep 30 – Detroit, MI @ Saint Andrew’s Hall
Oct 1 – Toronto, ON @ Massey Hall
Oct 3 – Ottawa, ON @ The Bronson Music Theatre
Oct 5 – Montreal, QC @ MTELUS
Oct 6 – Philadelphia, PA @ Union Transfer
Oct 7 – Boston, MA @ Big Night Live
Oct 9 – Washington, DC @ The Howard Theatre
Oct 10 – Brooklyn, NY @ Brooklyn Steel
Oct 11 – Richmond, VA @ The National
Oct 12 – Charlotte, NC @ The Underground
Oct 14 – Miami, FL @ ZeyZey Miami
Oct 15 – Orlando, FL @ The Beachman
Oct 18 – Lima, Peru @ CC Bianca – Barranco
Oct 20 – Bogota, Colombia @ Royal Center
Oct 23 – Sao Paulo, Brazil @ Teatro Bradesco
Oct 24 – Buenos Aires, Argentina @ Teatro Vorterix
