Alright, rock fans — buckle up, because the Rolling Stones’ Black and Blue just got the deluxe treatment it’s always deserved. This Super Deluxe 4 CD + Blu-ray box set is a full-on celebration of a 1976 album that marked a major turning point: it’s the first record where Ronnie Wood really settles in as a full member, weaving his guitar into the Stones’ fabric.

Now, some critics—especially back in the day—raised eyebrows when Black and Blue leaned more into grooves, jams, and soulful experimentation than straightforward rock & roll. But let’s be real: that’s part of what makes it so damn fun. The set includes a fresh 2025 mix by Steven Wilson, giving the album new clarity and punch.

CD 2 brings previously unreleased outtakes and jams — think steamy sessions like I Love Ladies, Shame, Shame, Shame, and improvisational jams with Jeff Beck. It’s like being backstage in ’76, without the cigarette smoke (we hope).

CDs 3 and 4 deliver the live goods: a full Earls Court 1976 show, with songs like Honky Tonk Women, Fool to Cry, Midnight Rambler, and more. The Blu-ray rounds it out with high-res stereo, a Dolby Atmos mix of the album, live TV footage from Paris, plus the Earls Court concert — all remixed for a modern sonic punch.

And, because the Stones know about style points, the box set comes with a 100-page hardcover book filled with rare photos and a thoughtful essay by Stones expert Paul Sexton, plus a Paris concert poster.

So, sure, Black and Blue might not always hit you with fist-pumping riffs — but sometimes the best Stones moment is just feeling the groove. This super deluxe edition isn’t just a reissue: it’s a deep dive into that experimental spirit, capturing a band in transition — and having a hell of a good time doing it.

If The Hurting was a deep dive into emotional storms, Songs from the Big Chair is the moment Tears for Fears stepped out of the rain, shook themselves off, and decided to turn therapy into chart-topping magic. Roland Orzabal and Curt Smith were still inspired by primal scream ideas, but this time the result felt more like a musical exhale than a breakdown.

The band moved far beyond the “synth-pop” label that stuck to their debut like gum on a sneaker. Instead, they delivered a richer, warmer, more expansive sound. With the help of keyboardist Ian Stanley, their songwriting jumped to a whole new level, mixing soulfulness, emotional honesty, and hooks strong enough to lift anyone’s mood. Every track has its purpose, like pieces of a puzzle that finally snaps together.

And let’s talk hits. This album didn’t just make waves, it brought a tidal surge to radio. Shout blasted in with its anthemic stomp, daring listeners to let it all out. Head Over Heels shimmered with pure pop sweetness. And Everybody Wants to Rule the World? That song didn’t just capture the mid-’80s vibe, it bottled it, gift-wrapped it, and sent it straight into music history. Dreamy, catchy, timeless — it’s no mystery why it’s still a staple on Classic Hits & More Radio playlists.

Some critics once thought the band took themselves too seriously, but listening today, the album just feels honest, confident, and downright irresistible. It’s a rare mix: commercially massive, artistically bold, and emotionally resonant.

Songs from the Big Chair isn’t just one of the best albums of the ’80s — it’s one of those records that never gets old, no matter how many times you spin it.

And yes, you’ll hear all these gems right here on Classic Hits & More Radio.

In 1975, Captain Fantastic and the Brown Dirt Cowboy hit number one straight out of the gate, the first album ever to debut at the top of the Billboard charts. For Elton John and Bernie Taupin, it wasn’t just another record, it was their story, told in music. A semi-autobiographical concept album tracing their climb from struggling songwriters to international fame, Captain Fantastic marked both a creative peak and a turning point.

The magic lies in how seamlessly it all fits together. From the swaggering rock of “Tower of Babel” and “Bitter Fingers” to the wistful introspection of “Someone Saved My Life Tonight,” every track feels connected, a full-circle reflection on ambition, friendship, and the price of chasing the dream. Taupin’s lyrics are some of his sharpest, poetic and self-aware, while Elton’s melodies flex from country twang to glam-rock punch without missing a beat. It’s less a collection of singles than a true album, designed to be experienced from start to finish.

The 2025 reissue brings Captain Fantastic back into focus, remastered and expanded with rare extras, classic singles like “Lucy in the Sky With Diamonds” and “Philadelphia Freedom,” six never-before-heard session demos, and seven songs from a 2005 live show. Fifty years later, Captain Fantastic still feels like the sound of two artists in perfect sync, capturing lightning in a bottle and telling the world exactly who they were.

The ghosts of 1982 just got louder.

In 1982, Bruce Springsteen sat alone in a small New Jersey bedroom, hit record on a four-track cassette, and accidentally changed the shape of American songwriting. Now, more than forty years later, that moment gets the treatment it deserves with Nebraska ’82: Expanded Edition, a deep dive into the shadows and brilliance of Nebraska.

This new five-disc box set (4LP/Blu-ray or 4CD/Blu-ray) goes way beyond the original. It includes 17 extra recordings, most of them unheard until now, including the mythical Electric Nebraska sessions with the full E Street Band. There’s also a 2025 remaster that brings new warmth to those lonely cassette takes, and a new concert film capturing Springsteen performing the album front to back at New Jersey’s Count Basie Theatre.

One highlight is the early, raw version of “Born in the U.S.A.”, first born from the same haunted soil as Nebraska. “We played it like punk rockabilly,” Springsteen said, “trying to drag Nebraska into the electric world.”

The expanded set also unearths long-whispered demos like “Losin’ Kind,” “Child Bride,” and “Downbound Train,” songs that would later echo across his career.

Paired with Deliver Me From Nowhere, the new Scott Cooper film starring Jeremy Allen White as the Boss, this release doesn’t just revisit Nebraska, it lets us step back inside it, dusty tapes, dim light, and all that quiet magic.

Already in the Classic Hits playlist.

When the journey turns inward.

Brandi Carlile has been everywhere these past few years, producing Grammy-winning albums, singing with her heroes, even sharing an Oscar nod with Elton John. But on her new record, Returning To Myself, she takes a rare detour inward, trading big stages for quiet rooms and bright lights for bare honesty.

It’s her first solo album since In These Silent Days (2021), and maybe her most personal yet. Ten songs, no filler, just Carlile surrounded by people who get her: Andrew Watt, Aaron Dessner, Justin Vernon, Phil and Tim Hanseroth, SistaStrings, and more. Together they’ve built something raw, tender, and human.

The title isn’t a victory cry, it’s an uneasy confession. “Returning to myself isn’t something I want to do,” she admits. “It’s lonely. It’s boring. And that’s exactly why I need to.” That push-and-pull between solitude and connection runs through every lyric, every breath.

From her roots in rural Washington to life on the road with her family, Carlile writes like someone trying to make peace with stillness. The sound of gravel under tires, the hush between two people breathing, that’s where her stories live now.

Returning To Myself feels less like a comeback and more like a quiet arrival, Brandi Carlile, unguarded, unhurried, and completely at home in her own heart.

Now spinning on Classic Hits

A smooth turn down jazz’s side streets.

Boz Scaggs takes the scenic route on Detour, his first album in seven years — and what a ride it is. Teaming up with pianist Seth Asarnow, Scaggs delivers a stripped-down, soulful trip through the Great American Songbook, full of warmth, ease, and quiet surprises.

“It all started casually,” Boz says. “I didn’t plan to make a record — I just wanted to sing these songs I’ve always loved.” But what began as a relaxed session turned into something deeply personal. The set drifts between the familiar — Frank Sinatra, Ella Fitzgerald — and the unexpected — Irma Thomas, Lonnie Johnson — blending eras with the kind of grace only a seasoned voice can pull off.

Scaggs doesn’t imitate; he inhabits. His voice, worn and wise, turns every phrase into a conversation. The opener, Allen Toussaint’s “It’s Raining,” is pure late-night magic — just piano, space, and soul. Every track feels like a moment shared, not performed.

Fans of Silk Degrees or Lowdown will find that same golden touch here, only in a softer, jazz-lit glow. Detour isn’t about perfection — it’s about feel. It’s Boz and Seth, two artists savoring the simple beauty of playing.

Sometimes the best roads are the quiet ones.

Take the Detour — now playing on Classic Hits.

When great voices meet, the magic happens.

Chrissie Hynde has always done things her own way — and her new project Duets Special proves it once again. Released under the name Chrissie Hynde & Pals, the album is a stripped-down, soulful collection of songs built on melody, emotion, and pure connection.

She’s joined by a dream lineup — Rufus Wainwright, k.d. lang, Mark Lanegan, Lucinda Williams, Cat Power, Dave Gahan, Brandon Flowers, Debbie Harry, and Shirley Manson. The first single, a beautiful version of “Always On My Mind” featuring Rufus Wainwright, sets the tone — intimate, timeless, and full of heart.

The project began almost by accident — just a casual phone chat that turned into something real. “It started as something fun and unplanned,” Chrissie says. From there came a handwritten list of songs and an open invitation to friends who share her love of great melodies.

Each duet brings its own vibe — haunting, warm, or quietly powerful — all carried by Hynde’s unmistakable voice. Following The Pretenders’ Relentless and her acclaimed live shows, Duets Special keeps her creative fire burning bright.

No nostalgia here — just artists connecting, soul to soul, song to song.

Listen, feel, and rediscover the art of the duet on Classic Hits.

John Lodge, the celebrated bassist and vocalist of the iconic British rock band The Moody Blues, has died suddenly and unexpectedly at the age of 82. His family announced on October 10 that he peacefully slipped away surrounded by loved ones and the sounds of The Everly Brothers and Buddy Holly. No cause of death has been reported. Lodge's passing marks the end of a remarkable six-decade career that helped shape the sound of progressive and orchestral rock.

Birmingham-born Lodge joined The Moody Blues in 1966, two years after the band's formation, alongside fellow singer Justin Hayward. This lineup would go on to create some of the most enduring music of the psychedelic and progressive rock era. Lodge penned some of the band's most memorable songs, including "Ride My See-Saw" and "Isn't Life Strange", which showcased his distinctive bass playing and melodic sensibility. His contributions were instrumental in developing the band's signature orchestral sound that blended rock with classical elements, influencing countless musicians who followed.

Beyond his work with The Moody Blues, Lodge maintained an active solo career, releasing albums including Natural Avenue (1977), 10,000 Light Years Ago (2018), and Days of Future Passed – My Sojourn (2023), with his most recent EP Love Conquers All released earlier this year. He continued to tour throughout 2024 and 2025, demonstrating his enduring passion for performing. As a member of the Rock and Roll Hall of Fame, Lodge leaves behind a rich musical legacy and is survived by his wife Kirsten, daughter Emily, son Kristian, and extended family members.

Christone “Kingfish” Ingram isn’t just carrying the blues forward — he’s steering it into a brand-new lane with confidence, personality, and the kind of fire that makes you stop what you’re doing and listen. With Hard Road, the 26-year-old guitar phenom blends blues tradition with rock muscle, funk bounce, soulful depth, and smooth R&B flavors. It’s his most personal album yet, and you can hear the intention in every riff, every lyric, every breath.

Recorded for his brand-new label, Red Zero Records, the album finds Kingfish fully in charge of his sound. Teaming up with Ric Whitney, Patrick “Guitar Boy” Hayes, Nick Goldston, and longtime collaborator Tom Hambridge, he builds a landscape that stretches far beyond the Delta dirt he grew up on while still honoring the roots that shaped him. From the hypnotic groove of “S.S.S.” to the spiritual stomp of “Crosses,” and the stripped-down honesty of “Memphis,” the record moves wide and hits deep.

Kingfish makes it clear: this album isn’t just about guitar fireworks. “I’ve always wanted my voice and songwriting to stand right next to the guitar,” he says — and he delivers. Tracks like “Clearly” and “Hard To Love” show a young artist grappling with sacrifice, identity, and the weight of a life lived on the road.

Born in Clarksdale, Mississippi, he shocked the blues world with his 2019 debut Kingfish, which ruled the Billboard Blues chart for an incredible 91 weeks. His follow-up, 662, earned him a Grammy and proved he wasn’t a one-album wonder. Then came Live in London, another explosive moment that brought yet another Grammy nomination.

Launching his own label marks a new chapter. It’s not just creative freedom — it’s a chance to lift up other emerging blues artists who haven’t had the same opportunities. “We’re just trying to be that helping hand,” he says.

With Hard Road, Kingfish isn’t just evolving — he’s inspiring a new generation to step into the blues and feel the real thing.

Back in 1974, Genesis was cookin’ up something weird, wild, and wonderful—The Lamb Lies Down on Broadway. But with Peter Gabriel writing an entire surreal story about a New York street kid named Rael, tensions were high, especially between him and Tony Banks. Add a stressful pregnancy at home and a side flirtation with a Hollywood director, and Gabriel was basically one foot out the door. Fast forward 50 years, and surprise: the big, fancy anniversary box set got delayed—but not from band drama this time (maybe), just some technical hiccups. All good now, and both Gabriel and Banks are credited as “supervisors” on the new Dolby Atmos and hi-res audio mixes. What could possibly go wrong this time, right?

So, what do you get? Basically, a sonic overhaul that makes the original album sound like it just came back from a luxury spa. This thing breathes. You’ve got swirling keyboards, raw emotion, insane guitar licks, and vocals that shift from tender to totally unhinged in seconds. The whole double album feels like a fever dream scored by a prog-rock orchestra. Plus, they've thrown in a remastered live show from '75, unreleased demos, a chunky photo book, and even a replica tour program and ticket for the full fan experience. It’s part museum piece, part space opera, part “What the heck is going on?”—and that’s exactly why fans love it.

Critics called it “pretentious” back in the day (which, to be fair, it kind of is), but it still climbed the UK charts and went gold in the US. Now, with all five classic members finally on the same page—miracle!—the 50th Anniversary Super Deluxe Edition is here to blow new minds and rewire old ones. Whether you’re a long-time fan or just discovering the magic of talking lamias and supernatural anesthetists, this is Genesis at their most gloriously weird. And yeah… it was totally worth the 50-year wait.

Iconic stages don’t come much more legendary than Nashville’s Ryman Auditorium—the “Mother Church of Country Music.” But London’s Royal Albert Hall isn’t far behind. With a capacity of 5,272, the Albert Hall is more than twice the size of the Ryman, and British country fans filled every seat on Friday night as the Grand Ole Opry made its international debut, 100 years into its existence. The broadcast-taped Oct. 4 BBC2 special featured Opry members Marty Stuart, Luke Combs, Ashley McBryde, Carly Pearce, and Darius Rucker, joined by UK guests Breabach and Mumford & Sons.

Inside the storied hall, the energy was electric: pockets of fans in snappy Western shirts and others in bold cowboy hats—think goth-meets-my‑Chemical Romance at a Halloween show. Back in Nashville, they’d be tourists; here, they were craving a piece of Americana they’d waited a century to hear. Ten minutes before showtime, the venue rang with a singalong to “Take Me Home, Country Roads” blasting through the PA. Then, with a roar, Darius Rucker kicked things off with a blazing version of “Wagon Wheel”—a moment that felt fit for a thousand Nashville bachelorette parties and more.

Paul McCartney opened his 2025 North American tour with a last‑minute warmup gig at the Santa Barbara Bowl in California on Friday night. He kicked things off by performing the Beatles classic “Help!” in full for the first time since 1965.

The Santa Barbara Bowl holds just 4,562 people—about a quarter of the size of the arenas he’ll play on the rest of the run. The show was announced only two weeks ago and sold out within minutes, with fans required to lock their phones in Yondr pouches for the night. That’s why no full video of “Help!” has surfaced online yet. One enterprising fan did shoot about 30 seconds of the song during soundcheck, giving a rough sense of how it sounded.

McCartney last staged only a portion of “Help!” during the final leg of his 1989–90 Flowers in the Dirt tour, when he performed a medley of John Lennon songs that included snippets of “Strawberry Fields Forever” and “Give Peace a Chance.” The “Help!” segment at that time lasted under a minute. He hadn’t played the song in full since December 12, 1965, at the Capitol Theatre in Cardiff, Wales.

The revival of “Help!” is notable because McCartney usually avoids Beatles songs primarily written by John Lennon. “When ‘Help!’ came out in ’65, I was actually crying out for help,” Lennon told Playboy in 1980. “Most people think it’s just a fast rock ’n’ roll song. I didn’t realize it at the time; I just wrote the song because I was commissioned to write it for the movie Help!. But later, I knew I really was crying out for help. It was my fat Elvis period…I was fat and depressed and I was crying out for help.”

There weren’t a lot of other surprises in McCartney’s Santa Barbara set. The program leaned hard on Beatles staples like “Getting Better,” “Lady Madonna,” “Hey Jude,” and “Helter Skelter,” alongside Wings favorites such as “Jet,” “Live and Let Die,” and “Let Me Roll It,” plus solo picks like “My Valentine,” “Coming Up,” and “Nineteen Hundred and Eighty‑Five.” He also dropped the “new” Beatles track “Now and Then,” and delivered a virtual duet with John Lennon on “I’ve Got a Feeling” using footage from the 1969 Apple rooftop performance.

The tour continues Monday night at the Acrisure Arena in Thousand Palms, California. If “Help!” stays in the set, we can expect more footage to surface online soon after the show wraps.

Whiskey Myers, the six‑piece Texas band, keeps climbing with their seventh album, Whomp Whack Thunder. Recorded in Nashville with Grammy‑winning producer Jay Joyce, the record delivers a high‑voltage blend of blues‑rock and gospel‑tinged country soul, rooted in the band's distinct Southern spirit. Joyce pushes them out of their comfort zone, yielding songs that feel both raw and personal—songs like Time Bomb, Tailspin, and Midnight Woman, the latter pushing into bigger rock territory while still carrying their signature groove. The lineup—Cody Cannon on vocals, John Jeffers and Cody Tate on guitars, Jamey Gleaves on bass, Jeff Hogg on drums, and Tony Kent on percussion—drives every track with a mix of gritty blues, swaggering rock, and soulful strains. True to their indie stance, Whiskey Myers isn’t chasing trends; they’re delivering a record that sounds like a Whiskey Myers record—perhaps their boldest and most fearless album yet.

Robert Plant’s Saving Grace isn’t a single album so much as a long-gestating roots revival. Born during the pandemic and developed over six years with a tight group of collaborators, the project blends blues, folk, gospel, and country into a fresh set of ten reimagined songs—plus a hypnotic take on Gospel Plough. Plant and the band produced the record themselves, recording from 2019 through early 2025 in the English countryside, with voices ranging from Memphis Minnie to Low. He describes Saving Grace as “a song book for the lost and found,” proof that roots music can be living, breathing, and continually renewed.

Buckingham Nicks, Stevie Nicks and Lindsey Buckingham’s 1973 duo album, arrived quietly in September 1973 and burned slowly rather than exploding. Recorded at Sound City in LA with Keith Olsen, it features ten tracks that blend folk-rock shimmer, intimate acoustic moments, and California swagger, backed by session players like Waddy Wachtel, Jim Keltner, Gary Hodges, and Peggy Sandvig. The nude cover became legendary, echoing the raw openness of the music. Though it was a commercial dud and quickly dropped, its influence was huge: Mick Fleetwood heard a track and invited Buckingham to join Fleetwood Mac, with Nicks along, changing rock history. Long sought after, Buckingham Nicks has now been remastered from the original analog masters and reissued on CD, vinyl, and digital, with new liner notes by David Fricke and special vinyl bundles.

Well, well, well… Led Zeppelin’s turning back the clock and cranking the volume to eleven! To celebrate the big five-oh of their legendary sixth album Physical Graffiti, the band is dropping a brand-new Live E.P., available today (yep, September 12) on 180-gram 12″ vinyl, CD, and digital. Because let’s be honest—if you’re gonna revisit rock history, you might as well do it in style. And while they're at it, they’re also re-releasing the 2015 Deluxe Edition 3LP with a shiny new twist: a bonus replica promo poster for you to proudly hang in your jam room (or, you know, your kitchen—no judgment).

Now let’s talk tracks, because this E.P. is stacked. We’ve got thunderous live recordings straight from Earl’s Court ‘75 (“In My Time of Dying” and “Trampled Under Foot”) and Knebworth ‘79 (“Sick Again” and the mighty “Kashmir”)—all previously seen on DVD back in 2003, but now finally making their way to vinyl, CD, and digital for the very first time. These shows were legendary. Think epic solos, sweaty crowds, and enough guitar power to light up a small country. Bonus: Physical Graffiti itself? It’s a beast of a double album—17x platinum, critically adored, and filled with everything from funky grooves to mystical rock journeys. Jimmy Page basically used his home studio like a wizard’s lab and came out with gold.

And yeah, they had range. “Trampled Under Foot” makes you wanna dance, “Kashmir” makes you wanna meditate, and “Custard Pie” is just delicious chaos. With leftover gems from earlier sessions sprinkled in, Physical Graffiti was a wild mixtape of Zeppelin’s most adventurous sounds. And let’s not forget those sold-out nights at Earl’s Court in ’75 and their triumphant return at Knebworth in ’79. As John Paul Jones put it: this album? It was probably the pinnacle. So whether you're reliving your glory days or discovering Zep for the first time, now’s the perfect time to dive back into Physical Graffiti. Crank it up and annoy your neighbors—they’ll thank you later.

LED ZEPPELIN / LIVE E.P. Tracklisting:
CD / digital
1. In My Time Of Dying (Earl’s Court – 1975)
2. Trampled Under Foot (Earl’s Court – 1975)
3. Sick Again (Knebworth – 1979)
4. Kashmir (Knebworth – 1979)

12″ Vinyl
Side One: Earl’s Court – 1975
1. In My Time Of Dying
2. Trampled Under Foot

Side Two: Knebworth – 1979
1. Sick Again
2. Kashmir

The updated 50^th Anniversary version of the Physical Graffiti Deluxe Edition 3LP vinyl set (featuring the 2015 Remastered double album plus Companion Audio disc) on 180-gram black vinyl, now with a bonus replica poster (sized 443mm x 610mm) is out now
https://lz.lnk.to/PG50A

Brian Wilson, the visionary songwriter and co-founder of The Beach Boys who created the soundtrack to America's California dreaming, has died at age 82. His family announced his passing on Instagram, saying "We are heartbroken to announce that our beloved father Brian Wilson has passed away."

Wilson was the principal creative force behind The Beach Boys, whose early hits embodied the fantasy of California as a paradise of beautiful youth, fast cars and endless surf, making them the most popular American rock group of the 1960s. His groundbreaking album "Pet Sounds" revolutionized pop music and influenced countless artists, including The Beatles.

Beyond The Beach Boys, Wilson pursued a successful solo career, releasing acclaimed albums including "That Lucky Old Sun" (2008) and "No Pier Pressure" (2015). He collaborated with notable artists throughout his career, working with Van Dyke Parks on the legendary "SMiLE" sessions and later completing the project in 2004. His partnerships with lyricists like Tony Asher on "Pet Sounds" and his work with contemporary artists demonstrated his enduring creative spirit.

Wilson had been living with dementia, with his family filing for conservatorship in 2024 citing his "major neurocognitive disorder."

K-SUN CLASSICS "THE ROAD RADIO" has been honoring Wilson's musical legacy since its creation in 2009, regularly featuring his songs both with The Beach Boys and from his solo career, including tracks from "That Lucky Old Sun" and "No Pier Pressure."

He leaves behind a legacy as one of pop music's greatest songwriters and innovators, whose harmonies and melodies continue to define the sound of American summer.