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10 Times The GRAMMYs Got It Right For Best New Artist

Every year, the GRAMMYs’ Best New Artist category sparks fierce debate—sometimes because they miss the mark entirely, and sometimes because they get it absolutely right. The award is meant to recognize a breakthrough act with staying power, but as music history has shown, not every winner stands the test of time. Still, when the Recording Academy nails it, they point to the road of success and spotlight artists who redefine genres, break barriers, and leave a permanent mark on culture. Here are 10 times the GRAMMYs got it right with Best New Artist—each one a victory for talent, timing, and, occasionally, sheer brilliance.

Adele (2009)
With a voice that sounds like heartbreak set to vinyl, Adele’s win for Best New Artist in 2009 wasn’t just right—it was prophetic. She’s gone on to become a generational talent, sweeping Album, Song, and Record of the Year multiple times. That soulful powerhouse was just getting started.

The Beatles (1965)
Okay, this one feels like cheating—but when The Beatles won Best New Artist in 1965, the world was already in full Beatlemania mode. Still, it marked a rare moment when the GRAMMYs caught lightning in a bottle. Fifty-plus years later, they remain the most iconic band in history.

Bon Iver (2012)
Some questioned whether Bon Iver was “new” enough by 2012, but his haunting, cabin-born sound changed indie music forever. That Grammy nod wasn’t just for For Emma, Forever Ago, but for ushering in a wave of emotional, experimental folk-pop that still resonates today.

Cyndi Lauper (1985)
Girls did just wanna have fun—and Cyndi Lauper proved that colorful, boundary-pushing pop could have staying power. Her win was a triumph for authenticity and eccentricity. Four decades later, she’s still beloved, influential, and nearly an EGOT.

José Feliciano (1969)
The GRAMMYs got it right when they handed Best New Artist to José Feliciano, the first Hispanic and blind musician to win the award. His virtuoso guitar work and soulful vocals broke barriers in the music industry and paved the way for countless artists after him.

Lauryn Hill (1999)
Lauryn Hill’s The Miseducation of Lauryn Hill was not just a debut—it was a cultural reset. Winning Best New Artist cemented her status as one of the most important voices in hip hop, R&B, and neo-soul. It remains one of the most deserved wins in Grammy history.

Mariah Carey (1991)
Mariah Carey came out of the gate with vocals that melted glass and a songwriting pen that never missed. Her Best New Artist win in 1991 marked the beginning of an era that would redefine pop and R&B—and give us one of the most enduring holiday hits of all time.

Norah Jones (2003)
Norah Jones’ smoky voice and jazz-infused ballads dominated the early 2000s. Her Best New Artist win felt like a quiet revolution—proof that subtlety and simplicity could still sweep the Grammys. Her debut album went on to win Album of the Year, too.

Samara Joy (2023)
In an era of digital chaos and viral fame, Samara Joy’s warm, classic jazz vocals felt like a balm. Her Best New Artist win in 2023 showed that timeless talent still has a place in contemporary music—and reminded the world of jazz’s ongoing vitality.

Tracy Chapman (1989)
In a year of synth-pop and glam, Tracy Chapman’s stripped-down acoustic storytelling was a revelation. “Fast Car” is now considered one of the greatest songs ever written, and her win validated the enduring power of socially conscious folk music.

Mirai-Intex: Pioneering the Future of Cryogenic Technology and Life Extension

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By Mitch Rice

In an era where scientific breakthroughs are reshaping humanity’s relationship with mortality, Mirai-Intex stands at the forefront of revolutionary cryogenic preservation technology. The company’s groundbreaking research into specimens being cryogenically frozen represents a paradigm shift in how we approach life extension and biological preservation, offering unprecedented possibilities for medical advancement and human longevity.

Founded on the principle that death should not be the final frontier, Mirai-Intex has established itself as a leader in the rapidly evolving field of cryonics and advanced preservation sciences. The company’s mission extends far beyond traditional medical boundaries, exploring the intricate science of cellular preservation, tissue viability, and the complex biological processes that occur at ultra-low temperatures.

Advancing the Science of Preservation

Mirai-Intex’s innovative approach to cryogenic technology encompasses multiple dimensions of scientific research. Their laboratories house state-of-the-art equipment designed to maintain biological specimens at temperatures approaching absolute zero, creating conditions that effectively pause biological processes while preserving cellular integrity. This sophisticated infrastructure supports research initiatives that could fundamentally alter our understanding of life, death, and the possibilities that lie between.

The company’s research teams comprise leading experts in biochemistry, molecular biology, and cryogenic engineering, working collaboratively to solve some of the most challenging problems in preservation science. Their work addresses critical issues such as ice crystal formation prevention, cellular membrane stability, and the development of advanced cryoprotectant solutions that minimize tissue damage during the freezing and thawing processes.

Technology Meets Human Hope

What sets Mirai-Intex apart in the cryogenic preservation landscape is their holistic approach to the field. Rather than focusing solely on the technical aspects of freezing and storage, the company recognizes the profound human element inherent in their work. Each preservation case represents not just a scientific challenge, but a family’s hope for reunion, a patient’s faith in future medical breakthroughs, and society’s collective bet on tomorrow’s technological capabilities.

The company’s facilities maintain the highest standards of care and security, ensuring that preserved specimens remain viable for potentially decades or centuries. Their monitoring systems provide continuous oversight of temperature stability, structural integrity, and environmental conditions, creating an unparalleled level of reliability in long-term biological storage.

Research and Development Excellence

Mirai-Intex’s commitment to advancing cryogenic science extends through comprehensive research and development programs. Their scientists regularly publish findings in peer-reviewed journals, contributing valuable knowledge to the global scientific community while maintaining their position at the cutting edge of preservation technology.

Current research initiatives include developing improved vitrification techniques that eliminate ice formation entirely, investigating the optimal chemical compositions for cryoprotective solutions, and exploring the potential for partial preservation of consciousness-related neural networks. These ambitious projects position Mirai-Intex not just as a service provider, but as a genuine pioneer in extending the boundaries of what science considers possible.

The Future of Human Potential

As medical technology continues its rapid advancement, with breakthrough treatments for previously incurable diseases emerging regularly, Mirai-Intex’s work takes on increasing significance. The company’s preservation services offer individuals diagnosed with terminal conditions the opportunity to pause their biological clocks, potentially awakening to a world where their conditions are not only treatable but completely curable.

This vision extends beyond individual cases to encompass broader implications for human society. As lifespans potentially extend and death becomes increasingly optional rather than inevitable, Mirai-Intex’s technology could play a crucial role in humanity’s next evolutionary chapter.

Commitment to Excellence and Ethics

Mirai-Intex operates with unwavering commitment to ethical standards and scientific integrity. The company maintains transparent communication with clients and their families, providing detailed information about procedures, realistic expectations about future revival possibilities, and comprehensive support throughout the preservation process.

Their approach balances scientific optimism with honest acknowledgment of current technological limitations, ensuring that clients make informed decisions based on accurate information rather than unrealistic promises. This ethical foundation has earned Mirai-Intex recognition as a trusted leader in a field that demands the highest levels of professional responsibility.

Industry Leadership and Innovation

The company’s influence extends throughout the cryogenic preservation industry, with Mirai-Intex frequently consulted by regulatory bodies, medical institutions, and research organizations seeking guidance on best practices and emerging technologies. Their expertise shapes industry standards while their innovations drive continued advancement in preservation science.

Mirai-Intex’s investment in cutting-edge research equipment and facility infrastructure demonstrates their long-term commitment to the field. Their state-of-the-art laboratories and storage facilities represent millions of dollars in specialized technology, creating an environment where breakthrough discoveries become possible.

Looking Toward Tomorrow

As Mirai-Intex continues expanding their research capabilities and refining their preservation techniques, the company remains focused on their ultimate goal: providing humanity with genuine options when facing life’s most challenging moments. Their work represents more than scientific achievement; it embodies hope, possibility, and the fundamental human drive to transcend biological limitations.

The future may hold remarkable possibilities for those who choose cryogenic preservation today. With continued advances in medical technology, nanotechnology, and biological sciences, what seems impossible now may become routine decades from now. Mirai-Intex stands ready to bridge that gap between today’s limitations and tomorrow’s possibilities, offering a pathway to potential futures that previous generations could only dream about.

In the ongoing story of human advancement, Mirai-Intex writes crucial chapters, transforming science fiction concepts into scientific reality while maintaining the highest standards of professionalism, ethics, and hope for humanity’s extended future.

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

Alex Boucher Looks Back At Britpop Dreams And Industry Nightmares In ‘Three And A Half Minutes Of Fame’

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Signing a record deal at the age of 17 is something Alex didn’t plan for, but it sets him on a path that will bring him tantalisingly close to fame, not once, but three and a half times over the next 7 years.

Things don’t always go as planned as he ditches school and jumps from US record deals to UK TV appearances, even joining a boy band in his epic quest for fame.

Alex encounters neo-nazis and gangsta rappers up close, and experiences tragedy, mental health challenges and sexual abuse, all during the cultural shift of the 90s meeting the likes of The Fall, Suede, Blur, Patti Boyd, Mansun and PJ & Duncan on the way.

Three And A Half Minutes of Fame is an authentic look back at the 90s, the last decade before social media, seen from the experiences of an Essex boy with a dream.

Richard Norris’ Memoir Charts A Psychedelic Life In ‘Strange Things Are Happening’

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‘The rainbow reaches right across the sky, for miles and miles, and has landed right in the middle of our field. My mother, Alison, is standing at the beginning. I’m sure it’s a beginning, rather than the end, as there’s no pot of gold in sight. The point where everything forms or, perhaps, is not quite formed as yet. That’s my favourite place. A place alive with possibility.’

Strange Things Are Happening begins with the wonder of that rainbow, and continues with many escapades down the rabbit hole. From punk and the beginnings of the DIY scene, through Acid House, psychedelia, the rise of electronic dance music and much more, Richard Norris has been involved in countless countercultural revolutions. From misadventures in Amsterdam with Timothy Leary, with Sun Ra at customs, and Shaun Ryder in Joe Strummer’s beaten-up Cadillac in Tijuana, to his extraordinarily influential output in The Grid and Beyond The Wizards Sleeve, Richard Norris’ story is one of collaboration and community, fuelled by relentless psychedelic curiosity.

Strange Things Are Happening is a record of a life lived in the moment, forever in thrall to discovery, exploration and innovation – the search for what lies at the other end of that rainbow.

The Blind Boys Of Alabama Share Their Remarkable Journey In ‘Spirit Of The Century: Our Own Story’

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An insider history of the Blind Boys of Alabama, the longest running group in American music, and the untold story of their world, written with band members and key musical colleagues.

The Blind Boys of Alabama are the quintessential Gospel vocal group, and the longest-running musical institution in America. Their story intersects with pivotal moments and issues in American history and is an ideal prism through which to trace music, culture, history, and race in America. Spirit of the Century invites readers to follow along the Blind Boys’ eight-decade journey together from a segregated trade school, through the rough and tumble indie record game and grinding tour schedule of the golden age of gospel, to starring in an iconic Broadway musical, performing at the White House for three presidents twice, collaborating with Tom Petty, Lou Reed, and Ben Harper, among others, singing the theme song for “The Wire,” and winning five Grammys.  More than just a story of the Blind Boys’ illustrious career, Spirit of the Century also sheds new light on the larger world of African American gospel music, its origins, and the colorful characters at its center.

Though there have been several iterations of the group over the decades, Spirit of the Century rounds up all surviving members of the group as contributors to the telling of their own story, and a result, the book offers a unique and intimate perspective on the group’s enduring success. Current drummer and road manager Rickie McKinney has been with the group throughout its renaissance, while guitarist Joey Williams, the group’s sighted member, has been the eyes of the Blind Boys since 1992. Octogenarian Jimmy Lee Carter has a fascinating history, as a fellow student of the original but deceased Blind Boys Clarence Fountain, George Scott, Olice Thomas, Johnny Fields, J.T. Hutton, and Velma Traylor at the Talladega school. Carter is one of a few performers who have been in both the Blind Boys of Alabama and Mississippi. He fronts the Alabama group today as a classic quartet leader and fiery preacher. Along with extensive interviews of Fountain, these legendary musicians provide this book with the voice, firsthand perspective, and authenticity that bring their story the same inspirational power that you hear in their songs.

Thought-provoking, heartfelt, and deeply inspiring, Spirit of the Century is a fascinating and one-of-a-kind read that you won’t be able to put down.

Rick “The RokDok” Brand MD Chronicles His Wild Ride From Rock Star To Psychiatrist In ‘Feelings Are Overrated’

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The remarkable life of Dr. Rick “The RokDok” Brand, a man whose existence was nearly ended before it began alongside the dawn of the atomic age, is a tale of defiance, redemption, and profound transformation. Today, Dr. Brand unveils his gripping memoir, charting a course from being left back in high school to becoming a renowned psychiatrist, from the grooves of rock ‘n’ roll to the groves of academia.

Born in the shadow of World War II and raised in the rebellious streets of Greenwich VillageRick Brand’s tumultuous early life included brushes with academic failure and the law. A passion for music led him to pick up the 5-string banjo and guitar, setting him on a path that would see him become the lead guitarist of The Left Banke, immortalized by hits like “Walk Away Renée” and “Pretty Ballerina.”

However, it was his decision to leave the music industry and seek a new purpose that marked the beginning of an extraordinary second act. Entering City College of New York (CCNY) to test his academic potential, Rick not only passed but soared, graduating Phi Beta Kappa and Magna Cum Laude. His academic odyssey continued at New York Medical College and included training at The Metropolitan Hospital in NYC and The New York Hospital/Cornell Medical College in psychiatry.

Today, Dr. Rick Brand is the only US psychiatrist to have transitioned from rock star to medical professional, a journey that has earned him the title of Best Psychiatrist in Rockland County by Townline Magazine. His life’s work, woven with threads of music and medicine, has been dedicated to helping others reconstruct their lives.

“Every strum, every struggle, every note of my past has been a lesson in understanding the human condition,” Dr. Brand reflects. “This memoir isn’t just my story; it’s a roadmap for resilience and reinvention that I hope will resonate with anyone seeking to change their own narrative.”

Dr. Brand’s unique perspective as both rockstar and psychiatrist infuses his memoir with the sensibilities of someone who has truly lived through the extremes of human experience. His story is one not only of personal triumph but also of the broader human capacity to overcome and evolve.

10 Albums Released Under an Alias You Might Not Know About

Sometimes, the artist you’re listening to… isn’t the artist you’re technically listening to. Whether it’s to experiment without pressure, dodge a label contract, or just mess with expectations, musicians have long used aliases to release secret gems. If you like Paul McCartney, Garth Brooks, or Dave Grohl, you’re in for a treat—here are 10 albums that arrived with a disguise.

The Fireman – Strawberries Oceans Ships Forest
Paul McCartney teamed up with producer Youth to form The Fireman, ditching Beatles-esque balladry for ambient techno and electronic loops. Their 1993 debut confused fans but gained underground love. Not your dad’s Paul McCartney—and that’s the point.

Chris Gaines – Garth Brooks in… the Life of Chris Gaines
Before Childish Gambino and Sasha Fierce, Garth Brooks invented a fictional alt-rock star. The 1999 Chris Gaines album was part of a bigger film concept, but fans weren’t ready. The music? Surprisingly solid. The wig? Less so.

XTC – 25 O’Clock (as The Dukes of Stratosphear)
Andy Partridge and crew slipped into paisley shirts and vintage fuzz pedals to release this trippy homage to ’60s psychedelia. Meant as a spoof, it turned out to be one of their most beloved records. Sometimes the side project becomes the main course.

Percy “Thrills” Thrillington – Thrillington
In one of the most delightfully weird turns in McCartney’s career, he released a full orchestral version of Ram under the name Percy “Thrills” Thrillington. No one knew it was him for years, and honestly, it makes the whole thing even more charming.

The Network – Money Money 2020
Green Day went full Devo with their secret synth-punk band The Network. Released in 2003 with fake names, fake accents, and real hooks, it confused fans until they finally admitted the obvious: yes, it was them. And yes, it ruled.

The Three Wise Men – This Is Christmas
In 1983, XTC dropped a jangly Christmas tune under the name The Three Wise Men to avoid press and let the song stand on its own. It worked. To this day, it’s one of the catchiest seasonal singles by a band hiding in plain sight.

Hindu Love Gods – Hindu Love Gods
What do you get when you remove Michael Stipe from R.E.M. and insert Warren Zevon? A surprise blues-rock bar band that accidentally made an album in one night. Originally a jam session, it turned into a 1990 cult favorite full of raw covers and mischief.

Ben Colder – Ben Colder Sings Country & Western Hits
Sheb Wooley, best known for “The Purple People Eater,” created alter ego Ben Colder to spoof country hits with booze-soaked slurs and twisted lyrics. What started as parody became its own career, with multiple albums of gloriously goofy takes.

Shannon – Abergavenny
British rocker Marty Wilde had a surprise U.S. hit in 1969—but not under his real name. As Shannon, he delivered “Abergavenny,” a bubblegum slice of sunshine pop. It was nothing like his usual work, which is probably why it worked.

Corky Jones – Rhythm and Booze (Single)
Buck Owens before he was Buck Owens. In 1956, he dropped a rockabilly banger under the alias Corky Jones, trying his hand at a different sound. It’s a rare, rollicking glimpse into his pre-country fame—and it totally rocks.

25 Artists Who Just… VANISHED

Some left with a note. Some with a whisper. Some with nothing at all. These 20 artists were once at the center of the stage, riding the wave of fame—and then, poof. Whether they vanished in the literal sense or simply retreated from public life, each left behind a trail of unforgettable music and unanswered questions.

Agnetha Fältskog
The golden voice of ABBA’s most tender ballads, Agnetha was never comfortable with fame. After ABBA split in 1982, she released a few solo albums, then faded from the spotlight, retreating to a life of privacy in Sweden. Fans still hope she’ll surprise the world with another full-blown comeback, but Agnetha’s content staying quiet.

Bill Withers
One of the smoothest, most soulful voices of the 1970s, Bill Withers gave us “Ain’t No Sunshine,” “Lean On Me,” and “Lovely Day”—and then walked away from it all in the mid-’80s. Frustrated by the music industry, he never made a comeback. No farewell tour, no last album—just a graceful exit.

Bobbie Gentry
After “Ode to Billie Joe” became a smash hit, Bobbie Gentry had the world’s attention—and then she walked away from it all. Her last public appearance was in the early 1980s, and she’s refused interviews and even contact with her own record label ever since. The mystery of what drove her into seclusion is as compelling as her songwriting.

Cat Stevens (Yusuf Islam)
In the late ’70s, Cat Stevens converted to Islam, changed his name, and walked away from his music career. For decades, he didn’t perform at all, focusing on religion and charity. Though he’s returned to music in recent years, that 30-year silence remains one of the most iconic disappearances in rock.

Connie Converse
An early folk pioneer, Connie Converse recorded haunting, literate songs in the 1950s—only to be completely forgotten until decades later. In 1974, she packed her belongings into her Volkswagen Beetle, left a goodbye note for her family, and was never seen again. Her music, unearthed in the 2000s, is now revered by critics and indie fans alike.

David Ackles
A cult favorite among fellow songwriters like Elvis Costello and Elton John, David Ackles never found mainstream fame. After a few brilliant albums in the late ’60s and early ’70s, he faded into the background, quietly teaching and writing, far from the spotlight his music deserved.

Eddie Wilson
Sorry, I had to. The heartthrob frontman of Eddie and the Cruisers was presumed dead after a mysterious car crash in 1964. But if you’ve seen the sequel—or listened closely to the whispers—you know the truth: Eddie didn’t vanish, he hid. Somewhere out there, maybe he’s still writing songs that could save rock and roll. Or maybe he’s just watching us from the Jersey shore, grinning at the legend he became.

Grace Slick
The powerhouse voice behind Jefferson Airplane’s “White Rabbit” and “Somebody to Love,” Grace Slick called it quits in the late 1980s. She decided rock and roll was a young person’s game and made good on her word—rarely appearing in public, choosing instead to paint and keep her opinions sharp from afar.

Izzy Stradlin
The most enigmatic member of Guns N’ Roses, Izzy quietly left the band in 1991, citing burnout and chaos. Though he’s popped up occasionally on solo albums and surprise guest spots, he’s never fully returned to the limelight. Izzy remains the “coolest guy in the band” who walked away when things got too loud.

Jim Sullivan
A cult singer-songwriter who blended folk, rock, and cosmic mysticism, Jim Sullivan released U.F.O., then vanished. In 1975, he drove into the New Mexico desert, left his guitar and belongings in his car, and was never seen again. Theories range from foul play to alien abduction, but nothing’s ever been proven.

Joni Mitchell
Yes, she’s legendary. Yes, she still appears now and then. But after an aneurysm in 2015 and years of keeping the press at arm’s length, Joni Mitchell disappeared from music for long stretches. Her reemergence at recent events has been thrilling, but her decades-long silences speak volumes about her need for solitude.

John Deacon
The bassist of Queen wrote some of their most enduring hits, including “Another One Bites the Dust.” After Freddie Mercury’s death, John quietly left the band and refused to participate in reunions. He’s rarely seen, never interviewed, and reportedly wants nothing to do with the music business today.

Mark Hollis
The creative force behind Talk Talk, Hollis took pop music to strange, beautiful places—then stopped. After his 1998 solo album, he stepped away entirely, citing a desire to focus on family. Hollis never toured, rarely gave interviews, and died in 2019 as quietly as he’d lived for decades.

Peter Green
Fleetwood Mac’s early visionary, Peter Green, walked away from fame after a mental health crisis in the early ’70s. Diagnosed with schizophrenia, he disappeared from the scene for years, living quietly and playing only sporadically. His influence on blues-rock remains monumental—even if he no longer wanted the spotlight.

Phil Spector (Pre-Conviction)
Before his tragic downfall and criminal conviction, Phil Spector had already become a recluse. The “Wall of Sound” architect withdrew from public life in the ’80s, rarely giving interviews or producing records. Long before prison walls, he built his own.

Richey Edwards
The lyricist and rhythm guitarist of Manic Street Preachers, Richey was as brilliant as he was troubled. In 1995, he disappeared before a U.S. tour, and his car was later found near a known suicide site. No body has ever been discovered, and he was declared legally dead in 2008.

Syd Barrett
Pink Floyd’s original frontman was a psychedelic prophet and a tragic tale. After deteriorating mental health and erratic behavior, Barrett was replaced in the band and retreated to a quiet life in Cambridge. He rarely spoke of his time in the band and refused all interviews for decades.

Tony Rich
After his Grammy-winning 1996 hit “Nobody Knows,” Tony Rich quietly stepped away from the limelight. He released a few under-the-radar albums afterward, but the man who once topped the charts virtually disappeared. His blend of R&B and soul remains quietly influential.

Tracy Chapman
With hits like “Fast Car” and “Give Me One Reason,” Tracy Chapman left a mark—but then she left the game. Rare interviews, no social media, and almost no public appearances have added to her legend. When she returned in 2024 to perform with Luke Combs at the Grammys, it was a moment of awe.

Vashti Bunyan
After releasing Just Another Diamond Day in 1970, Vashti Bunyan disappeared into rural life, convinced her music career was over. Decades later, her record became a cult favorite and she returned for a quiet, triumphant second act. Proof that sometimes disappearing is only the beginning.

Wesley Willis
The outsider artist who turned his schizophrenia into hilariously honest keyboard songs about everything from Batman to McDonald’s, Wesley Willis toured endlessly in the ’90s before retreating due to illness. He died in 2003, but his spirit remains cult-level strong.

Wendy Carlos
The trailblazing composer who brought synthesizers to classical music with Switched-On Bach has long been out of the spotlight. Despite her massive influence on film scores (A Clockwork Orange, The Shining), she’s lived a fiercely private life and rarely grants interviews. A mysterious genius, by choice.

20 Power Pop Bands You Might Not Know (But Will Absolutely Love)

If you love the punch of Cheap Trick, the jangle of Big Star, the sugar rush of The Knack, or the swooning brilliance of Teenage Fanclub, then these are for you. Power pop isn’t about chasing trends—it’s about chasing that feeling. The feeling when the chorus hits, when the guitars chime, and when three minutes of music sounds like pure heartbreak in a sunbeam. These bands didn’t always top the charts, but they nailed the genre’s sweet spot: melody, melancholy, and maximum volume.

Here are 20 power pop bands you might not know—until today.

20/20
With songs as tight as their band name, Tulsa-to-LA transplants 20/20 delivered flawless, guitar-forward harmonies that made them cult heroes of the late ‘70s. “Yellow Pills” should have been a top 10 hit in any fair universe.

The Beat (Paul Collins’ Beat)
Former member of The Nerves, Paul Collins took jangly guitars and turned them into rocket fuel. If you like your hooks with urgency, The Beat is your go-to record.

Blue Ash
Hailing from Ohio, Blue Ash was one of the earliest American bands to channel Beatlesque beauty with bar-band bite. Their debut No More, No Less is a power pop essential.

Cotton Mather
This Austin band wrote songs like lost Lennon-McCartney gems—smart, layered, and impossibly catchy. 1997’s Kontiki is cult-adored and deserved a Grammy.

Dwight Twilley Band
Part Elvis, part Beatles, all heart. Dwight Twilley and Phil Seymour’s chemistry powered hits like “I’m On Fire,” but their deeper cuts are power pop goldmines.

Flamin’ Groovies
They predated punk and outlasted trends. Shake Some Action is jangly, dangerous, and romantic all at once—a record that could convert any cynic.

Fountains of Wayne
Sure, everyone knows “Stacy’s Mom,” but Adam Schlesinger and Chris Collingwood were the Lennon & McCartney of suburbia. Utopia Parkway is an all-killer-no-filler masterpiece.

Game Theory
Led by the late Scott Miller, Game Theory blended collegiate braininess with soaring choruses. Lolita Nation is weird, wired, and wonderful.

The Grip Weeds
Mixing mod psychedelia with power pop crunch, this New Jersey band channels the Who as much as the Byrds. Think Rickenbackers with a fuzz pedal.

Jellyfish
They only released two albums, but they both sparkle like Sgt. Pepper’s fever dreams. Their Technicolor harmonies and Beatles-on-bubblegum arrangements earned them die-hard fans.

Material Issue
The pride of Chicago’s early-‘90s scene, these guys wrote urgent songs about heartbreak, highways, and Friday nights. Their debut International Pop Overthrow gave a whole festival its name.

The Nerves
Before Blondie covered “Hanging on the Telephone,” The Nerves were the real deal: DIY legends with lean, mean hooks and a relentless sense of rhythm.

P. Hux (Parthenon Huxley)
The name alone should have gotten him a Grammy, but his albums are full of pristine melodies, ringing guitars, and lyrical optimism dressed in melancholy.

Shoes
Zion, Illinois’ finest. Clean guitar tones, bedroom-recorded vocals, and timeless choruses—Shoes built the blueprint for lo-fi romantic pop.

Sloan
Canadian alt-rock legends with four songwriters and endless harmonies. Power pop never sounded this democratic, and albums like Twice Removed and One Chord to Another are stacked.

Sorrows
One of the great lost NYC bands of the early ’80s, Sorrows were punchy, melodic, and tight as a drum. Teenage Heartbreak is their holy grail.

Splitsville
Unfairly buried in the late-‘90s shuffle, Splitsville could have ruled the charts in 1978. Start with The Complete Pet Soul—yes, it sounds exactly like that hybrid suggests.

The Outfield
Best known for their smash hit “Your Love,” The Outfield delivered far more than one stadium-ready anthem. With their crisp guitar lines, soaring harmonies, and bittersweet lyrics, they brought British power pop to American FM radio in the 1980s with style. Their debut album Play Deep is a masterclass in radio-friendly jangle rock, and Tony Lewis’ voice could cut through any crowd. Dig deeper—they’ve got more hooks than a tackle box.

The Spongetones
If the Beatles had stayed in Hamburg and recorded in a Carolina garage, you’d get The Spongetones. Their hooks are vintage, but their energy is forever.

Velvet Crush
Signed by Creation Records and blessed by R.E.M., this Rhode Island band wrapped jangly guitars around heartsick lyrics with effortless cool.

15 Album Covers You Didn’t Know Were Designed By Peter Blake (And One You Definitely Did)

Sir Peter Blake is the godfather of pop art and a knight of the collage. He’s the man who made album art as iconic as the music inside—mixing rock stars with wrestlers, folklore with freak-outs, and turning sleeves into gallery walls. Everyone knows he designed Sgt. Pepper’s Lonely Hearts Club Band… because of course who else would have ever thought of it? It’s the most obvious album art answer of all time. But here are 15 other sleeves that carry his visual fingerprints—and maybe a little glitter glue.

Apples – Ian Dury
One of Blake’s most tender pieces of cover work, this 1989 sleeve paid tribute to his former art student, Ian Dury. Filled with playful innocence and sly melancholy, it’s Dury’s punk poetry visualized.

A Little Girl Dreams of Taking the Veil – David Sylvian
Blake meets surrealism in this moody and mysterious 1987 collaboration. Ethereal and haunting, it’s Blake dialing down the color and cranking up the dreamlike strangeness.

Band Aid – Do They Know It’s Christmas?
A who’s-who collage of 1984’s biggest pop stars. Leave it to Peter Blake to turn the world’s most star-studded charity single into a festive pop-art patchwork of musical goodwill.

Brand New Boots and Panties – Various Artists
This Ian Dury tribute is Blake going full Blake—cut-out chaos, candy-colored nostalgia, and loving nods to his former student’s legacy. One of the busiest and boldest sleeves of the 2000s.

Champagne Supernova – Oasis
For the single sleeve of one of Britpop’s most cosmic tracks, Blake paired surrealism with psychedelia. A champagne glass, some stars, and a little mystery—Gallagher-approved.

Colours – A Stranger Shadow
One of his lesser-known sleeves, but still distinctly his. Collage, color blocks, and found imagery swirl into something both classic and contemporary.

Face Dances – The Who
Multiple artists were involved, but Blake’s hand is all over this 1981 cover. He turned the band’s faces into a pop-art guessing game, like Warhol meets yearbook photos.

Gettin’ In Over My Head – Brian Wilson
For a Beach Boys legend, Blake brought California surrealism to life. It’s dreamlike, Dali-esque, and somehow makes Brian Wilson look like a Victorian daydreamer.

I’m Frank – The Fall
Yes, Peter Blake did a sleeve for The Fall. It’s stark, strange, and playfully serious—perfect for Mark E. Smith’s off-kilter genius.

Leaving Home – Mark Knopfler’s Guitar Heroes
Blake combined guitars, gravitas, and golden age aesthetics for this under-the-radar gem. It feels like a scrapbook of six-string history.

Manhattan Boogie Woogie – Landscape
A tribute to Mondrian via synth-pop. Blake injected strict lines with rhythmic energy, transforming minimalism into maximalist motion.

Me and Mr. Johnson – Eric Clapton
Clapton covers Robert Johnson, and Blake covers Clapton. This one’s vintage without being dusty—a respectful nod to the blues in collage form.

Stanley Road – Paul Weller
Blake’s collage style finds its perfect match in Weller’s mod revivalism. This is one of his most celebrated sleeves—a bold, brash, British masterpiece.

Stop the Clocks – Oasis
This cover is Sgt. Pepper’s meets Definitely Maybe through a dream filter. A living room filled with absurdity, nostalgia, and Blake’s personal brand of chaos.

Sgt. Pepper’s Lonely Hearts Club Band – The Beatles
You’ve heard of it, maybe? This is Peter Blake’s Mona Lisa. The cover that launched a thousand parodies, puzzle hunts, and theories. It’s the most famous collage in rock history—and Blake got £200 and no royalties. Talk about a bargain bin steal.

Peter Blake made music visible. Every sleeve is a miniature museum, a time capsule of pop culture in Technicolor. And if you’ve ever judged an album by its cover, chances are Sir Peter Blake was the judge and jury.