The Grateful Dead performed at The Warfield in San Francisco on October 4 and 6, 1980, as part of a historic 15-night residency celebrating the band’s 15th anniversary. These shows featured a unique three-set format: one acoustic set followed by two electric sets.
Highlights from the acoustic sets of these specific dates were recently compiled and released as a limited edition live album titled The Warfield, San Francisco, CA Oct 4 & 6, 1980 for Record Store Day Black Friday 2025.
A perfect blending of older cuts from Dead’s extensive repertoire, these two sets include classics like ‘Bird Song’, ‘Cassidy’, ‘Dire Wolf’, and ‘To Lay Me Down’, amongst many others, with each set ending with ‘Ripple’. Produced for…
Category: rock
The Doors’ 60th anniversary celebration continues with The Doors – Immersed 1967–1971, featuring Dolby Atmos mixes of the band’s six studio albums on Blu-ray for the first time. The set includes Dolby Atmos, 5.1 surround, and high-resolution stereo (192/24), alongside remixes in 5.1 surround sound and immersive 12-channel Dolby Atmos versions of The Doors, Strange Days, Waiting for the Sun, The Soft Parade, Morrison Hotel, and L.A.Woman. Each disc is housed in a mini-jacket with the original album artwork.
Bruce Botnick, the band’s longtime engineer and mixer, created the immersive mixes, and in a short note in the set shared, “With Atmos, having loudspeakers on the ceiling allows ‘Riders on the Storm’ to come alive with rain and thunder…
1. Pullman – Kabul
2. Melody’s Echo Chamber – The House That…
3. Dry Cleaning – Let Me Grow and You’ll See…
4. Courtney Marie Andrews – Little Picture of …
5. Imarhan – Azaman Amoutay
6. Daniel Knox – Middle Names
7. Juliana Hatfield – My House Is Not My…
8. Wednesday Knudsen – Paillettes
9. Nick Cave & The Bad Seeds – Joy (Live)
10. Langhorne Slim – On Fire
11. Sleaford Mods – The Good Life
12. The Damned – See Emily Play
13. Jana Horn – All In Bet
14. Julianna Barwick & Mary Lattimore – Melted…
15. Kahil El’Zabar’s Ethnic Heritage Ensemble – Summertime
For Kid Kapichi, this fourth album marks a bold new chapter. Now a duo, after founding members Ben Beetham and George Macdonald stepped away, but recorded with them, it feels like a satisfying farewell, whilst ushering in this new beginning for the now two-piece.
Despite Kapichi’s reputation for political spit and fury, Fearless Nature swerves expectation. The rage is still there, but it’s been redirected inward. This is an introspective record, preoccupied with frontman Jack Wilson’s mental wellbeing during a time of deep depression and questioning what the meaning of his existence is. The band call it their “softest but heaviest” work yet, both atmospherically restrained and lyrically crushing. Mercurial opener Leader Of The Free World sets the tone brilliantly.
…newly remastered by East of Lincoln Productions and Blind Owl Records.
Pigus, Drunkus, Maximus was recorded in 1981 but not released until 1987, soon went out of print and has been unavailable for years. A popular attraction on the Los Angeles club scene in the 1980s, Top Jimmy and the Rhythm Pigs counted Van Halen singer David Lee Roth and Tom Waits among their fans, as well as their peers on the L.A. club scene, such as X, the Blasters, Maria McKee of Lone Justice and the Dream Syndicate’s Steve Wynn.
It was Wynn who originally released the album on his own Down There label, but it’s been out of print for nearly 40 years.
…From the R&B-infused opening track, “Dance with Your Baby”, to the electrifying and…
London’s groundbreaking psychedelic pioneers, still led by founder Paul Rudolph along with former Hawkwind bassist and Lemmy protegé Alan Davey, return for a brand new album Covered In Pink cover songs. The Fairies tear into some of the classic rock’s biggest monuments from “American Woman” to “Mississippi Queen” to “Baby’s On Fire” and “Communication Breakdown” PLUS a brand new version of their proto-punk hit “Do It” and original tune. Includes special guest appearances by Nik Turner (Hawkwind co-founder), Michael Moorcock (Hawkwind) and Danny Faulkner (Pre-Med).
The excessive, drug-fueled Pink Fairies grew out of the Deviants, a loose-knit band formed in 1967 by members of the West London hippie commune Ladbroke Grove.
Amanda Bergman has long been one of Sweden’s most quietly powerful singer-songwriters. Her best work to date, Your Hand Forever Checking On My Fever, was only just released in 2024, making it a fantastic surprise to receive embraced for a second as we die so soon afterwards.
Where Bergman previously folded her vulnerabilities into folksy arrangements, here she leans into a soft-rock warmth.
Songs like ‘grasp’ feature unashamedly ’80s arrangements, big open road melodies and hooks that feel almost Californian, somewhere between the glow of Dylan’s Infidels and the clean, sun-soaked sound of HAIM.
These songs exist in the space between despair and consolation. The grief-stricken never…
Nashville-by-way-of-Philly musician Langhorne Slim has released more than half a dozen records blending folk, Americana, and the occasional indie-pop song. But five years after Strawberry Mansion — a deeply personal, post-pandemic record that in part documented his journey to sobriety, delivered through often delicately beautiful musical movements — he has found his way to a louder amp and strapped on an electric guitar for his next offering.
Appropriately enough, he’s tapped producer Sam F. Kiszka, whose group Greta Van Fleet is one of the biggest guitar bands of the past decade. The result is a surprisingly natural evolution for Slim, keeping his deep lyrics at the core of these songs.
Even the recording process was a step out…
Like with any other rock genre (or sub-genre), the death of psychedelic rock has been proclaimed so many times that the proclamation itself became redundant. The reasons may seem quite simple – the appeal of psych rock remains to this day, whether in its original or ever-coming changes in shape or form, with the original core (and ideas) remaining intact in one or more elements that define psych rock as such.
With Under Dark Skies, their latest album, Los Angeles outfit Tombstones in Their Eyes just prove the point. With the band going through intense personal changes (including the passing of guitarist Paul Boutin this October), the band still firmly remains in the songwriting hands of John Trainor, one of its original founders,…
Caspar Brötzmann, founder and leader of the avant-rock power trio Massaker, has been away from the spotlight for a while without being inactive. The band went on hiatus after releasing five glorious albums between 1986 and 1994, and touring the globe several times.
They continued to play live occasionally, but weren’t interested in recording. The guitarist recorded an album with his father Peter Brötzmann’s tentette (The März Combo Live in Wuppertal), issued three duo albums with F.M. Einheit, Page Hamilton, and Robin Guthrie, and did session work. In 2013, he formed the power trio Nohome and issued an eponymous album. In 2017, Brötzmann teamed with bassist Massimo Pupillo and drummer Alexandre Babel for…
Sounds the Color of Grounds, the sophomore album by the progressive trio Three-Layer Cake, is full of surprises, oozing a rebellious sense of freedom and energy that is unmistakably the group’s own. The trio consists of adventurous guitarist/banjoist Brandon Seabrook, bassist Mike Watt, and drummer Mike Pride.
The group made its debut in 2021 with Stove Top, recorded remotely as an incendiary response to the pandemic. This new album follows the same approach — with the curious detail that Watt, who lives in California, has never met Seabrook or Pride in person. They plan to get together soon at Pride’s studio in Chester, NY, to record their upcoming third album.
“Deliverdance” channels the punk rock spirit…
As the name implies, Fanny were an uncompromising, take no prisoners, no holds barred, rock ‘n’ roll outfit who tried to grab the music business by the scruff of the neck and squeeze it dry in the early to mid 1970’s. The fact that they were women didn’t seem to bother them… but it certainly bother “the business”.
Formed by sisters June (guitar & vocals) and Jean (bass & vocals) Millington in the late 60’s and signing to Reprise Records in 1969 they were joined by Alice de Buhr (drums & vocals) and Nickey Barclay (keyboards & vocals) to record debut, Fanny (1970), and follow ups, Charity Ball (1971), Fanny Hill (1972), and Mothers Pride (1973), before June and Alice jumped ship triggering a move to Casablanca Records in 1974.
1. The Soft Boys – I Wanna Destroy You
2. Doctors of Madness – Bulletin
3. Vic Godard – Malicious Love
4. Andy Partridge – Earn Enough for Us
5. John Cooper Clarke – Psycle Sluts (Parts 1 & 2)
6. Billy Bragg – Levi Stubbs’ Tears
7. Squeeze – Up the Junction
8. Nick Lowe – Cruel to Be Kind
9. Philip Rambow & Kirsty MacColl – There’s a Guy Works Down the Chip Shop… (Demo)
10. Deaf School – Capaldi’s Cafe
11. Graham Parker – Saturday Nite Is Dead (Live)
12. Madness – Friday Night, Saturday Morning
13. Radio Stars – Is It Really Necessary?
14. Wilko Johnson – Down By the Waterside
15. Wreckless Eric – Our Neck of the Woods
“This is our last concert, ever. And we’d love to do you for now on our last concert ever…” After the words peter out, a ragged, yet blistering, five-minute version of “(I Can’t Get no) Satisfaction” explodes from the stage. Show over, The Rolling Stones leave Hawaii’s Honolulu International Center to…what?
It’s not as noteworthy a stitch in rock’s rich tapestry as David Bowie’s 3 July 1973 announcement at the Hammersmith Odeon that “not only is it the last show of the tour, but it’s the last show that we’ll ever do.” Or even George Harrison’s “that’s it, then. I’m not a Beatle anymore” comment after playing San Francisco’s Candlestick Park on 29 August 1966 – what turned out to be The Beatles last-ever (conventional) live show. But it was unequivocal. On 28 July 1966, Mick Jagger told the audience…
Nightvision finds Devon Allman stepping out of familiar territory and into something far more understated and exploratory. Best known for his blues-rock lineage, Allman strips things back here, abandoning vocals and classic song structures in favor of an instrumental, late-night soundscape that feels closer to art-rock, ambient, and DIY cinema than traditional rock records.
This isn’t an album built for instant gratification. Nightvision moves slowly, letting tones breathe and moods develop. Guitars shimmer rather than solo, synths hum in the background, and rhythms creep forward with a restrained, almost hypnotic pulse. The music feels intentionally dim-lit — like walking empty streets after midnight with nothing but neon reflections and distant noise for company.

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