On April 24, 1968, Johnny Cash took a smaller version of his touring group into San Francisco’s Carousel Ballroom, where only about a third of the 3000-capacity venue was filled. As this recording shows, though, Cash made it as special to this audience as he would have for a larger hall, and those gathered, as they shouted out requests, loved him for it.

Leeds, England outfit Yard Act, who consist of former Post War Glamour Girls frontman James Smith (vocals) and Menace Beach’s Ryan Needham (bass), unleash a savagely brilliant debut album in the form of The Overload. Smith and Needham are joined by Sam Shjipstone (guitar) and Jay Russell (drums) as they shine a light on the fractured nature of society with a mixture of acerbic wit and deadpan ennui.

There’s a certain magical parity that exists between Aurora Aksnes’ airy physical appearance and her alluring musical complexion.

At this point in Elvis Costello’s long, storied, 45 year professional career, it’s a cliche to label any new album of his that sounds like this to be his best since *fill in the blank* or his first “rock” album since that same *fill in the blank* or a different, earlier album.

Taking Meds feels like a band out of time, yet built for their moment. Since debuting in 2016 with My Life As a Bro and returning in 2019 with I Hate Me, the New York punk outfit has cemented a potent combination of punk, indie rock, and post hardcore. They distill distinctly ‘90s influences, marrying the hooks of the era’s alt rock with dissonant modern punk grit.

There are always long gaps between Cat Power records. Chan Marshall’s cozy yet faintly unnerving style—grounded by her guitar and distinctive vocal delivery—is not something that can be rushed.

Watching the amazing footage from these September 1979 shows, it’s hard to believe this unexploded Springsteen/E Street bomb was sitting and ticking for all those years without a release. Available in multiple audio/video formats, The Legendary 1979 No Nukes Concerts finally brings to light these Madison Square Garden performances staged by MUSE (Musicians United for Safe Energy).

Jethro Tull’s third album, 1970’s Benefit, was a transitional record that bridged from ’69’s successful Stand Up to their major breakthrough with ’71’s Aqualung.

On the cover of Dawn FM, the fifth studio album by The Weeknd (born Abel Tesfaye), we see the 31-year-old pop star depicted as a cryptically aged relic complete with silver strands, wrinkles, liver spots, and a bewildered look of despair.