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Radio Bristol Celebrates 10 Years With Exclusive ‘Farm and Fun Time’ Vinyl

Eric Alper
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Radio Bristol Celebrates 10 Years With Exclusive ‘Farm and Fun Time’ Vinyl

Radio Bristol, a vital voice in the Appalachian region and a tastemaker in both the music and community spheres, is excited to mark its 10th anniversary with the release of “10 Years of Radio Bristol’s Farm and Fun Time,” a special 12-song vinyl collection. The unique compilation features live performances from Farm and Fun Time, the beloved show that began as a modest, low-power FM broadcast and streaming platform. Over the years, it has captured the hearts of fans across the country, growing into a nationally syndicated, Emmy-nominated series available on more than 140 PBS channels across the U.S. The album celebrates a decade of incredible music, community, and unforgettable moments from the program.

“Radio Bristol’s Farm and Fun Time has grown tremendously over the course of 10 years,” said show host and creator Kris Truelsen. “We have had the privilege of hosting a plethora of the world’s leading artists over the past decade while also providing a platform to support artists from our region. This record highlights a few of our favorite performances through the years and serves as a big ‘thank you’ to our sustaining members who help keep Radio Bristol—a community-supported radio station—on the air.”

Track Listing:

    “Take This Hammer” – Willie Watson

    “Lines in the Levee” – Town Mountain

    “Would You Like to Get Some Goats?” – Melissa Carper

    “You Might Think” – Sons of the East

    “Love and Chains” – Viv and Riley

    “Back to Square One” – Sierra Ferrell

    “Think I’ll Stay” – Jesse Daniel

    “Kitchen Floor” – S.G. Goodman

    “South Dakota Wild One” – The Deslondes

    “Duane Allman” – Amy Ray Band

    “Human” – Alexa Rose

    “Happy Pills” – Palmyra

The album features a selection of performances from Farm and Fun Time, recorded before a live audience, and preserves the authentic energy and spirit of the show. Sierra Ferrell appears with a previously unreleased original song, joined by standout contributions from Amy Ray of The Indigo Girls, Willie Watson, S.G. Goodman, Sons of the East, and Town Mountain, to name a few. Many of the featured artists have ties to Bristol and Central Appalachia, reflecting the rich cultural heritage of the region.

“10 Years of Radio Bristol’s Farm and Fun Time” is not for commercial sale; it is part of a limited-edition incentive package for Radio Bristol’s annual fund-drive campaign, slated for June 18–19. The package is exclusively for donors who join the station’s Radio Bristol Record Breakers membership program during the fund drive, while supplies last. To become a Radio Bristol Record Breaker, a one-time donation of $300 or a monthly donation of $25 for one year is required.

The album is pressed onto brilliant blue-colored vinyl by Citizen Vinyl, based in Asheville, N.C. Radio Bristol Record Breakers also receive a graphic tee and stickers designed by artist Kelley Wills of Brain Flower Designs, a membership to the Birthplace of Country Music’s 1927 Society, and more. To become a Radio Bristol Record Breaker, visit https://birthplaceofcountrymusic.org/radio-bristol-wbcm/support/.

Radio Bristol broadcasts from inside the Birthplace of Country Music Museum, a Smithsonian Affiliate, in historic downtown Bristol, Va./Tenn. The station launched the monthly Farm and Fun Time as a radio show in April 2015 prior to its transition to television.

Radio Bristol’s weekly lineup features a wide range of unique and original programming, spanning various music genres, all rooted in country and American-roots traditions. To listen live to Radio Bristol’s programming, tune into 100.1 FM in the Bristol area or visit ListenRadioBristol.org, where you will also find archives of your favorite shows. Radio Bristol is also available via the station’s free mobile app.

100 Days to Go: Bristol Rhythm & Roots Readies a Reunion Like No Other

Eric Alper
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100 Days to Go: Bristol Rhythm & Roots Readies a Reunion Like No Other

Only 100 days remain until music lovers once again spill onto historic State Street for the Bristol Rhythm & Roots Reunion, taking place September 19–21, 2025. Since its inception in 2001, the award-winning festival has paid homage to the seminal 1927 Bristol Sessions—widely hailed as the “Big Bang of Country Music”—while championing the ever-evolving sounds those recordings set in motion. This year’s gathering promises another unforgettable weekend honoring Bristol’s musical past, present, and future.

The 2025 lineup boasts a powerhouse slate led by The Teskey Brothers, Shane Smith & The Saints, Lukas Nelson, and bluegrass legend Ricky Skaggs with Kentucky Thunder. Pop-country chart-toppers The Band Perry, acclaimed singer-songwriter Joy Oladokun, jamgrass stalwarts Steep Canyon Rangers, high-energy funk outfit Pigeons Playing Ping Pong, and the virtuosic Mountain Grass Unit round out the top tier. They’ll be joined by dozens more including Kaitlin Butts, Ashley Monroe, Fruition, Sister Sadie, Futurebirds, Michael Cleveland, The Wilder Blue, Nolan Taylor, Shadowgrass, and Ken Pomeroy. Cellist and composer Dave Eggar will serve as the festival’s 2025 Artist-in-Residence, collaborating across multiple sets throughout the weekend.

True to tradition, the three-day street fest will transform downtown Bristol—straddling the Tennessee–Virginia state line—into a vibrant patchwork of outdoor stages, late-night sets, and intimate indoor performances. Fans can expect barn-dance jams, impromptu collaborations, and a family-friendly atmosphere laced with regional food, craft vendors, and the warm community spirit that has defined Bristol Rhythm & Roots Reunion for nearly a quarter-century.

Weekend passes, single-day tickets, VIP packages, and official merchandise are available now at www.BristolRhythm.com. Organizers encourage fans to secure passes early and join the countdown to “a reunion like no other” when the streets of Bristol once again resonate with the sounds that shaped American music.

Suzanne Vega Channels Bob Dylan’s Muse in “Chambermaid” Lyric Video

Eric Alper
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Suzanne Vega Channels Bob Dylan’s Muse in “Chambermaid” Lyric Video

Suzanne Vega—widely regarded as one of the foremost songwriters of her generation or any other—is debuting the new animated lyric video for the single “Chambermaid,” from her critically acclaimed new record Flying With Angels, out now on Cooking Vinyl. Watch/share the video, directed by artist/animator Michael Arthur.

Speaking about “Chambermaid,” Vega explains, “In my adaptation of Bob Dylan’s ‘I Want You,’ I imagine what the character of the Chambermaid would say about her own aspirations and her relationship with the great man himself.”

Flying With Angels—Vega’s first full-length album of all-new music in over a decade—is produced by her longtime collaborator and guitarist Gerry Leonard (David Bowie, Rufus Wainwright, Laurie Anderson, Duncan Sheik); see below for a complete track listing. Flying With Angels is available to stream/purchase HERE.

The record continues to receive praise in the media, with Forbes hailing it as a “wonderful new record,” and American Songwriter noting that “[On Flying With Angels] Vega showcases her versatility.” MOJO raves in a four-star review that “Vega’s first album in a decade takes an abrupt turn, infused with a vibrancy and political urgency that is very ‘now.’”

“Each song on the album takes place in an atmosphere of struggle,” adds Vega. “Struggle to survive, to speak, to dominate, to win, to escape, to help someone else, or just live.”

In celebration of the new album, Vega is currently on tour throughout North America and Europe, performing an evening of career-spanning songs as well as showcasing material from the new album. Newly announced shows include New York’s Town Hall with special guests Suzzy Roche and Lucy Wainwright Roche, as well as the Lincoln Theatre in Washington, D.C., and World Café Live in Philadelphia. Vega and Leonard will be joined on stage by cellist Stephanie Winters. See below for a list of dates; tickets for all upcoming shows are available for purchase at suzannevega.com/tour.

Of Vega’s performances, The New York Times notes that she “is attentive to the realm of the unseen.” Finding Connecticut lauded a recent concert as “nothing short of mesmerizing, weaving tales through her soulful songs in a cozy setting that allowed for a deep connection with the audience.”

Vega emerged as a leading figure of the folk-music revival of the early 1980s. Since the release of her self-titled, critically acclaimed 1985 debut album, she has written and recorded numerous songs that have become part of the contemporary music vernacular, including “Luka,” “Marlene on the Wall,” and “Tom’s Diner,” an a cappella piece that was remixed by U.K. electronic dance duo DNA and became a major club hit. It remains an oft-sampled and covered standard by artists across the musical spectrum. Her albums—including her self-titled debut, follow-up Solitude Standing, and 99.9F—have sold millions of copies worldwide.

SUZANNE VEGA
FLYING WITH ANGELS
1. Speakers’ Corner
2. Flying With Angels
3. Witch
4. Chambermaid
5. Love Thief
6. Lucinda
7. Last Train From Mariupol
8. Alley
9. Rats
10. Galway

SUZANNE VEGA TOUR DATES
June 10—Washington, DC—Lincoln Theatre
June 11—Philadelphia, PA—World Café Live
June 13—Amagansett, NY—The Stephen Talkhouse
June 14—New York, NY—Town Hall*
June 15—Ridgefield, CT—Ridgefield Playhouse
June 17—Hartford, CT—Infinity Hall
June 18—Arundel, ME—Vinegar Hill Music Theatre
June 20—Brattleboro, VT—Stone Church
June 21—Newport, RI—The JPT Film & Event Center
September 30—Amsterdam, NL—Royal Theater Carré
October 2—Rotterdam, NL—Nieuwe Luxor
October 4—Munich, DE—Isarphilharmonie
October 6—Hamburg, DE—CCH Saal Z
October 8—Berlin, DE—Kammermusiksaal Philharmonie
October 10—Brussels, BE—Bozar
October 12—Antwerp, BE—Queen Elisabeth Hall
October 13—Esch-sur-Alzette, LU—Rockhal Club
October 15—Offenbach, DE—Capitol
October 16—Koln, DE—Theater am Tansbrunnen
October 19—Gateshead, UK—Sage Gateshead
(The Glasshouse Int’l Centre for Music)
October 20—Manchester, UK—Bridgewater Hall
October 21—Glasgow, UK—Royal Concert Hall
October 23—Edinburgh, UK—Usher Hall
October 25—Liverpool, UK—Royal Liverpool Philharmonic
October 27—Cambridge, UK—Corn Exchange
October 28—Brighton, UK—Dome
October 30—Bristol, UK—Bristol Beacon
October 31—Birmingham, UK—Symphony Hall
November 1—Stoke, UK—Regent Theatre
November 3—London, UK—Royal Albert Hall
*with special guests Suzzy Roche & Lucy Wainwright Roche

The Barr Brothers Announce ‘Let It Hiss’—A Raw Return to Imperfection and Intimacy

Eric Alper
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The Barr Brothers Announce ‘Let It Hiss’—A Raw Return to Imperfection and Intimacy

The Barr Brothers have announced that their new album Let it Hiss will be released October 17, on Secret City Records. Their long-simmering and long-awaited fourth studio album isn’t just a collection of 10 vital new songs, it’s a document of transformation. The result of a pivotal shift: a pause for reflection, a reckoning with vulnerability, and a reconnection between two brothers – Brad and Andrew Barr – who’ve spent their entire lives making music side by side. Let it Hiss was produced by Brad and Andrew, working primarily as a duo out of their Montreal studio, and worked with mix engineer Jon Low (The National, Taylor Swift, Bon Iver). The Barr Brothers will also announce a headlining tour soon, stay tuned for more information.

The album announcement is accompanied by the release of lead single and title track “Let it Hiss”, a propulsive number born out of an extended jam session and featuring jolts of Brad Barr’s virtuosic blown-out guitar and Andrew Barr’s steady groove. Upon hearing a light buzzing in the guitar monitor during playback, the brothers decided to “let it hiss”…a mantra of imperfection that they carried with them throughout the sessions.

Since releasing their 2011 self-titled debut, The Barr Brothers have been welcomed onto international festival bills and late-night talk show stages (including multiple Letterman appearances, and CBS Saturday). 2014’s Sleeping Operator (certified Gold in Canada) yielded the breakthrough single “Even the Darkness Has Arms,” which has racked up 110-plus million Spotify streams and counting. 2017’s Queens of the Breakers showcased their improvisatory chops with a greater emphasis on raw blues jams and experiments with brass and strings.

Across this span, they earned three Félix Awards in Quebec, three JUNO Award nominations for Adult Alternative Album of the Year, and a Polaris Music Prize longlist placement, are regular-rotation fixtures on NPR, SiriusXM, KCRW, KEXP, and AAA radio.  Their music has also been heard on programs like True Detective, Your Honor, Catfish, Rookie Blue and more, and their work has earned praise from legends such as Robert Plant, Bon Iver, David Crosby and Bill Kreutzmann.

While Let it Hiss is eight years in the making, it does not suggest a period of stagnancy. Andrew has spent time playing drums for Feist, Mumford and Sons, Gracie Abrams and Broken Social Scene. Brad has explored a wide array of collaborations, and released a meditative solo album in 2022, The Winter Mission. The Barr Brothers touring has included dates with My Morning Jacket and War On Drugs, and their beloved former band The Slip also reunited. Brad and Andrew also co-wrote a song for the movie “The Iron Claw” featuring Jeremy Allen White titled “Live That Way Forever” with Richard Reed Perry and Little Scream. 

Since 2017’s Queens of the Breakers, life has pulled Brad and Andrew in new directions both professionally and personally. It altered their creative process, a deep-rooted approach that required triage. “In 2022, we found ourselves at a breaking point,” says Brad Barr, the band’s guitarist, vocalist, and primary songwriter. “It was clear something had to change. The real story of this record is the story of that change and everything that came after.” “Let it Hiss is what happened when we stopped pretending everything was fine and finally listened to what was actually going on,” says Andrew, the band’s drummer, percussionist, and vocalist.

Recording became a mirror. The process didn’t begin with sound – it began with truth. They confronted not just creative blocks, but personal ones. Old patterns. Unspoken tensions. Grief. Growth. The album title itself is an ethos. “It just felt right,” Andrew says. “To leave the hiss in. The discomfort, the imperfection, the struggle. We stopped trying to clean it all up. That’s when the music started to breathe again.”

Let it Hiss showcases two esteemed musicians and composers at the height of their powers, both known for their commands over their instruments, and coaxing otherworldly sounds out of them. It also revels in a joyous abandon, as heard on “Run Right Into It” (featuring Land of Talk’s Elizabeth Powell) and “She Doesn’t Sleep With the Covers On.” It also revisits the kinds of intimate, hushed songs on which the Barrs’ brand was built: “English Harbour” is a folk hymn illuminated by harmonies by Jim James of My Morning Jacket, and “Moonbeam” is a string-swept soul serenade with a Francophone guest vocal from Quebecois art-pop shapeshifter Klô Pelgag. But all the freewheeling musical exploration and emotional upheaval that plays out over the course of Let it Hiss still won’t prepare for the album’s closer “Upsetter,” a blast of sweat-soaked, punk-powered rock capped by a lobotomizing guitar solo. 

And while the album was self-produced, they also called on trusted friends from their wider musical community to lend voices, instruments, and textures when the songs called for it -collaborations that felt less like features and more like natural extensions of the music. Many of these relationships were built over years of shared stages, late-night sessions, and a mutual commitment to the craft. Including the album art, created by artist Brigitte Henry, Brad’s wife, who also designed the covers for their albums Queens of the Breakers and Sleeping Operator. In this way, Let it Hiss stands as both their most personal and most collaborative record to date.

Let it Hiss Tracklist:

Take it From Me
Let it Hiss
English Harbour
Run Right Into It
Moonbeam
She Doesn’t Sleep with the Covers On
Naturally
Owning Up to Everyone
Another Tangerine
Upsetter

Orlando Bloom Goes to the Edge—With Help From Liam Gallagher…Wait…What?

Eric Alper
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Orlando Bloom Goes to the Edge—With Help From Liam Gallagher…Wait…What?

Orlando Bloom talks about being taught how to do cold plunges by surfer Laird Hamilton, skydiving out of a helicopter for his show Orlando Bloom: To the Edge and being inspired by Oasis’ Liam Gallagher for his film Deep Cover.

Noa Argamani Speaks: A Survivor’s Testimony From the Heart of the Nova Tragedy

Eric Alper
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Noa Argamani Speaks: A Survivor’s Testimony From the Heart of the Nova Tragedy

This Sunday, June 15, next in our series of From Captivity to Freedom events, join us at the Nova Exhibition Toronto for a rare and deeply personal evening with Noa Argamani — returned hostage, a survivor of the October 7 Nova Music Festival massacre, and one of the most recognized hostages rescued from Hamas captivity.

Held in captivity for 245 days, torn from her spouse Avinatan by Hamas terrorists — Noa now speaks, not just for herself, but for those still in captivity of Hamas in Gaza.

Her courage has moved the world. Her voice has echoed in Congress, the United Nations, and the 2025 TIME Most Influential People list. This night is not about politics, it’s about presence, bearing witness, resilience and hope, while remembering the moment joy turned into horror.

Until Avinatan comes home, a part of her remains captive.

Come hear her story. Come stand with Noa.

This event will be in the Healing Room of the Nova Music Festival Exhibition and is open to general exhibition ticket holders. Space is limited. Book your tickets for available time slots before the testimony time.

10 of the Greatest Guitar Riffs of the Classic Rock Era

Eric Alper
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10 of the Greatest Guitar Riffs of the Classic Rock Era

Some guitar riffs are not just introductions—they are declarations. They say, “This is rock and roll, and you are going to feel it.” These riffs are bold, unforgettable, and full of life. They have powered air guitars, car radios, and stadium speakers for generations. Here are ten of the greatest riffs from the classic rock era that still make hearts race and heads bang.

Deep Purple – “Smoke on the Water”
This riff is often the first thing any new guitarist learns. Ritchie Blackmore crafted a simple, smoky masterpiece that echoes forever. It tells a true story and has become a rite of passage for rock fans and players alike.

Led Zeppelin – “Whole Lotta Love”
When Jimmy Page kicks into this riff, it feels like the earth might tilt just a little. It is full of swagger, fire, and fuzzy goodness. This is the sound of classic rock putting its foot down with authority

The Rolling Stones – “(I Can’t Get No) Satisfaction”
Keith Richards dreamt it, and we all woke up to a new world of rock. That fuzzy, buzzy tone cuts through everything. It is gritty, catchy, and endlessly cool—everything a riff should be.

AC/DC – “Back in Black”
Few riffs carry as much power in so few notes. Angus Young made every chord feel like a statement of purpose. This is a riff that struts, stomps, and swings like it owns the place.

Black Sabbath – “Iron Man”
This riff feels like it was carved from stone. Tony Iommi gave it a lumbering, ominous quality that sounds like a giant waking up. It is heavy, unforgettable, and pure metal history.

Aerosmith – “Walk This Way”
Joe Perry delivered a riff with both groove and grit. It walks, it talks, it dances through every speaker with style. It is impossible not to move when this riff kicks in.

The Kinks – “You Really Got Me”
Dave Davies literally tore his amp to create this wild and fuzzy sound. The riff helped kick off the British Invasion and garage rock all in one go. It is raw, rebellious, and ridiculously fun.

Lynyrd Skynyrd – “Sweet Home Alabama”
This riff is sunshine in guitar form. It is bright, instantly recognizable, and filled with Southern charm. Every time it plays, it feels like summer and good memories rolled into one.

Queen – “Tie Your Mother Down”
Brian May knew how to write riffs that roared with elegance. This one punches in with force and never lets up. It is energetic, catchy, and ready for a full-throttle singalong.

The Who – “Baba O’Riley”
Although the synth intro is legendary, it is Pete Townshend’s riff that lifts the whole thing into orbit. This is a power chord anthem built to last. It soars, it rolls, and it demands your attention.

These riffs do not just start songs—they start revolutions. They are loud, proud, and timeless. Long live the riff, and long live rock and roll.

5 Surprising Facts About Snoop Doggy Dogg’s ‘Doggystyle’

Eric Alper
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5 Surprising Facts About Snoop Doggy Dogg’s ‘Doggystyle’

Before the platinum plaques, before Martha Stewart and business ventures, there was Doggystyle — the raw, unfiltered debut that turned Calvin Broadus into a household name. Released on November 23, 1993, this record came in like a lowrider on hydraulics, bouncing over every boundary that rap had known up to that point. Snoop Doggy Dogg brought melody, menace, humor, and a whole new cadence to the mic. With Dr. Dre behind the boards and the Dogg Pound in the trenches, Doggystyle shaped the sound of West Coast hip hop for the decade that followed.

You know the classics. You know the singles. But these five facts go even deeper than the gin, the juice, and the G-funk grooves.

1. “Gz Up, Hoes Down” Was Pulled Over a Sample That Came With No Clearance
Early pressings of Doggystyle featured a smooth, hypnotic track called “Gz Up, Hoes Down.” The vibe matched the rest of the record perfectly — until it disappeared without warning. The problem? A sample couldn’t be cleared, and the label decided the licensing fees weren’t worth it. Copies with the track became collector’s items, and the song eventually reappeared years later on 15 Years on Death Row. Its short-lived run only added to the album’s mythology, turning a B-side into a secret handshake for diehard fans.

2. The Album Was Mixed and Skitted in a 48-Hour Studio Sprint
Demand for Doggystyle was reaching a boil. Distributors needed the master, or they’d pull the album from their shelves. So Dr. Dre locked himself in the studio and, in just 48 hours, mixed the record and added all the skits that tie the project together. It was one of the fastest finishing jobs in hip-hop history. The result? An album that still sounds cinematic, cohesive, and deeply immersive — like a day in the life of Long Beach, told through smoke, synths, and street tales.

3. Suge Knight Claimed Daz Dillinger Produced Most of the Album. Snoop and Dre disagree.
Years after its release, Death Row co-founder Suge Knight claimed that Daz Dillinger — not Dr. Dre — produced the majority of Doggystyle. According to Knight, Daz handed over production credits for a fee. Others involved say Daz and Warren G contributed heavily to the beats, while Dre transformed those raw sketches into fully realized tracks. Snoop later said, “They made beats. Dre produced that record.” Whatever the split, the chemistry between all of them gave Doggystyle its signature sound.

4. “Ain’t No Fun” Became a Blueprint for Hook-Driven West Coast Anthems
Built on a beat brought in by Daz and Warren G, “Ain’t No Fun (If the Homies Can’t Have None)” featured some of the most memorable hooks of the era. Nate Dogg’s silky intro, Kurupt’s brash verses, and Snoop’s effortless swagger turned it into a party classic and a lyrical blueprint. Beyond the surface, it introduced a formula — melodic choruses layered over rich G-funk production — that would shape West Coast hip hop from DJ Quik to Tha Eastsidaz. And Mariah Carey even sampled it years later on her Rainbow remix of “Heartbreaker.”

5. The Cover Art Was Created by Joe Cool, Snoop’s Cousin, Who Passed in 2024
The cartoon-style artwork for Doggystyle was created by Darryl “Joe Cool” Daniel — Snoop’s cousin and a visionary artist in his own right. The imagery matched the tone of the album perfectly: playful, raunchy, surreal, and unapologetically West Coast. It referenced Atomic Dog by George Clinton and used hand-drawn lettering, graffiti-style tags, and street-level storytelling. In 2024, Joe Cool passed away, leaving behind a legacy that stretched far beyond one album cover. His work defined the visual language of the G-funk era.

This album walked in with a curl, a lean, and a 40-ounce, and took it. Doggystyle isn’t only a classic. It’s a statement of style, presence, and cultural dominance that reshaped hip hop from the moment it dropped. Every beat rides, every verse flows, and every line echoes through the decades.

Welcome to the Dogg House. You’re already late.

5 Surprising Facts About Janet Jackson’s ‘Rhythm Nation 1814’

Eric Alper
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5 Surprising Facts About Janet Jackson’s ‘Rhythm Nation 1814’

In 1989, Janet Jackson stood at the height of her power — and chose a path paved not only with hooks and heat, but with hope. Rhythm Nation 1814 arrived like a declaration: militant style, industrial sounds, socially conscious lyrics, and choreography sharp enough to cut through apathy. With Jimmy Jam and Terry Lewis at her side, Janet created a concept album that danced with purpose and spoke to an entire generation.

1. The “1814” in the Title? That’s a Triple-Barreled Symbol
Most fans know “1814” marks the year The Star-Spangled Banner was written, aligning with Janet’s vision of a new kind of patriotic anthem. But dig deeper: “R” and “N” — the initials for “Rhythm Nation” — are the 18th and 14th letters of the alphabet. That alignment was a happy accident, according to Jackson, but it’s too poetic to ignore. And get this: Janet once described her crew of working-class friends as their own little nation — roller rink guards, waitresses, bike messengers — all bound together by music. Rhythm Nation 1814 became a soundtrack for those communities, too.

2. “Black Cat” Was Written Solely by Janet
Janet built “Black Cat” from the ground up. No Jam. No Lewis. This hard rock scorcher was all Jackson. She produced it with Jellybean Johnson and brought in guitarists Dave Barry and Vernon Reid to give it that nuclear jolt. The amps? A blend of Rockman and Marshall for that heavy-metal sizzle. “Black Cat” became her third Hot 100 #1 and snagged a Grammy nom for Best Female Rock Vocal — a category few expected her to touch, let alone dominate. It was proof that Janet owned crossing genres.

3. The Chair Dance in “Miss You Much” Sparked a Choreography Movement
The moment those chairs hit the floor in the “Miss You Much” video, pop choreography entered a new era. Co-created with Anthony Thomas and Terry Bixler, the routine became a blueprint for future icons. The precision, balance, and swagger of that dance inspired countless artists — from Britney Spears to Usher — to incorporate chair routines in their videos and tours. It opened the Rhythm Nation 1814 visual project and instantly claimed space as one of the most iconic performances in music video history.

4. “Alright” Was the Bridge Between Generations of Black Entertainment
This one’s deep cut meets deep roots. The video for “Alright” was an homage to Hollywood’s golden era — reimagined through a Black lens. Directed by Julien Temple, it featured Cab Calloway, Cyd Charisse, and the legendary Nicholas Brothers. It was bright, broadway, and brimming with joy. Jackson and rapper Heavy D made an extended remix that linked swing, soul, and hip hop in one funky handshake. The result? A joyful time machine — with Janet as the pilot — that honored the past while flipping it forward.

5. The Album Was Recorded in Total Isolation From the Label
A&M Records didn’t get a single listen during the making of Rhythm Nation 1814. That’s not a metaphor — they literally weren’t invited to Flyte Tyme Studios. Janet, Jam, and Lewis built the entire album in seven months of uninterrupted creativity. The isolation was intentional: no suits, no distractions, no compromises. Jam later said if they’d gone the “safer” route — leading with ballads, glam shots, or lighter themes — the album might’ve been big. But it wouldn’t have changed lives. That’s the difference when artists are allowed to protect the process.

Rhythm Nation 1814 didn’t follow trends — it carved new ones. With choreography that echoed through generations, lyrics that called for change, and beats that moved more than bodies, Janet Jackson built something permanent. This album formed a bridge between pop and protest, between style and substance. In every uniform, in every chant, in every beat, the nation still marches. Salute to the Rhythm Nation. Long may it reign.

Guitarist Matt Sellick Blends Flamenco and Symphony on New Album ‘Watching The Sky’

Eric Alper
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Guitarist Matt Sellick Blends Flamenco and Symphony on New Album ‘Watching The Sky’

With the release of his ambitious new album Watching the Sky, Toronto flamenco guitarist and composer Matt Sellick is bringing a decade-long dream to life. Known for his evocative fingerstyle work and deep love of Spanish music, Sellick boldly bridges genres by orchestrating his solo guitar compositions for a full symphony orchestra — the Thunder Bay Symphony Orchestra, conducted by Evan Mitchell — while retaining the soul of flamenco and the intimacy of his roots in Thunder Bay.

At the heart of Watching the Sky is a story of transformation: of place, of memory, and of music itself. Sellick, who studied flamenco extensively in Spain and began his career performing in Northwestern Ontario, has spent the last ten years developing these orchestral versions of his compositions. The result is a sonic landscape that is both sweeping and intimate, grounded in tradition but unafraid of innovation.

The album opens with “A Beautiful Day,” a lyrical celebration of renewal composed by Sellick and brought to life by his agile guitar work, the colorful depth of the TBSO, and the expressive percussion of longtime collaborator Marito Marques. The track feels like sunlight stretching over a horizon — a fitting start to an album that evokes nature and emotion in equal measure.

Though Sellick has previously released several solo albums, Watching the Sky is his first recorded project with a full orchestra — and his first time recording live, with all players in the same room. “It was the complete opposite of how I’ve done things until now, and I just loved it,” says Sellick. “Everything about it felt so real, natural, and genuine.” The sessions took place in his beloved hometown venue, the Thunder Bay Community Auditorium, a room Sellick calls “absolutely top-notch.”

The pieces themselves are inspired by real places — Lake Superior’s rugged shorelines, quiet trails in Toronto, sunlit alleys in Spain — each track functioning as a tone poem for a memory. As Sellick revisited the landscapes that first inspired his music, he found himself reshaping and reorchestrating melodies to reflect how both he and those places have changed. The result is a rare fusion of reflection and forward motion.

Produced by Keith Horner and engineered by Dennis Patterson, the album features masterful playing by TBSO members and guest percussionist Marques, who contributed djembe, udu, and hand percussion on several tracks. Feature solos by bassist Martin Blanchet and pianist Paul Rodermond enrich the textures, while additional percussion was arranged by Marques on tracks 8 and 11.

Sellick, a graduate of Lakehead University and an active performer with artists such as Jesse Cook, has performed in over 20 U.S. states and 8 European countries. Yet, *Watching the Sky* remains a deeply personal work — a love letter to Thunder Bay, a tribute to musical collaboration, and an expression of his ever-evolving artistic identity.

The album’s credits read like a who’s who of orchestral talent: 40+ musicians fill out the ensemble, including principal players in strings, woodwinds, brass, and percussion. The liner notes include special thanks to the Canada Council for the Arts and the Ontario Arts Council, whose support helped bring the recording and orchestration to life.

Though grounded in flamenco, Sellick’s music is not bound by it. There are moments of classical serenity, cinematic swells, and playful rhythmic interplay that speak to his broader influences — from Vicente Amigo to Debussy to the Canadian landscapes that shaped his imagination.

For listeners new to flamenco or orchestral music, Watching the Sky is a radiant entry point. For longtime fans, it’s Matt Sellick at his boldest and most vulnerable. Either way, it’s not to be missed.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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