Jake Xerxes Fussell boards the “Rock Island Line” on his new single.

Photo Credit: Paige Prather

Singer, guitarist, and folk music interpreter Jake Xerxes Fussell announces his new album, The Old Beloved Path, out September 18th via Fat Possum Records and releases the lead single, “Rock Island Line.” Over six unique and very personal studio albums, Fussell has found his musical future by reimagining, reorchestrating, and reunifying the past. By combining different traditional music sources in a completely original way, he routinely creates fresh works of art that are at once rooted in history and ingeniously modern.

It’s Fussell’s inspired intuition that remakes a classic American folk song, like today’s “Rock Island Line,” into something that still rings with inherent wisdom but is completely his own. In the past, Fussell says he might have avoided a song like “Rock Island Line” because it seemed too commonplace to him— many folk singers had already done it. But after listening to a recording of the song by Lonnie Donegan, something about the incantation of the chorus struck a chord. In typical Fussell fashion, his remarkable ear and intellect took over.

“The song struck me as very beautiful, but just singing the verses wasn’t working for me. I couldn’t relate”,  Fussell comments. “So, I wound up putting it together with an old English nursery rhyme that I had been kicking around. ‘Wire, briar, limberlock /How many geese is in our flock?’ and ‘If you want to ride you got to ride it like you’re flyin, get your ticket at the station on the Rock Island Line.’ Marrying those two things, I felt like something worked, it felt like a song to me.”

Listen to “Rock Island Line”

The son of two artists and documentarians in their own right, Fussell grew up in Georgia around a community of people who were documenting traditional culture and craftways like storytelling, log cabin building, and basketmaking. Imbued with this deep respect for the past as well as an unquenchable intellectual curiosity, he grew up appreciating the beauty in those supposed lost arts and remains privy to them in a unique way.

“For people in the folk music world, songs are their religion,” states Fussell. “But traditional music is not a bee stuck in amber. I tend to think of everyone who plays traditional music as being on a spectrum from conservative to wildly creative. I am somebody who tends to sit on the edge of those two worlds. I don’t always present these songs in a historical context. I have to relate to them personally. I approach these songs through my own worldview.”

Recorded in North Carolina, The Old Beloved Path was mixed by producer Ben Whiteley (The Weather Station), who has also played bass on tour with Fussell. Friends Dominic Billett, Isa Burke, Wayne Horvitz, and Ken Whiteley add their instrumental voices to Fussell’s singular musical amalgams. As producer, Whiteley fulfilled Fussell’s desire to make an album that was more a document of musicians playing live together in a room, dwelling less in atmospherics and musical elaboration. Working together, they intentionally limited their palette – focusing less on all the things a song could be, and honing in on the essential.

The songs Fussell chose for The Old Beloved Path are songs he has heard for years, but many of them felt newly illuminated – hitting different.

“Traditional music gets more intense the older I get. The way that I see the world is through these songs. The world of traditional music has been such a gift to me. If nothing else, a lifelong companion.”

Pre-Order The Old Beloved Path

Jake Xerxes Fussell Tour Dates
Sat. Aug. 1 – Lansing, NC @ Fly Around Festival
Sat. Aug. 8 – Sun. Aug. 9 – Edmonton, AB @ Edmonton Folk Festival
Thu. Aug. 20 – Chicago, IL @ Fretboard Summit
Sat. Sept. 12 – Durham, NC @ The Carolina Theater [Eno River Association 60th Anniversary]
Fri. Oct. 2 – Liverpool, UK @ St Michael’s Church *
Sat. Oct. 3 – Manchester, UK @ Hallé St Peter’s *
Mon. Oct. 5 – Leeds, UK @ Brudenell Social Club *
Tue. Oct. 6 – Glasgow, UK @ St Luke’s *
Thu. Oct. 8 – Cork, IE @ Cyprus Avenue
Fri. Oct. 9 – Galway, IE @ Róisín Dubh
Sat. Oct. 10 – Dublin, IE @ Button Factory
Mon. Oct. 12 – Bristol, UK @ St George’s *
Tue. Oct. 13 – Brighton, UK @ Concorde 2 *
Wed. Oct. 14 – London, UK @ Union Chapel *
Sat. Oct. 24 – Buena Vista, GA @ Pasaquan
Tue. Nov. 3 – Salt Lake City, UT @ The State Room +
Wed. Nov. 4 – Boise, ID @ Shrine Social Club +
Thu. Nov. 5 – Portland, OR @ Aladdin Theater +
Fri. Nov. 6 – Centralia, WA @ The Juice Box +
Sat. Nov. 7 – Vancouver, BC @ Biltmore Cabaret +
Sun. Nov. 8 – Seattle, WA @ Tractor Tavern +
Wed. Nov. 11 – San Francisco, CA @ Great American Music Hall +
Thu. Nov. 12 – Felton, CA @ Felton Music Hall +
Fri. Nov. 13 – South Pasadena, CA @ Sid the Cat Auditorium +
Sat. Nov. 14 – Phoenix, AZ @ Valley Bar +
Wed. Dec. 2 – Copenhagen, DK @ Hotel Cecil
Thu. Dec. 3 – Oslo, NO @ Røverstaden
Fri. Dec. 4 – Stockholm, SE @ Nalen Klubb
Sat. Dec. 5 – Gothenburg, SE @ Pustervik
Mon. Dec. 7 – The Hague, NL @ PAARD
Tue. Dec. 8 – Brussels, BE @ Botanique Rotonde
Wed. Dec. 9 – Hamburg, DE @ Nachstasyl
Thu. Dec. 10 – Berlin, DE @ Theater im Delphi
Fri. Dec. 11 – Cologne, DE @ Stadtgarten
Sat. Dec. 12 – Paris, FR @ Le Hasard Ludique
Sun. Dec. 13 – Bruges, BE @ Duyster Festival

* = with Naima Bock
+ = with Dougie Poole

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR.]

Rewind Review: Jean-Claude Vannier – Electro-Rapide (2011)

Jean-Claude Vannier is considered one of the greatest French pop and orchestral composers ever, having created a mountain of music in his time – much of it “library” music used as incidental music in film. He also released two albums with fellow legend Serge Gainsbourg (Histoire De Melody Nelson and L’Enfant Assassin Des Mouches).

Electro-Rapide is full of short, weird, funky tracks, many of which were never released until this 2011 compilation album from Finders Keepers Records saw the light of day. “Bombarde Lamentation” is such a track to open the album, immediately making this collection a treat for Vannier’s fans.

“L’Ours Paresseux” is a showcase for Vannier’s rhythm section (Pierre Alain Dahan on drums and Bernard Lubat on percussion). “La Girafe Au Ballon” was originally recorded for children’s TV shows but has a bass groove from Tony Rubio that you could drop into any sexy spy movie from the late 1960s. “Claquez Klaxons” is another previously unreleased track original made for death penalty protests in France.

Believe it or not, “Saturnin et Le Vaca Vaca” is a theme song to a children’s show about a real-life baby duck. The short and sweet “L’Automne À Barbès Rochechouart” is Vannier’s tribute to a Metro station in an African community in Paris. “Qu’est-ce Qui Fait Courir Les Crocodiles?” is Vannier’s attempt to write a theme for a comedic film. It works, and I’m surprised it hasn’t been reused as a sitcom theme by now.

“La Douleur De L’Orchestre” is another previously unreleased track. It’s a weird, somewhat melancholy tune using a full orchestra he kept around after recording other tracks. “Thème 504” was released as TV and film library music in 1968, but not used for such a thing until 1989’s Comédie d’été. “Le Ballet Des Accoucheuses” is a vocal track using a choir of pregnant women to snap, tap, chant, and breathe beats throughout it.

“Road to Cuba” was written, according to the album’s liner notes, “…in the taxy that drove me to the studio. I’ve never been to Cuba.” Indeed, there isn’t a hint of Cuban, Caribbean, or Latin music in it, but it’s still fun. “Je M’appele Géraldine” was another TV theme Vannier wrote that was later re-recorded multiple times, including one version with lyrics.

“L’Éléphant Équilibriste” is another children’s TV show theme that playfully lumbers around your speakers. The album ends with a reprise of “Bombarde Lamentation” recorded in 1973 and not released until 2011.

This is a fun collection and a neat addition to your library music archive if you’re into that sort of thing. If you’re not, this might spark your interest in that vast, still mostly unknown genre.

Keep your mind open.

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Fat Dog release title track from upcoming new album, “Cancel Me (I’m Tired).”

Today, Fat Dog are announcing their second album Cancel Me (I’m Tired). The album is the follow up to their celebrated debut album WOOF., which was released in 2024 and saw them become one of the UK’s most exciting breakthrough bands in the process.

The South London seven-piece Fat Dog have a good reason to be tired. They’ve spent the period since WOOF.’s release spreading their raucous, infectious and irresistible bark around the world. But if Fat Dog are tired with the world, the world is not tired of them. In fact, the world can’t get enough of them. Wherever they went on the tour to support WOOF., new diehards emerged out of the carnage. “Show of the weekend,” raved The Times after they played four shows in 27 hours at Glastonbury last year. “Unserious, unhinged and sensational,” marvelled NME. Their message spread far and wide.

Due out on October 2nd, with Cancel Me (I’m Tired) Fat Dog have created an exhilarating, swaggering, panoramic, inventive, re-inventive, re-re-inventive electro-punk-art-pop-rock’n’roll-space-country triumph that deserves all the adjectives. Over ten mind-bending and melodic tracks, it blends electro-pop anthems, cascading rave bangers, bombastic strings, cowboy-tinged pitstops and swirling psychedelia.

The lead single was inspired by John Lennon’s “How Do You Sleep” combined with frontman/songwriter Joe Love imagining what Anatolian rock experimentalists Altın Gün would sound like if they were under siege from a thumping club beat. The title track begins with a riotous declaration. “If you wanna cancel me/Then go ahead and do it please,” It’s the sound of what happens when people push your buttons and your buttons start pushing back.

The video shot with director James Winstanley on the hottest day of the year, sees Fat Dog trying to avoid getting cancelled on an actual night out in London’s Soho. 

“Cancel Me (I’m Tired)” follows the release of propulsive, jubilant electro-pop single “Go Fuck Urself” in May and the band’s storming support for Kneecap’s Crystal Palace gig last weekend – the only English band on the bill no less. This week, Fat Dog join Foo Fighters on a run of stadium shows and ahead of their headline UK & European tour starting late October.

When it was time to think about album 2, the band’s ringleader threw himself into recording sessions a day after landing home from a chaotic US tour in which each member of the band took turns in unravelling. “At some point on that tour, everyone had a small breakdown of some sort,” says Chris, who remembers losing his mind in LA, bashing his head against a wall whilst wearing an American Football helmet.

It wasn’t all nervous meltdowns. Romance was also in the air and, midway through the trek, Fat Dog’s frontman got married in Vegas after proposing to his girlfriend in San Francisco. “We played a gig to two people in Vegas,” Joe recalls, “and then the next day I got married.”

And so, it was with depressed Elvis ringing in his ears that Joe got home and began work on the second Fat Dog album. On their debut, Love had left the lyrics until last, letting the heady momentum of the music lead the way, but this time he felt he had much more to say. Into its lyrical orbit, the record pulls mentions of addiction, family ties, love, AI, ancestry, extra-terrestrials, Chris Tarrant, S&M, B&M, H&M and M&Ms. Cancel Me (I’m Tired) possesses all the rabid frenzy and electrifying excitement of their debut but now delivered on a grand and glorious scale. Big, big things are ahead. Fat Dog are only just getting going.

Cancel Me (I’m Tired) is available on DomMart exclusive picture disc vinyl in PVC sleeve, deluxe translucent green coloured vinyl, standard LP, CD and digitally. Pre-order: Fat Dog’s store | Digital 

Keep your mind open.

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[Thanks to Tom at Terrorbird Media.]

Adult DVD release “Cowboy on Aisle Three” ahead of their debut album coming September 25, 2026.

Credit: Sandra Ebert

Today, Adult DVD are announcing their hugely anticipated self-titled debut album which will be released September 25th on Fat Possum Records. The Leeds-based sextet have carved a niche as one of the most talked-about live bands in the country and an irreverent new voice existing in the space between electronic euphoria and spiky hardcore energy. 

Both unique in their approach and thrilling in impact, the band’s music has been shown love by Stereogum, Rolling Stone and The Line of Best Fit among others. Their breakout moment came with the single “Bill Murray,” an incessantly catchy distillation of people on the internet believing Tom Hanks and Bill Murray are the same person. More recently, the glitchy and anthemic “Real Tree Lee” was an A-list record at BBC 6Music and had support from BBC Radio 1.

At both Brighton’s The Great Escape and SXSW in Austin this year the band were championed as one of the buzziest acts of the festival with snaking queues of people waiting hours to see them perform . A relentless touring schedule in 2025 saw them hone their status as festival headliners in waiting, picking up a global army of new fans and playing to huge crowds at Glastonbury, Green Man, End Of The Road and more. The band recently toured Japan where they were greeted by fans in homemade Adult DVD merch, played a series of sold-out shows and saw posts about their performances go viral with millions of views.

To announce their debut, the band are sharing a new single entitled “Cowboy On Aisle Three.” 

In the making of their exhilarating debut album, vocalist Harry Hanson and synth-player Greg Lonsdale, alongside Danny Blackburn (guitar/synth), Jake Williams (synth), Jonathan Newell (drums), and George Manson (bass), went harder on what was already working for them: witty observational songwriting based in real-life characters and a pulsating synth-punk sound perfect for both the rave and the mosh pit. Fusing together an intense musical workout with depictions of a motley crew of figures ranging from 5G conspiracy theorists to an existential cowboy, Adult DVD is the electrifying sound of a band exceeding their own expectations while going just as hard, if not harder than their adrenaline-fuelled live shows.

On Adult DVD Hanson and Lonsdale continue to take a screenwriter’s approach to songwriting, filling their lyrics with stories pulled from the outskirts of society yet painting a vivid and comic picture of modern Britain.  “We don’t take things too seriously,” Lonsdale explains. “The lyrics have got sillier, the songs have got sillier. We make music for people to enjoy, so let them have a laugh.”

Produced by the band at The Nave Studios Leeds , the general theme of the album is to let go and take life a little less seriously. “Cowboy On Aisle Three” conjures an image of a wrangler swapping the rodeo for a supermarket over a swaggering synth riff . It’s an EQ-pushing beast that merges an existential crisis with the band’s playful spirit and relentless pursuit of bangers. 

Speaking on the new single, the band’s frontman Harry Hanson says:

“I came up with the idea when I was in Lidl. I’m sure everyone has thought, ‘Imagine if I just went nuts now,’ to get out of doing the big shop.”

Keep your mind open.

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[Thanks to Tom at Terrorbird Media!]

No Joy shares new single, “Barking at the Sun,” from their upcoming EP.

Last month, No Joy announced a new EP entitled Big Life, Big Leaf (out August 21st via Hand Drawn Dracula). The EP is the follow up to the widely beloved 5th LP from Jasamine White-Gluz long-running project, 2025’s Bugland, which like the new EP was co-produced by the heralded Chicago experimental artist Fire-Toolz.  That album earned a Best New Music designation from Pitchfork, who called it “a perfect album for our current shoecraze…Bugland is full of more textures, more ambiance, more chunky ’90s guitar. It crushes like a giant box of Gushers,” with further praise coming fromBandcamp, FADER, Stereogum, BrooklynVegan, AV Club, Hearing Things, FLOOD, and Exclaim. and wasalso recently nominated for the Polaris Prize.

The new EP was announced with its title track, which was co-written with Japanese Breakfast and Sky Ferreira producer Jorge Elbrecht. Today, No Joy are sharing a second single from the EP called “Barking At The Sun.” that blends dreamy shoegaze with ferocious blast beats and scratching from DJ Diego Juarez.. 

White-Gluz says of the track:

This song is driving through empty corn fields with the windows down on the first warm days of spring. During the last solar eclipse, I drove my car to the fields and watched the sun disappear and reappear, feeling like it was both the beginning and the end of the world.

This was the first song Angel & I worked on after Bugland. The song grew out of a very old demo where I played around with Drop C guitar tunings. With this opening guitar riff, I collaged bits and pieces of other demos together to make a patchwork of a song. Angel then took that into her world and made it more technicolor. 

Keep your mind open.

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[Thanks to Tom at Terrorbird Media.]

Mort Garson’s “Mother Earth’s Plantasia” album gets 50th anniversary re-release and parties.

Today we’re excited to announce the 50th anniversary celebration of Mort Garson’s beloved cult classic Mother Earth’s Plantasia, with Sacred Bones presenting the first-ever authorised eco-friendly reissue of the highly sought-after record. Originally released in 1976, the record was created for the listening attention of house plants and was one of the first ever to use a Moog. It’s available digitally now with the anniversary edition set for physical release on Sept 4th. 

Listen / Pre-order here: https://mortgarson.lnk.to/Plantasia

To coincide with the anniversary Sacred Bones have also announced two very special Plantasia events in Chicago and Kingston, NY.

The long-running celebration of ambient and electronic music returns at Garfield Park Conservatory in Chicago on September 10th and 11th, taking place over two beautiful days at the end of summer across the entire conservatory nature campus, including a new expanded outdoor stage. Brought to you by Sacred Bones, Empty Bottle Presents and Garfield Park Conservatory Alliance, this year’s event features Helado Negro & Reyna Tropical, james k, Makaya McCraven, Flore Laurentine, and many more unmissable acts.

Tickets here: https://www.ticketweb.com/event/plantasia-two-day-pass-garfield-park-conservatory-tickets/14942083

At Seed Song Farm in Kingston, NY on September 19th and 20th Sacred Bones will celebrate for a weekend of music, botanical arts and crafts, workshops, a curated market, plant sales, alongside performances by Gigi Masin, SPELLLING, Mary Lattimore, Green-House, Alabaster DePlume and more. This event is on sale now, grab your ticket while they last. 

Tickets here: https://www.eventbrite.com/e/night-howl-sacred-bones-present-plantasia-tickets-1990147578982

Julliard-educated and active as a session player in the post-war era, Mort Garson wrote lounge hits, scored the 1969 moon-landing and plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s By the Time I Get to Phoenix.

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the book shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon.

Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.

Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog.

Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson. Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result.

The album gained an enormous cult following decades after its release. Sacred Bones’ 2019 reissue helped introduce Plantasia to a wider global audience, sparking a remarkable second life for Garson’s unlikely masterpiece. What was once a strange artifact of 1970s plant-mania has become a beloved evergreen, rediscovered and re-embraced by a new generation of listeners and flourishing far beyond its original moment.

Now, 50 years after its original release, Mother Earth’s Plantasia marks a major anniversary moment. To honor Mother Earth, Sacred Bones is releasing the first authorised eco-friendly reissue of Plantasia, pressed on 100% recycled eco-green vinyl and printed on 100% recycled paper. It is housed in a 100% recycled jacket, wrapped in bio-based shrinkwrap, and includes the original Mother Earth’s Indoor Plant Care Booklet alongside a digital download presented on a real seed-paper card.

Half a century on, Plantasia continues to resonate – an enduring reminder of Mort Garson’s ability to make the synthetic feel strangely alive and the whimsical feel oddly profound.

Keep your mind open.

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[Thanks to Frankie at Stereo Sanctity.]

Review: Fling ii – iii

What if you made something for absolutely nobody? This is the question Fling ii asked before making their newest album, 3. They, like all of us, were exhausted by every click, view, and preference being commodified and resold to us and the world at large. Could they make an album that offered nothing to anyone? What could an album that, according to the press release I received, was inspired by “the vastness of parking lots, the prismatic strangeness of online advertisements for walking tai chi, and the passive performance of a basket of fruit sitting in a gas station” have to offer the band or anyone else?

As it turns out, a pretty cool record of krautrock / no wave electronica that borders on New Age music and vaporwave. Opening track “lau” pops and bubbles like the sound of a robot’s Zen alarm clock. “inke” drifts like a leaf on a stream that has no particular place to go and no timeline to get anywhere.

“bant” sounds like the opening to a weird VHS home course on meditation or computer science. “beem” takes on a slight country twang with its guitar tones but doesn’t lose the motorik beats or 32-bit synths. The electric piano takes the lead on “ilia,” creating a sound like an android’s morning commute radio station broadcast.

The album ends with “mago,” a trippy electro / krautrock cut that stretches to nearly sixteen minutes and takes you out of your current headspace and into some sort of forest that you’d find in the world of Tron.

This album immediately intrigues you and is the kind of record that will reveal something different every time you hear it…or maybe it won’t. After all, it was made to present you with nothing in particular. Again, from the press release, the band even states the album was “made especially for us and not for you, with all the gear we could get our paws on.” and that it “…stands as a quiet argument for surprise, accident, and the possibility of making something simply because it felt worth making.”

That’s accurate. Not everything has to be catered to your likes. Discovery, and being able to sit content with a discovery instead of seeking instant pleasure from the “next thing” is a lost passion. 3 proves this in every track.

Keep your mind open.

[You can subscribe. Or not. This blog is here for you if you want it, but no stress if you don’t.]

[Thanks to Dan from Discipline PR.]

Review: Wheelchair Sports Camp – Oh Imperfecta

Well, this is nuts.

How to describe Wheelchair Sports Camp? Are they a rap group? A punk band? A dance-rock band? A performance art duo? All of the above? I think that might be the answer, and their new album, Oh Imperfecta, is a wild ride of fuzzy beats, squeaky bars, and goofy jokes.

“Make It Make Sense” (guest starring Jello Biafra) is a plea for some kind of understanding from lead singer Kalyn Rose Heffernan in these weird times of 2026 across grungy beats from Greggy and guest guitar from Radio Pete. “You can’t make me want to change,” Heffernan proclaims on “Eat Meat!”- a song about going through the motions while the world is burning down around us. “Yess I’m a Mess” spins things around with a slow-jam groove and warped dream-psych guitars while Heffernan drops slick rhymes. I mean, it even has a horn section and organ riffs in it.

“They wanna lock me in a closet, wanna lock me in a box,” Heffernan growls on “Slumber Party.” She’s here to takedown people upset over her sexuality, gender, and / or health and those profiting off a system that’s destroying most of us. “Keep Scrolling” is a spoken word riff on social media making us dread each other.

“Denim” is a wonky, wooly experimental rap track. It’s almost acid jazz at some points, and guest-rapper RAREBYR$ provides extra sizzle with her verse. “Bring Some Room” is a quiet warm-up for “Dead” – another Biafra-team-up punk rager that will have the mosh pit bouncing whenever they play it.

“On Hold” is one of three tracks featuring Junia-T as a guest. It and the second one, “Summer in the City,” are trip hop slow burners. The third, “No Stopping No Standing,” is bigger, with heavier drum beats, angrier vocals (“If you can’t hang, get the fuck out of the way.”), and groaning, almost moaning synths.

I must note that the album is sprinkled with little interludes that are snippets of phone conversations between Heffernan and her mother, the funniest of which might be her pretty much ordering Heffernan to have grandchildren, and that Heffernan and her girlfriend’s cats don’t count.

It’s an odd record, but endlessly fascinating. There’s nothing really to “get” about it, which is kind of the point. It also hides a lot of talent under its queer-rock / glam-rap / wheelchair-punk hood. Don’t miss that. You’ll go from laughing with Heffernan and Greggy to thinking, “Whoa…There’s something deeper here.”

Keep your mind open.

[I’m a mess when you don’t subscribe.]

[Thanks to Dan from Discipline PR.]

WSND DJ set list: Manic Monday – July 13, 2026

Thanks to everyone who tuned in and made requests for my latest all-80s music show on WSND. Here’s the wild and weird playlist:

  1. Sheena Easton – Almost Over You (live) (1984)
  2. The Police – When the World Is Running Down, You Make the Best of What’s Still Around (1980)
  3. Bauhaus – In the Flat Field (1981)
  4. Madonna – Like a Virgin (extended dance mix) (1984)
  5. Arcadia – Election Day (1985)
  6. Duran Duran – Wild Boys (1985)
  7. The Outfield – Your Love (1985)
  8. Cyndi Lauper – When You Were Mine (1983)
  9. The Fixx – Driven Out (1989)
  10. Loverboy – Working for the Weekend (1981)
  11. REO Speedwagon – Keep the Fire Burnin’ (1982)
  12. Meat Loaf & Cher – Dead Ringer for Love (1981) (request)
  13. George Clinton – Atomic Dog (1982)
  14. The Doobie Brothers – What a Fool Believes (live) (1981)
  15. The Jets – Cross My Broken Heart (1987)
  16. Yazoo – Don’t Go (Class X remix) (1982)
  17. Gino Vannelli – Nightwalker (1981)
  18. Point Blank – Nicole (1981)
  19. Frankie & The Knockouts – You’re My Girl (1981)
  20. Pat Benatar – Fire and Ice (1981)
  21. Joe Dolce – Shaddup You Face (1981)
  22. Smokey Robinson – You Are Forever (1981)
  23. The Brothers Johnson – The Real Thing (1981)
  24. Jefferson Starship – Stranger (1981)
  25. Pure Prairie League – Still Right Here in My Heart (1981)
  26. Journey – Who’s Crying Now (1981)
  27. Christopher Cross – Arthur’s Theme (Best That You Can Do) (live) (1986)
  28. Hoodoo Gurus – My Caravan (1985) (request)
  29. Living in a Box – Living in a Box (12” version) (1987)
  30. Scorpions – Still Loving You (1984) (request)
  31. ZZ Top – Gimme All Your Lovin’ (1984)
  32. Love and Rockets – It Could Be Sunshine (1986)
  33. Kool & The Gang – Misled (1984)
  34. Vicky D – This Beat Is Mine (1981)
  35. Heavy D & The Boyz – Somebody for Me (1989)
  36. Tone Loc – Funky Cold Medina (1989)
  37. Billy Ocean – There’ll Be Sad Songs (to Make You Cry) (1986)
  38. Oingo Boingo – Stay (live) (1987)
  39. Steve Winwood – Back in the High Life Again (1986) (request)
  40. Falco – Vienna Calling (Metternich Arrival mix) (1985)
  41. R.E.M. – Can’t Get There from Here (1985) (request)
  42. The Cleaners from Venus – Only a Shadow (1982)
  43. The Screaming Blue Messiahs – You’re Gonna Change (1986)
  44. Rough Trade – Shakedown (1980)
  45. Halloween III: Season of the Witch “Silver Shamrock” commercial
  46. Fraggle Rock theme (1983)
  47. John Williams – The Raiders March (1981)
  48. Vanity – Faraway Eyes (1988)
  49. Tina Turner – We Don’t Need Another Hero (Thunderdome) (1985)
  50. Kenny Loggins – Danger Zone (1986)
  51. Jack Mack & The Heart Attack – I’m Gonna Be Somebody (1984) (request)
  52. Devo – Girl U Want (1980)
  53. Talk Talk – It’s My Life (live) (1984)
  54. The Cars – Magic (1984)
  55. The Cure – Just Like Heaven (1987)
  56. Pet Shop Boys – West End Girls (dance mix) (1985)
  57. M/A/R/R/S – Pump Up the Volume (1987)
  58. New Order – Bizarre Love Triangle (1986)
  59. a-ha – Love Is Reason (1985)
  60. Kenny Rogers – I Don’t Need You (1981)
  61. AC / DC – Dirty Deeds Done Dirt Cheap (1981)
  62. The Cult – Love Removal Machine (1987)
  63. Burning Skies of Elysium – One Afternoon (1981)
  64. Simple Minds – Alive and Kicking (1985)

Come back next week for more 80s music than you might be able to handle!

Keep your mind open.

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WSND DJ set list: New & Used Nocturne – July 12, 2026

Thanks to all who listened to my latest free-form show on WSND. Here’s the wild set list:

  1. The Black Keys – All You Ever Wanted
  2. R.L. Burnside – My Time Ain’t Long
  3. The Velvet Underground – Oh! Sweet Nuthin’
  4. Frank Zappa and The Mothers of Invention – Lonely Little Girl
  5. EMA – Breakfast
  6. L7 – Bitter Wine
  7. Trauma Ray – Carousel
  8. New Bomb Turks – Hammerless Nail
  9. Death Valley Girls – Fire and Brimstone
  10. Nirvana – Polly (live)
  11. The Black Angels – You on the Run (live)
  12. The Black Angels – Half Believing
  13. Bo Ningen – Mukaeni Ikenai
  14. Takuya Kuroda – Off to Space
  15. Blondie – Start Me Up (live)
  16. Frank Sinatra – Here Goes
  17. Bebel Gilberto – Tout Est Bleu
  18. Kalbells – Purplepink
  19. Pompidou – Girly Soully
  20. De La Soul – Potholes in My Lawn
  21. Delorean – Deli
  22. Funkadelic – Can You Get to That
  23. Gregg Allman Band – Slip Away
  24. Talk Talk – Today
  25. JayWood (ft. Ami Cheon) – Just Sayin’
  26. Strange Fruit – Pouvoir Moteur
  27. Charanjit Singh – Raga Kalavati

There’ll be another wild mix next week!

Keep your mind open.

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