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TV Girl makes hypnotic pop.

In 1992, the U.S. Postal Service conducted a nationwide vote on a crucial subject: Should their upcoming stamp feature Young Elvis or Older Elvis? More than 75 percent of the million-plus ballots voted for Young Elvis, but the fact that the question was asked at all speaks to the difficulty of pinning down just who the man was and how he should be remembered: Boundary-breaking R&B singer or Hollywood crooner? Rock pioneer or Vegas showman? An artist who legitimized blues for white audiences or appropriated it from black performers? In truth, Elvis Presley was all these things and more, a prism through which just about every myth we have about race, pop culture, and the American dream can be refracted. Born in 1935 in Tupelo, Mississippi, in a two-room shotgun house built by his father, Presley moved to Memphis as a teenager, recording his first sides for Sun Records a couple of months after he finished high school. He liked country, but also blues; he liked ballads, but played with an irrepressible energy that helped shape the feel of rock and roll. (His breakthrough, an uptempo cover of the blues singer Arthur Crudup’s “That’s All Right,” reportedly started as a goof Presley was killing time with between takes of something more subdued.) In addition to becoming one of the first artists to successfully make R&B for white audiences, Presley was also one of the first performers whose fame (good and bad) came in large part from television—you can’t see hips move in the newspaper. (The New York Times, reporting on Presley’s Milton Berle Show performance in June 1956: “His one specialty is an accented movement of the body that heretofore has been primarily identified with the repertoire of the blonde bombshells of the burlesque runway.”) Presley parlayed his screen appeal into a successful movie career, spending most of the '60s in Hollywood. (A handful of his most indelible songs—including “Can’t Help Falling in Love” and “Return to Sender”—started life on soundtracks to movies in which he also starred.) In 1968, he ventured to recapture the jolt of his early years, staging a television special (Elvis, a.k.a. the ’68 Comeback Special) that constituted his first live performance since 1961. The following year, he released From Elvis in Memphis, an album that found him suddenly, effortlessly, in step with contemporary pop and soul. Though Presley toured almost relentlessly until his death from a heart attack in 1977, he became increasingly cloistered, at one point giving up recording studios in favor of using a mobile studio RCA Records sent to his Memphis mansion, Graceland. A car aficionado with no shortage of spending money, he was known to occasionally approach strangers outside Cadillac showrooms and ask which model and color they liked best before offering—out of the blue—to pick up the bill. Nearly 80,000 people were estimated to have attended the procession for his funeral, where he was buried next to his mother.

Lynyrd Skynyrd didn’t invent Southern rock, but they defined it with the five albums they released in the ’70s. Combining bluesy riffs, a touch of country twang, and a three-guitar rock ’n’ roll onslaught, they perfected the template. Singer Ronnie Van Zant, guitarists Allen Collins and Gary Rossington, and drummer Bob Burns started playing together around their hometown of Jacksonville, FL, in 1964. Bassist Leon Wilkeson and keyboardist Billy Powell were aboard when producer/musician Al Kooper discovered Skynyrd in 1972. Kooper produced their 1973 debut album, adding Ed King to the band’s signature “guitar army.” While Skynyrd lived up to their bluesy, boozy swagger, there were deeper levels to be discovered, like the reflective balladry of “Tuesday’s Gone,” and “Gimme Three Steps,” in which the narrator does his damnedest to talk his way out of a bar brawl. Skynyrd found swift success, but 1974’s Second Helping really made them rock stars via “Sweet Home Alabama” and “Free Bird,” the “Star-Spangled Banner” and “America the Beautiful” of Southern rock. The epic, 10-minute-plus, jam-frenzied live version of "Free Bird" released in 1976 became one of the most ubiquitous anthems in the classic-rock canon. The band seemed to be peaking on 1977’s Street Survivors, but fate had other ideas. Days after its release, Skynyrd’s plane crashed in Baton Rouge, killing Van Zant, new guitarist Steve Gaines, backup singer Cassie Gaines (Steve’s sister), and several others, and severely wounding the rest of the band. In 1987, most of the surviving members reunited to tour, with Van Zant’s little brother Johnny as the singer. Johnny’s vocal and visual resemblance to his brother helped revitalize the band, which released a new album in ’91. Skynyrd Mk. II continued to record and tour for decades.

Self-produced British composer and recording artist for over 20 years, Imogen Heap has released five solo albums, another as one half of Frou Frou and collaborated with countless and varied artists including Taylor Swift, Nitin Sawhney, Deadmau5, Jeff Beck and Jon Hopkins. Her compositions and songs pop up in blockbuster and indie films as well as countless TV shows, are featured in underground rap and dance music and covered by the likes of Ariana Grande. As composer and arranger for one of the biggest hits in theatrical history, Harry Potter and The Cursed Child, Imogen won the Drama Desk Outstanding Music in a Play award. As a sought-after speaker and performer, Heap hosted 2020’s Grammys Premiere Ceremony. Heap’s collaborative and multi-dimensional workflow attracts companies for commissioned works, leading to songs such as Tiny Human, the first song to distribute payments via a Smart Contract, and The Happy Song, a highly successful song for children in their early-years. Heap, recognised as an artist's artist, has won two Grammys and an Ivor Novello award. In recognition of her pioneering work at the intersection of music and tech, Heap has a hat trick of three honorary doctorates for the gestural music-ware 'MI.MU gloves' system and recently for ’The Creative Passport’, an integrated digital ID solution, empowering music makers to be the change toward a fair and flourishing music ecosystem.

Sublime, was founded in 1988 by Eric Wilson, Bud Gaugh and Bradley Nowell. Their first self-produced album, 40oz. to Freedom, was released in 1992 and its success secured Sublime signing to MCA Records in time for the band’s 1994 sophomore album, Robbin’ the Hood, and later their self-titled third album. On May 25, 1996, however, lead vocalist and guitarist Nowell tragically passed away and the band collapsed, but the eponymous SUBLIME was still slated for a July 1996 release. On the strength of the chart-topping alternative radio hit “What I Got,” the album was certified gold by the end of 1996, selling more than 7M copies, and becoming one of the most popular reggae-punk albums in history. Sublime has gone on to sell over 18 million RIAA certified albums in the US, and their genre-defining music and their cultural influence is stronger today than ever before. In late 2023, Bradley Nowell’s son Jakob Nowell joined original Sublime members Bud Gaugh and Eric Wilson on stage for the first time to perform at a benefit concert for Bad Brains’ H.R. With an undeniable musical synergy between Nowell, Gaugh and Wilson, and overwhelming reaction and support from fans across the world, the trio decided to move forward and continue the Sublime legacy, starting a new chapter of the band with Jakob Nowell as front man. "Garden Grove // Ebin" out now

Pupsies is a female music artist who began making hyperpop/scenecore for fun in late 2023 at the age of 16. A lot of her music expresses those feelings of loneliness and insecurity a lot of youth go through, specifically from the female lens. Most of her work is auto-biographical. Versatile in many genres and loving to sing since age 10, they aim to have fun and be an “angel” to help others feel seen and understood in their hard times. find more unreleased on soundcloud. "no matter if i quit or disappear, i hope to always be an angel watching over you all so you know you're not alone in the dark parts of life!"

The folk-leaning, harmony-favoring rock band America was cofounded in 1970 by Dewey Bunnell and Gerry Beckley in London, England. ∙ America’s 1971 self-titled debut LP spent five weeks at No. 1 on the Billboard Pop chart and produced two Top 10 hits, including their most popular song, “A Horse With No Name.” ∙ Nominated for two Grammy Awards, the band won Best New Artist of the Year in 1972. ∙ Their 1975 chart-topper “Sister Golden Hair” was one of seven Top 10 Billboard hits from the group. ∙ “Ventura Highway,” released in 1972, was later sampled in Janet Jackson’s 2001 pop hit “Someone to Call My Lover.” ∙ In 2007, they released Here & Now, which was coproduced by Fountains of Wayne’s Adam Schlesinger and featured contributions from Nada Surf and Jim James. ∙ The band received a star on the Hollywood Walk of Fame in 2012, six years after their induction into the Vocal Group Hall of Fame.

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Carlos Santana was just days away from releasing his debut album when he instantly made his mark in the rock canon at Woodstock in 1969. Rushed onstage for a Saturday-afternoon set, the little-known Mexican-American guitarist and his eponymous backing band ripped into a furious and innovative combination of psychedelic rock and Latin jazz. It was an auspicious start to a rich and varied career for Santana, who over 50-plus years has challenged the boundaries of rock, jazz fusion, and pop. Born on July 20, 1947, and raised in the cities of Tijuana and San Francisco, Santana grew up playing violin and guitar and formed the Santana Blues Band (soon shortened to Santana) in 1966. Backed by organs and Latin percussion, he drew equally from the mambo of Tito Puente and the blues-based improvisation of Jimi Hendrix in tracks like “No One to Depend On” and his iconic, guitar-driven take on Puente’s “Oye Como Va.” Later, he ventured into headier, spiritual-leaning jazz in collaborations with Alice Coltrane and John McLaughlin of the Mahavishnu Orchestra, and then he successfully adapted to the ’80s pop landscape with the hook-oriented anthems of 1981’s Zebop!. By 1999, Santana had fully solidified his status as an elder statesman of rock—with his star-studded album Supernatural and its absurdly catchy single “Smooth,” he made clear that his supple, scorching licks will breathe life into any musical situation.

Blondie achieved massive success in the late ’70s and early ’80s, doing as much to take New Wave into the mainstream as anybody, while enabling hip-hop and reggae to reach the top of the U.S. charts. But they started out as an underground phenomenon, forming in New York City in 1974 and quickly becoming a fixture of the burgeoning punk scene centered at CBGB. In their early years, Blondie’s passion for kitsch made them something of a northern B-52’s, as they incorporated B-movie imagery, pulp themes, ’60s pop, and Jimmy Destri’s gloriously trashy combo organ into their postmodern smorgasbord. Though they scored big in England with 1978’s “Denis,” Blondie made little stateside impact with their first two albums. Their big American breakthrough came later that year with the more streamlined Parallel Lines and the disco-styled smash “Heart of Glass,” followed by the more New Wave-tinged hit “One Way or Another.” As soon as the spotlight found Blondie, singer Debbie Harry’s glamorous, photogenic presence got all the media attention, causing a rift between her and her bandmates that would soon widen. In the meantime, they soared to the top of the charts with the Giorgio Moroder-produced Eurodisco of “Call Me,” a cover of The Paragons’ ’60s reggae tune “The Tide Is High,” and “Rapture,” the first song with rapping to reach No. 1 in the U.S. By the time they released their wildly eclectic album The Hunter in 1982, the interpersonal dynamics were close to implosion, and the band split soon after. They reformed in 1997 and released No Exit two years later, scoring an international hit with “Maria.” The revivified Blondie, with cofounders Harry, guitarist Chris Stein, and drummer Clem Burke all remaining on board, continued touring and recording for decades.

After reuniting to celebrate their 50th anniversary in 2021, the Doobie Brothers’ members Tom Johnston, Michael McDonald, Pat Simmons, and John McFee were feeling the buzz. It was that vibe they carried into the studio for the first full-length album in the band’s storied 54-year career featuring the 3 principal songwriters writing, playing, and singing together. Walk This Road was recorded in Los Angeles with producer John Shanks, with whom Johnston and Simmons worked on 2021’s Liberté, and expertly blends the distinctive voices and styles of its songwriters. It’s an inspiring display of togetherness from a group that has been creating classic hits like “Black Water” and “What a Fool Believes” for half a century. As with past Doobie Brothers albums, each singer-songwriter brought his own songs in, but this time they each worked with Shanks to come up with the finishing touches. They all played instrumental tracks and sang on one another’s songs, then Shanks wrangled session aces including Victor Indrizzo, Pino Palladino, John Cowan, and Bob Glaub to round out the productions. With its multiple distinctive voices and songwriters, the Doobie Brothers have long been a unique presence in American music. Their recordings have rightly been celebrated as bona fide rock & roll classics and in 2025 the trio of Johnston, McDonald, and Simmons will be inducted into the Songwriters Hall of Fame, an honor that gets at the core of why they became a band in the first place.

Northern Irish alt-rock outfit Snow Patrol broke into the mainstream with their 2003 major-label debut Final Straw, followed up with the multi-platinum success of 2006's Eyes Open, which featured the international hit single "Chasing Cars," and continued with two more multi-platinum records, A Hundred Million Suns (2008) and Fallen Empires (2011). After a six-year hiatus, the band returned with the UK Top Ten album Wildness in 2018. Now comprising the trio of Nathan Connolly, Gary Lightbody, and Johnny McDaid, the band have emerged from the process of writing and recording their extraordinary new album, The Forest is the Path (September 13th 2024), perhaps a little battered, but maybe, just maybe, a little wiser and certainly more humble from the experience.

Sometimes even a multi-platinum band with three GRAMMY nominations under their belt needs the kind of pop talk which helped inspire Hoobastank’s 6th studio album. PUSH PULL finds Hoobastank exploring both rock and pop songwriting with a renewed vigor. The band partnered with producer Matt Wallace (Faith No More, Maroon 5). As a result, PUSH PULL nails the group’s underappreciated sweet spot - large-scale, muscular ‘80s-‘90s alternative rock of U2, Duran Duran and even Tears for Fears, whose “Heads Over Heels” gets a brawny, Bowiesque take on the album. Hoobastank approached PUSH PULL with the swagger and confidence of a band whose first three albums all went either gold, platinum or multi-platinum. “The Reason” garnered GRAMMY nominations for “Song of the Year,” “Best Rock Album” and “Best Pop Performance” for a Duo or Group. Album highlights include the title track “Push Pull,” and focus track “More Beautiful,” while the funky R&B feel is a tribute to DAN’s early, late--‘90s penchant for Chic and “groove-based” dance music. Songs like “True Believer” and “Buzzkill (Before You Say Goodbye)” show Hoobastank maturing from adolescent to adult relationships. “We stopped attempting to recreate any formula,” DOUG says. “We did what made us happy and played to our strengths. Take it or leave it.” On PUSH PULL, Hoobastank find themselves looking back to the future, combining the best of what brought them here and establishing their presence in the current pop-rock spectrum.

The essence of outlaw country—hard living, broken hearts, and a life led rambling, among other things—is distilled in Waylon Jennings’ booming baritone. Born in Texas in 1937, Jennings dropped out of school at 16 with the dream of becoming a musician, and got his chance when rock ‘n’ roll pioneer Buddy Holly tapped him to play bass in his band. After giving up his seat for the infamous 1959 plane ride that would end the lives of Holly, The Big Bopper, and Ritchie Valens, Jennings established the honky-tonk roots of what would become his signature sound in the ‘60s with songs like the toe-tapping “Only Daddy That’ll Walk the Line.” But it wasn’t until the ‘70s that Jennings became the outlaw icon—a scruffy, towering cowboy in a wide-brimmed hat—of legend. Jennings made this version of himself known with 1973’s Honky Tonk Heroes, a record dense with electrifying twang and hardcore country that stood in stark contrast to the genre’s mainstream offerings in Nashville. While Music City might’ve had its issues with Jennings, he was in good company with songwriters, including fellow Texan Willie Nelson, a longtime collaborator he eventually joined in country supergroup Highwaymen—alongside Johnny Cash and Kris Kristofferson—in the ‘80s and ‘90s. Jennings passed away in the early 2000s, but his influence looms large over country music, particularly in its 2010s outlaw resurgence through artists like Sturgill Simpson and Chris Stapleton.

Sixpence None the Richer began in New Braunfels, Texas when guitarist Matt Slocum met vocalist Leigh Nash at a church retreat in the early 90's. Their debut LP, The Fatherless & the Widow, appeared in 1993 and was followed by their Dove Award winning sophomore effort, 1995’s This Beautiful Mess. After the success of that album, Tickets For A Prayer Wheel - featuring B-sides, original compositions and cover songs - was released in 1996. Signing to the small indie label Squint Entertainment In 1997, the band released their self-titled album featuring the hit single Kiss Me. Universally adored and responsible for catapulting the band into world-wide mainstream success, the song has been and continues to be featured in countless movies, tv shows, soundtracks, and commercials. To celebrate the albums 25th Anniversary, Curb Records re-released this record as a collectible vinyl series in early 2024. The double album features remastered original album tracks, acoustic versions of their biggest hits (Kiss Me and There She Goes), and The Tide, a new song by Leigh Nash and Sixpence currently with over 2 Million views and streams across platforms. Sixpence None the Richer looks forward to creating new music, touring the world and engaging with their loyal and diverse, multigenerational fan base into 2025 and beyond.

SISTERS WHO ARGUE & WRITE SONGS Caitlin and Sid combine alternative pop and electronic music. Since 2020 Neoni has relentlessly built an extensive catalog, debuted their first album Wars In A Wonderland in the Fall of 2021 followed by ALL MY FAVORITE MONSTERS in 2022. Their music has been streamed over 1 billion times on Spotify, two viral TikTok songs DARKSIDE and Royalty > together amassing over 10 billion views. As their music continues to connect with a broad worldwide audience you can expect to hear even more from Neoni. Follow This Is Neoni and NEONI - collection for more music [email protected]

It’s been 25 years since the release of “Teenage Dirtbag”, and somehow Wheatus’ now iconic debut single is arguably the biggest it’s ever been. In 2022, Teenage Dirtbag became the cornerstone of a huge TikTok movement. The “Teenage Dirtbag photos” trend has now been embraced by millions, including celebrities such as Madonna, Lady Gaga, Mark Ruffalo, Lil Nas X, Jon Bon Jovi, Chevy Chase, and countless others, resulting in the hashtag #teenagedirtbag being viewed over 2 BILLION times worldwide. In the 25 years since the debut album, Wheatus have self-released six studio albums, all of them produced by frontman Brendan B Brown and recorded at their home studio in New York. Hand Over Your Loved Ones is a hooky pop-rock masterpiece that has become a fan favorite, despite Sony Music initially not anything on it worth releasing. TooSoonMonsoon is the band’s tribute to the 70s rock records they grew up on. The Lightning EP and The Jupiter EP see the band venturing into progressive rock territory with twisting melodies, extended solos, and haunting lyrical themes. The Valentine LP takes some of those progressive ideas and combines them with unconventional instrumentation to create an album of love songs performed by musicians at the top of their game. And their re-recorded debut Wheatus 2020 features a full album’s worth of additional songs harkening back to the band’s earliest days dabbling in emo, shoegaze, and post hardcore.

One of us is Sophie and one of us is Tucker and neither of our last names are Tukker

Masters of intoxicating instrumentals, New York duo Ratatat approach melody and rhythm with an omnivorous zeal—bending sounds, blending samples, and pushing the boundaries of rock, electronic, and hip-hop. Among the first big “bedroom producers” of the 2000s, multi-instrumentalists Evan Mast (a.k.a. E.Vax) and Mike Stroud recorded their self-titled debut album as Ratatat on Mast’s laptop. The 2004 homespun collection is big on heavy, hypnotic beats and wily guitar riffs that hit somewhere between Daft Punk, Queen, and Wu-Tang Clan (whose members played a role in Ratatat’s first remix album, released that same year). It kick-started an ambitious creative streak, capped by a notable collaboration with rapper Kid Cudi and psych-pop eccentrics MGMT on 2009’s woozy, downward-spiral anthem “Pursuit of Happiness.” Even with that wide-reaching hit, though, Ratatat have remained fascinating outliers, using each album to explore new ways of distilling every type of sound—whether a video game bleep, Middle Eastern rhythm, or spoken word sample—to its psychedelic core.

Toledo Wolbrom Prescod nació el 17 de enero del 1981 en Londres, Inglaterra, de padre inglés y de madre de Barbados. Toledo y su familia emigraron a Costa Rica en los años 90 y fue en ahí cuando empezó a tocar en pequeños eventos en la capital San Jose, con su socio de aquel entonces, Kike Daddy. Juntos sacaron un primer tema en 1998 intitulado “Me No Know”, que se convirtió en un hit underground que sigue sonando en radio hoy en día. Durante estos años Toledo ha podido contar con el apoyo de su socio y hermano, Pietro Wolbrom Prescod, mejor conocido como DJ P El Musicario, experto en mixes, edición, grabación, producción de canciones y de videos para Toledo. Juntos montaron una nueva producción llamada Ruff & Tuff Entertainment, basada en San Jose Costa Rica. En los últimos años Toledo ha sido la principal referencia de la música urbana en Costa Rica, tanto en reggae, hip hop como dancehall. Está muy presente en televisión, en diferentes programas. Desde el 2008 Toledo ha incrementado su cantidad de shows tanto a nivel nacional como internacional (Centroamérica, USA, Europa), dándole otra dimensión a su música. Este papel le ha permitido cantar con artistas internacionales reconocidos como Busy Signal, Beenie Man, Joey Montana, Anthony B, Warrior King l, C-Kan, Lapiz Conciente, Akapellah, El Micha, Fidel Nadal, Kafu banton, Aldo Ranks, Rapsusklei, TOK, LMK, Singer J, Red Rat, Mr. Saik, Fyahbwoy, etc… RUFF & TUFF ENTERTAINMENT