In addition to Frampton and Arthur, the film’s interviewees include Cameron Crowe, Tom Morello, Kate Hudson, Ringo Starr, Sheryl Crow, Bill Wyman, Tommy Shaw, Alice Cooper, Herb Alpert, Roger Daltrey, Tommy Shaw, Nancy Wilson, Humble Pie’s Jerry Shirley, BBC Radio disc jockey Bob Harris, producer Glyn Johns, producer Chris Lord-Alge, disc jockey and TV host Matt Pinfield, Frampton’s first wife Mary Lindes, Frampton’s brother Clive Frampton, Frampton’s schoolmate George Underwood, and Frampton’s three children – Julian Frampton, Mia Frampton and Jade Frampton.

The 104-minute film provides a vivid and quite honest look at Frampton’s life and up-and-down career. Arthur began filming Frampton during the band’s 2019 tour of Europe and the U.S. Near the start of the film, Crowe describes Frampton at his 1976 peak of fame as follows: “He was the guy strapped to the nosecone of the rocket that was going where no other rocket had gone.”

Frampton’s early years are covered well, including his time with his first band, The Preachers. Wyman produced the first recording session that Frampton did, which was with The Preachers, and there’s a nice bit featuring Frampton and Wyman reminiscing about that session.

Frampton’s tenure with The Herd is also discussed. Lindes came into Frampton’s life during that period, and she provides great insights during her interview segments about what their lives were like during that time. Frampton discusses his displeasure at being on the cover of magazines in 1968 and the tension in The Herd that was created.

Frampton and Shirley discuss how Humble Pie came together after Frampton left The Herd. Frampton tells of his shock when Steve Marriott told him that he had left the Small Faces and wanted to join the band that Frampton and Shirley were forming. Humble Pie’s first U.S. visit, signing with A&M Records and taking on Dee Anthony as their manager are all covered.

A major event in Frampton’s life during this period was being invited to participate in the recording sessions for George Harrison’s All Things Must Pass. Starr discusses working with Frampton on those recording sessions and how he and Frampton became close friends. In terrific footage shot for the film, Frampton is shown visiting London’s Abbey Road Studios, and he discusses with great enthusiasm working on All Things Must Pass with Harrison, Starr and Billy Preston, among others. And Frampton speaks with obvious fondness about how he and Harrison would jam together on acoustic guitars as they waited for the tape reels to be changed.

Frampton’s tenure in Humble Pie was relatively short-lived. He grew to dislike the musical direction that the band was taking as well as the conflicts between him and Marriott. In regard to the relationship between Frampton and Marriott, Shirley says, “They were brothers in arms musically. But a million miles apart personally.”

Frampton’s first solo album Wind of Change was released in 1972. In additional footage shot for the film at Abbey Road Studios, recording engineer Chris Kimsey, who worked on the Wind of Change album, shows Frampton the master tapes from the album. Frampton says that Starr, Preston and Klaus Voorman performed on the album. And Frampton is shown setting up the tapes on a reel to play them back. As Frampton and Kimsey listen to the playback, the joy on Frampton’s face as he listens to Preston’s performance on one of the songs is quite evident.

Frampton states that he remained on A&M Records for his first few solo albums because, in addition to being signed by the label as a member of Humble Pie, he was also signed individually. And he says that being on the A&M Records studio lot was “the college that I never got to go to.” After four solo studio albums for A&M Records, Frampton says that he felt that the time was right for a live album. That album was Frampton Comes Alive!, which was recorded at Winterland in San Francisco in 1975. The release of that album had a massive impact on Frampton’s life and career.

A recording of Rodney Eckerman, Frampton’s tour manager in 1976, states, “Peter went from headlining theaters to arenas to stadiums in a matter of six months.” Footage of Frampton onstage at Oakland Coliseum and on TV’s The Mike Douglas Show during that period is shown. Regarding the massive success of Frampton Comes Alive!, Morello says, “It’s an artist at the absolute apex of their game.” And Wilson adds, “It felt like this exciting moment in music that was just mega massive.”

Frampton speaks with awe of the moment when his manager, Anthony, told him that Frampton Comes Alive! had surpassed Carole King’s Tapestry as the biggest-selling album of all time. He then speaks of the pressure he was under to try to equal the success of Frampton Comes Alive! Discussing the pressure on The Beatles compared to that on Frampton after the massive success of Frampton Comes Alive!, Starr says, “The four of us was great because we had each other. Pete was on his own.”

Frampton credits Maurice Gibb and his brothers for making the filming of 1978’s Sgt. Pepper’s Lonely Hearts Club Band not a miserable experience for him. The film, in which Frampton starred with the Bee Gees, was panned by critics and didn’t do well at the box office. Frampton speaks with still-evident anger about signing on to do the film because producer Robert Stigwood had lied to him and said that Paul McCartney would be involved with the film.

Frampton’s marriage to Lindes had broken up, his follow-up to Frampton Comes Alive!, 1977’s I’m in You, did not live up to expectations, and then he suffered multiple injuries in a terrible car accident in the Bahamas that left him fearing that he might never play guitar again. Frampton was airlifted to New York City, where he received treatment and recovered at Lenox Hill Hospital. Frampton’s brother Clive Frampton discusses how he and his parents had to fight through the crowds of fans and media outside the hospital to get in to see his brother. While Frampton was in the hospital, he and Clive realized that large sums of money were missing from his accounts.

The money issues meant that his 1978 tour was done using buses instead of the plane that had been used on the previous tour. His arena shows were not selling out, and he was dropped by A&M Records. Frampton discusses getting a phone call from Pete Townshend around that time, in which Townshend asked him if he would be interested in joining The Who as a touring guitarist. Townshend explained that while he still wanted to write for the band, he no longer wanted to tour with them. Frampton suggested that Townshend discuss it with Daltrey and John Entwistle before any decision would be made about it. And Frampton quite animatedly recounts the angry phone call that he placed to Townshend weeks later, after Townshend had not gotten back to him. Frampton further admits that he was broke at that time and that he had to borrow $100,000 from Atlantic Records’ Ahmet Ertegun.

Frampton’s road back to prominence and critical respect began when David Bowie asked him to be the lead guitarist in his band for 1987’s Glass Spider tour. Frampton began touring again as a solo act after finishing the Glass Spider tour. Bowie and Frampton were old friends, going back to their teens. Bowie had been a student of Frampton’s father, an art teacher, at the Raven’s Wood School in Bromley, southeast London. In new footage, Frampton and brother Clive are shown at the school and proudly show the school’s impressive crest that was hand-drawn by their father. Underwood, a fellow student at the school, discusses how he and Bowie would show Frampton how to play a few songs, such as Buddy Holly’s “Peggy Sue.” That is followed by a wonderful clip of Frampton sitting on a staircase in the school, singing and playing “Peggy Sue” on an acoustic guitar.

Crowe and Frampton discuss working together on Crowe’s 2000 film Almost Famous. And Frampton and actor Billy Crudup talk about Frampton’s role as Crudup’s guitar tutor on the set of the film.

Frampton is shown accepting a Grammy Award in 2006 and gleefully performing onstage at New York City’s Madison Square Garden and The Forum in Los Angeles in 2019 to appreciative audiences. Frampton talks emotionally about how his son Julian going into rehab made him realize that he needed to be a better father and that he worked on doing that. Frampton and Julian are shown working together on Frampton’s new album, Carry the Light.

Frampton’s muscular condition, Inclusion-Body Myositis (IBM), is covered, and there is a clip of Frampton discussing it on The Howard Stern Show. Julian says that he first noticed that his father was having issues when he was lagging behind on a hike. Daughter Jade says that Frampton is happy while onstage but that the other parts of touring, such as the travel involved, are difficult for him. Daughter Mia states that her father’s condition has made her see her parents as “fragile.” And she adds that she gets nervous watching him perform at concerts. Frampton says that he works out six days a week because he has to.

At the film’s end, Daltrey is shown inducting Frampton into the Rock and Roll Hall of Fame in Cleveland in October 2024. And then Frampton is shown delivering some of his speech that night.

As the credits begin to roll, a clip of Frampton performing The Beatles’ “While My Guitar Gently Weeps” onstage with Eric Clapton is shown. That segues into “Carry the Light,” the title track of Frampton’s new album, as the credits play out.

The film does not have a distributor as of this writing. But that will surely change thanks to the positive press from its screenings at the Tribeca Festival. It’s a terrific film. Frampton’s fans will enjoy it.

In the post-screening conversation on the night of the premiere, Frampton spoke with admiration of Pearl Jam for the $50,000 they donated for IBM research. He added that the members of Pearl Jam have been friends of his for many years. He spoke with fondness of the time that he performed the song “Black” onstage with Pearl Jam during a show in Nashville and added, “It was probably one of the most incredible sit-ins I’ve ever done because they’re so phenomenal. I love them dearly.”

Discussing his relationship with his children, he said that he has experienced guilt over not seeing them enough after his relationships with their mothers ended. And he added that his relationships with his children now mean more to him than anything.

When Frampton was asked what his takeaway from the film was, Frampton answered, “Don’t ever give up.” That remark was a fitting end to the evening, and the crowd cheered, in appreciation of both the film and for Frampton’s continued resilience.

Additional information about the film can be found on its official Website at https://www.framptonfilm.com/.

Get the latest Peter Frampton record — and more! — in the Goldmine Shop (click image below)

The Head and the Heart

The Head and the Heart (Deluxe Edition)

Independent/Sub Pop (2-LP)

With six albums to their credit thus far, each of which has garnered rave reviews, The Head and the Heart have ample reason to celebrate their 15th year anniversary and with it, the album that started it all, that being their eponymous debut. They’ve been playing the album from start to finish live while on tour and now, with this expanded re-release, they’ve bolstered the original setlist with six bonus tracks consisting of demos, live recordings and an unreleased song to boot. It’s a way to coax their fan following to not only re-invest for the sake of obtaining the added extras, but also to join in marking what could be considered an auspicious occasion.

Founded by Josiah Johnson (vocals, guitar, percussion) and Jonathan Russell (vocals, guitar, percussion), currently consists of Russell, Charity Rose Thielen (violin, guitar, vocals), Chris Zasche (bass), Kenny Hensley (piano), Tyler Williams (drums), and Matt Gervais (guitar, vocals), the Seattle-based are known for their pensive melodies, hushed harmonies and a generally precious posture that still seems to soar despite an otherwise cozy and quiet caress. This, their self-titled debut, established that sensual stance early on, spurred by a clear sense of  luminescence and largess. Songs such as “Down In the Valley,” “Rivers and Roads,” “Lost In My Mind,” “Honey Come Home,” “Winter Song,”and “Coeur D’Alene” are as heavenly as they are hopeful, spiraling heavenward courtesy of the breathless beauty that dominates the proceedings throughout.

So too, “Ghosts” and appropriately enough, “Sounds Like Hallelujah”come across with pure percolating pop appeal, a further reflection of their demonstrative designs.

Nevertheless, it’s left to “Heaven Go Easy On Me” to sum up their mantra succinctly: “Follow your head, follow your heart.”

It’s hardly surprising then that the early less embellished attempts at “Down In the Valley” and “Lost In My Mind” retained their supple shadings found in the finished results. At that point, the intimate execution was clearly intended. “Grace,” an unreleased offering from 2011, is a fine fit given its low-cast emotive appeal, but if one song had to be excised due to time constraints, it was probably a wise choice for an ultimate exclusion. Nevertheless, as part of this expanded set, it still fares well.

Likewise, the nakedly rendered live versions of “Rivers and Roads” “and “Oh Virginia,” the latter a rarity seen only on YouTube and yet, as heard here, an obvious crowd favorite, are no less enticing, allowing the aural allure to remain soothing and seductive throughout. As a result, some 15 years on, The Head and the Heart still provides a truly restful respite.

Get this record and more in the Goldmine Shop!

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^{By TONE Scott}

Welcome to May 2026’s late-spring edition of Eclectic Discoveries (No. 35) here at Goldmine, where we invite you into a deep dive of musical Show & Tell. The albums reviewed in this edition of Eclectic Discoveries are a carefully chosen selection of musical gems by some of the most impressive albums that have recently been put on our radar, and ones that are sure to move you into sonic bliss. We revel in sharing great musical finds which we have recently become aware of over the previous weeks, months, throughout the course of a year, and beyond. If you enjoy a mixed bag of musical genres and styles (just as we do), or even if you are a bit more choosy with regard to your preferences and tastes in music, you will for sure enjoy this month’s features. Goldmine‘s goal is to shine a bright light on exceptional musical finds that are “new to us” (sometimes more current releases, sometimes older), in hopes there is something that will invoke and inspire your deeper interest in at least one of these tasty musical morsels, all to assist in feeding your endlessly hungry music addiction.

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Inside this edition of Eclectic Discoveries:

Dana Fuchs — Live in Denmark

Flore Laurentienne  — Vol. III

Galvezton — Ocean Cabaret

Handsome Jack — Barnburners!

The Peterson Brothers  — Experience

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DANA FUCHS | Live in Denmark

^{2026, Ruf Records}

^{Genre: Rock / Blues  Style:  Blues Rock, Southern Rock}

Art; true art derives from the essences of love, hate, pain, struggle, accomplishment, loss, regrets, gratitude and any other life circumstance that one might muster up, and that applies to all forms of artwork, but we feel it is expressed most in-depth within the medium of music and song. The life story behind seasoned recording artist Dana Fuchs (pronounced, Fyooks) would definitely resonate with anyone with similar experiences or those whose level of compassion is on high. Nevertheless, the fortunate as well as not so fortunate circumstances within which the artist has ventured have afforded her an artist’s palette full of experiences with which she has created over a quarter of a century worth of outstanding songwriting content. That, combined with the gift of voice and instrumentation, Fuchs now boasts a catalog with a total of nine full-length albums (six studio and three live), and as well is featured on various soundtracks including the soundtrack to Sherrybaby (2006) and 2007’s major motion picture, Across the Universe in which she as well played Sadie in the film; one of the movie’s main six characters.

It seems as if the artist doesn’t stay dormant for any period of time, especially with regard to her recording career. She has maintained the majority of her album releases on the Ruf Records label, with a few intermittent releases via Antler King, the label from where she originally launched her recording artist endeavors, and one via Getalong Records, which hosted her fifth studio recording, Love Lives On. In 2022, Fuchs and Ruf Records launched the artist’s most recent studio effort, Borrowed Time, which continued to exemplify the artist’s incendiary hard electric blues and blues rock persona, colored recognizably by her perfectly fitting mix of gritty mezzo-soprano/alto vocals. Unfortunately, it was unable to be properly supported by touring, having been released around the tail-end of some internationally concocted world crisis. Nonetheless, if you are unaware and inexperienced with the artist’s music, upon a first listen, you might just conclude that the reincarnation of Janis Joplin has taken place in the existence of Dana Fuchs; and believe us, that is not an overstatement. With a distinct modern flair, Fuchs’ music still reverberates in spirit, likened to the classic rock era of music. It assimilates to this not only in production, but with regard to a songwriting style which resembles a time where songwriting was taken seriously and pushed to the limits of a songwriter’s ability to conceive and translate those concepts with heightened articulation. Her live performance game is also something to be acknowledged and revered, which is fortunate, seeing as two short months ago, at the suggestion of her record label, the artist’s most recent live album was released, recorded in October of 2025 over a single night’s performance while on tour in Denmark. If you know Goldmine, you’ll know that we are heavy proponents and champions of the live album format, and being made privy to the artist’s new album, we have been eager to lay it all on the line with an Eclectic Discoveries in-depth review.

With a 10-song track-list (tailored down to a slightly dissimilar 8-song sequence via vinyl), the album hosts live performance selections from the artist’s past Ruf (mostly from her last studio effort) and Getalong Records albums, with a couple of notable covers added as icing on the cake. And while each and every selection is worthy of its own exposé, how selfish would we be to not allow you to discover at least some of them on your own? So, as it always is, with regard to the Eclectic Discoveries series, to keep everything concise yet thorough, we have chosen to highlight four of the album’s selections, which, when collectively grouped, will give you the best and most clear sonic overview of the album, from the songwriting to the sound.

“Double Down On Wrong” — Both the vinyl and compact disc variants kick off with this heavy riffing blues rock moral. Though the track starts off with a mild approach, the artist asking her crowd, “What if we doubled down on right?,” it quickly exhales into a thumping up-tempo production expressing the feeling of recklessness and disenchantment. The song, which is originally found on the artist’s last studio album, Borrowed Time, is a prime example of what makes for an incendiary live performance, full of fired-up musical energy, lyrics which are sure to ruffle feathers, and a vocal performance which complements all of that to a ‘T.’

“Blue Mist Road” — Originating from the same album as the former, this track brings the energy down a notch. A great portion of the first section of the piece (which you can assume as the song’s first verse) can be construed as a Johnny Cash-esque country-tinged southern rock ballad-type with quintessential storytelling and expressionism. You’ll experience this until the track rips into a heavy blues rock free-for-all solo section, which contrasts the verse beautifully until the artist segues into another stripped-down verse and so on. This selection (one of her best compositions in our opinion) is thankfully included as part of this live album’s offerings, but unfortunately only found on the compact disc track-list, though it would have absolutely translated into a welcomed listen on vinyl.

“Ready To Rise” — In juxtaposition to the CD, this amazing track is found only on the album’s vinyl variant; a grandiose piece originally located on the artist’s 2018 Getalong Records release, Love Lives On. This is quite simply Fuchs delivering an example of one of her finest southern rock-styled compositions. It is a song built with the context of rising from the ashes of despair and making a self-commitment to elevate one’s self above it all. It’s a gritty and sultry production, which is fitting alongside the artist’s persona and vocal stylings. Even though it is allocated only to the vinyl record, we were glad nonetheless to finally hear a live recorded version of this almost 10-year-old track.

“Home Is Where the Hatred Is” — Another track isolated to the compact disc variant only; this is one of two covers that can be found during this performance date. The additional cover track, The Stones’ “Sympathy for the Devil,” wasn’t as exciting for us as hearing Fuchs choose an off-the-beaten-path song to reimagine live. Where this 1971 Gil Scott Heron original boasts a jazz-funk-laden sonic fingerprint, Fuchs takes from that the soulfulness exemplified by Heron and does not travel too far away from the master’s creation, yet infuses her absolute ability to conform her bluesy vocal tone and heartfelt delivery over to her unique rendition of this classic-era jazz-funk classic. Simply fantastic.

It may be a bit confusing when you realize that either the compact disc version or the vinyl variant contains slightly different journeys through this brilliant live performance evening in Denmark. Nevertheless, it eventually becomes clear that this is an instance where owning both the compact disc and the vinyl variants together will benefit your ears as well as your music collection greatly. This has for sure become a solid contender for inclusion into Goldmine‘s Best Live Albums for 2026. For a deeper dive into the mind of Dana Fuchs, take the time to visit with Goldmine Contributing Editor, Warren Kurtz, where he spent time with the artist in a bout of great conversation and revelation (here).

^{Enjoy a peek into the Live in Denmark album in the Sound Samples section below.}

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FLORE LAURENTIENNE | Vol. III

^{2026, Secret City Records}

^{Genre: New Age / Classical / Electronic   Style: Third Stream, Ambient, Avant-garde, Neo-Classical}

Brilliant minds in music are not too difficult to come by; however, ultra ingenious minds (especially in this day and age) are not so prevalent. In the instance of keyboardist/composer/producer Mathieu Pelletier-Gagnon (aka, Mathieu Pelgag), the latter is absolutely applicable as far as our experienced and musically discerning ears are concerned. The artist’s discography spans far and wide, encompassing his talents infused into many musical projects; those of other musicians’ projects, those in which he was a bona fide member of a group’s line-up, and those in which he sat as bandleader and principal. He is the brother of, and arranger for the Canadian-based visually musical vocalist and recording artist, Klô Pelgag, and leader of the internationally revered ensemble, Flore Laurentienne (in English pronounced, Floor Lau-wren-see-en).

Aside from the artist’s personal musical endeavors with ‘Flore,’ Goldmine has been equally familiar with him with regard to his place in the line-up of the avant-garde free jazz ensemble Kadef (aka, Kadef Abgi) and the album of the same name (2023, RR Gems Records), where he partnered alongside one of our favorite modern day jazz minds, Devin ‘Brahja’ Waldman. With his project Flore Laurentienne, since 2019, the artist has released a total of four studio albums, the first two appropriately titled Vol. I, and Vol. II, with the third breaking the theme, titled 8 Tableaux. The fourth inline came to us in 2026, just weeks ago, continuing the theme of continuous volumes. Vol. III is a resumption of the artist’s contemporary eclectic neo-classical new age exploration into sound, infusing traditional instrumentation with cutting-edge electronic technology, both from the vintage and modern eras. When Goldmine became privy to the releases of Vol. III, we didn’t hesitate to say yes to coverage of this perfect blend of mating the classic with state-of-the-art sounds and artistic vision.

Giving media coverage to an album doesn’t always entail exposing every single nook and cranny; it would be unfair of us not to leave something for your own personal discovery. However, we are committed to giving you everything you need in order to have a clear overall scope of the album. Therefore, we have carefully dissected the entirety of this recording and have compiled highlights of four out of the eight tracks (essentially half the album), providing you with an expository overview of what to expect within the totality of Flore Laurentienne’s Vol. III.

“Régate” — As the album’s second song in the track-list, it begins to really exemplify the electronic aspect in marriage to the neo-classical contexts, which represent the album’s foundational sonic signature. Though it only displays a repetitive arpeggio of what we believe to be Mathieu’s ARP Odyssey synthesizer (our best guess), this carries the song through with a gentle yet somewhat dark electronic pulse, which is beautifully contrasted by ultra-melodic and emotion-provoking string arrangements and slightly noticeable piano chord progressions, coloring the entire piece with celestial and breezy overtones. Overall it translates to a perfect example of balance between the synthetic and organic aspects of the artist’s productions.

“Le temps” — The title of this piece, which translates to either ‘the time’ or ‘the weather’ depending on the context it’s used in, no matter how it would be translated, either is appropriate to the song’s sonic character. While listening to this humbly minimalistic musical expression of the artist(s), one might imagine it being descriptive of how time (if it were a person) perpetuates constantly forward in peace without regard for any number of circumstances going on around it. If you equate the piece to being descriptive of ‘the weather,’ one might conjure up images of the calm of a traditional winter’s day after a snowy stormy episode; the melting of snow segueing into the blossoming of new life during the rise of spring time; the quiet of morning as the sun appears over the horizon on a summers day, or the gentle falling of leaves from trees in the heart of autumn. However you perceive it, the simple yet colorful pizzicato of the harps that define this piece do a phenomenal job translating whatever you choose this song to be.

“Navigation VII” — As part of a series of movements stemming from earlier recordings (specifically the Vol. II album), which we assume are collectively part of a grander perpetually growing suite of music, this ambient display of electronic synthesized crescendos is supported by a collective of strings and harp, painting a sonic image of travelling through time and space (possibly hence the title?). For the listener, it manifests a sense of peace mixed with the unknown, fortifying the album’s thematic construct and painting a deeper picture of the ‘Navigation’ movements that came before it.

“(À travers les) Chablis” — The album closes with this wonderful display of orchestral-sized strings, big and present synthesized accompaniment, and percussion (which is not found often over the course of the album), all in a composed yet free-form avant-garde manner. The title of the piece, from the French, when roughly translated to English, describes walking through a forest of uprooted or broken trees in the grave aftermath of a storm. Once again, it is perfectly descriptive of the sonic experience and an interesting yet somewhat ironic way to bring this project to its close. It’s outstanding to say the least.

Flore Laurentienne’s Vol. III, for those who appreciate the avant-garde and exploratory qualities of music, is an absolute ear-opening experience far from the monotony of traditional composition structure and production. It is thought-provoking and emotion-invoking, bringing a sense of melancholy, journey, exploration, peace, chaos and resolve altogether over the life of the album. It is available on both the vinyl LP and compact disc album formats, and no matter which you might choose, it is highly recommended.

^{Experience a selection from Vol. III in the Sound Samples section below.}

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GALVEZTON | Ocean Cabaret

^{2026, La Izquierda Records}

^{Genre: Rock / Folk  Style: Folk, Folk Rock, Art Rock, Psychedelic}

When you think of the music and the genres that have been birthed in the state of Texas, many cliches might immediately manifest. From country and western, to rock, blues and hip hop, so many renowned names come to mind from the modern day to those from decades upon decades past. An artist who Goldmine considers as one of the prominent musical gems that the state has produced in a long while, and has been a favorite of ours for some time now, hails from the island locale from which Robert Kuhn has derived his musical moniker, Galvezton. Regardless of his locale and the state in which he calls home, Kuhn’s approach to music does not follow the ‘Texas template’ in the broader sense. While he has become deeply ingrained in the local culture that the island city of Galveston represents, his music reflects individuality and homage to deep musical influences, mostly exemplifying the classic era of deeply artistic rock and folk music.

In the Summer 2025 print issue of Goldmine, in the magazine’s recurring article series, Modern Music Must-Haves, we featured the artist’s 2020 third studio album Persevere upon receiving its 2022 reissue, having been re-monikered under the artist’s current stage name, Galvezton. An album filled with the artist’s originals, we concluded that, “It resonates with heavy psychedelic tone, wrapping around songwriting with thought-provoking lyricism and sonically appropriate productions to match … his most profound bespoke musical journey to date.” Almost simultaneously, in the July 2025 edition of Eclectic Discoveries (online), we included an in-depth review of his fourth studio effort, Some Kinda Love – A Velvet Underground Tribute (2024, La Izquierda Records) being his first official release monikered under the name Galvezton, where, as it explains in the album’s title, is a brilliantly interpretated homage to the music of Lou Reed and The Velvet Underground — Goldmine calling it his most well produced album to date and close to damn perfect. In 2026 the artist was led back to Goldmine, or Goldmine was led back to the artist, nevertheless, any way you look at it, we were made privy to Galvezton’s latest studio effort, Ocean Cabaret (titled after an abandoned notorious Galveston County strip club); an album that we have been anticipating for an entire year, and one into which we quickly took a deep dive.

There are 11 magnificent tracks that grace the Ocean Cabaret LP, all written, performed and recorded by Kuhn, and all worthy of their own exposé. However, as is protocol with the Eclectic Discoveries article series, to keep everything concise yet thorough, we have chosen to highlight a handful of productions from the album’s track list, choosing four selections that, when combined, will give you the best and most revelatory overview of this fantastic album.  We’d do more, but how selfish of us would it be to not allow you to discover the rest for yourselves?

“Roll to G-Town” — The second song on the track list impressed us immediately, resounding as something new to us with regard to anything that we’ve heard Kuhn do previously. “Roll to G-Town” resonates clearly as a mid-tempo psychedelic-tinged bluesy folk-rock piece that, in some minute way, shape or form, hides this underlying artsy punk rock mentality deeply embedded but not deep enough that it goes unnoticed. It is a serious piece of music that still isn’t afraid to show the playful side of the artist with a tinge of parody infused. As brilliant as the entire album is, if this isn’t the star of the album, then Goldmine should stop doing what we do dead in our tracks. Everything from the melody to the lyrics, the vocal delivery to the orchestration and production is ingenious.

“Tonight” — There are artists who cringe at the sound of someone comparing them to another artist, and there are some that welcome any comparison to brilliant peers from their past. Nonetheless, we are spurred on to crossover into that realm of comparison, likening this gorgeous track to quintessential Lou Reed. In fact, though not in absolute template form, upon the first few seconds of the listen, we couldn’t help but conjure up similarities to Reed’s “Walk On the Wild Side,” with its focused storytelling, its comparable cadence (both musically and vocally), and its overall tone. On the other hand, there are simultaneously blatant differences that liken this piece to everything we are used to and love about Galvezton. It definitely resides as one of the album’s most standout productions.

“Quint’s Cantina” — There is ‘outlaw’ country music, but if there was ever such a thing as ‘outlaw’ psychedelic art rock, this would absolutely be it. We indisputably love this selection, so much so that we repeated it during our review many times before moving on. There is nothing overtly complex about the songwriting; it was accomplished with such a balance of easy-to-follow storytelling with just enough creative metaphoric content that is transcends the artist clearly beyond the arena of being just an average songwriter. Top that off with an extremely palatable backing track which complements the story and the context of the song perfectly, again, you have one of the album’s most exceptional compositions.

“Wicked Wind” — Quite possibly the most lushly melody-driven piece over the entirety of the album with regard to all aspects of the production, one thing that we immediately loved most is the artist’s choice of backing vocals arrangements (performed by Sherita Perez) found throughout the song’s verses, chorus and bridge. This is a beautiful piece of folk-rock that reverberates back to an era where the original proprietors of the genre spent time collaborating and communing with one another in the Laurel Canyon hills of Los Angeles, ultimately creating a sound that changed the direction of folk and rock together, creating a musical movement that influenced musicians globally.

We’ve explored this release high and low, and if there is a negative aspect to this album to be uncovered and exposed, we haven’t found it. From the productions to the songwriting, from the recording to the mix, to the packaging and the quality of the physical product, we have been pleased with it all from top to bottom and from start to finish. The album is available on both vinyl LP (with all 11 vocal tracks) and a streaming variant, which includes an additional 11 tracks of each of the album’s selections in instrumental form. Ocean Cabaret is another winner in the short but impressive discography of Robert Kuhn music.

^{Take an audible peep at Ocean Cabaret in the Sound Samples section below.}

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HANDSOME JACK | Barnburners!

^{2026, Alive Naturalsound Records}

^{Genre: Rock / Blues  Style: Classic Blues Rock, Electric Blues, Boogie Blues}

Originating from the greater Buffalo area city of Lockport, the renowned upstate New York-based Handsome Jack is definitely no newcomer to the pages of Goldmine. We here at the magazine gravitated to the band very early on in the stage of their coming to prominence as forerunners in the modern-day classic blues and blues rock revival, keeping our eyes on and ears open to every subsequent project that the band releases. We have featured them online many times previously, and as well inside the magazine’s print issues to boot. The band represents a modern approach to ‘revival.’ Their music is by far not a product of copycat culture, but instead a fresh take by way of homage to classic era legends and sounds that built the mid-century American blues ethos, as well as the advent of rudimentary blues rock that exploded into the classic era of music. They have maintained this sonic signature from their beginnings almost 20 years ago, and continue to deliver their fresh and exciting sound with new material that never sounds recycled or repurposed, but instead with a knack for perpetually creating new material that honors their own musical ideologies, mixed with tribute to the era of music that originally inspired them.

At the time of this article, just two print issues ago, we introduced the band to unknowing readers when we put a spotlight on their 2014 third studio album, Do What Comes Naturally, where we recommended starting there upon taking the plunge into the Handsome Jack catalog. Previous to that, we have featured the band in Eclectic Discoveries, most recently the band’s two past studio recordings — Get Humble (2021, Alive Naturalsound) and A Good Thing (2024, Radiator Records). Even more recently, once again we included Handsome Jack in our reoccurring article series, Modern Music Must-Haves, where we featured the band’s standout and well-anticipated 2026 full-length studio effort, Barnburners!, in Goldmine‘s current Summer 2026 print issue, stating that, “There are no bells and whistles here; simply badassery … with credibility being given to their understanding of and respect for the rudiments of blues and blues rock.” We continue that overview of the new album here, with a more in-depth dive into the record so you have more clarity on what excited us about it and why we hold this time around for the band in such high esteem.

Barnburners! is chock full of 10 newly recorded tracks by the band, including nine originals and one perfectly interpolated classic cover.  Now, as much as we would love to slather this review with a well-deserved exposé of each and every selection, as is protocol with the Eclectic Discoveries series, we keep everything concise yet thorough for the sake of the read. Therefore, we have chosen to highlight four selections from the album that, when combined, will give you the best and most revelatory overview of what you can expect when you take the plunge for yourselves.

“Barnburner” — The album begins its kick-off with the title song, opening up the track list with this fantastic Chicago-style electric blues ripper. With fantastic upper-tempo shuffle drumming by Bennie Hayes and a funky repetitive bassline groove by Jo Verdonselli laying down a fantastic up-tempo rhythm section cadence, and Jamison Passuite’s bluesy fretboard magic colored over by his absolute complimentary vocal arrangement and delivery, this translates to a perfect median between all of the styles and applications that you are in for as you travel inward over the album’s song sequence. This is exemplary of what Handsome Jack is all about.

“Polk Salad Annie” — When we choose the selections to cover, we more often than not do not select cover tunes (unless it’s a covers album, of course). We like to highlight original compositions for the sake of shining a light on the total scope of a band’s skillset. Nevertheless, this Tony Joe White swampy electric blues classic; if it was right up the alley for any modern band, it’s hands down, Handsome Jack. Therefore, what you have here is not just a cookie-cutter cover, but an absolute reimagining of White’s original, from the intro speech to the rhythm section’s time signature, to the arrangements, to the tempo, to the orchestration. This is a stripped-down, rudimentary, much more gritty, down-home, foundational electric blues interpolation of what most are used to, keeping the homage to the song’s creator intact, but doing everything they had to do to keep this 100-percent Handsome Jack. Where there is no sign of the song’s original horn section, Passuite makes up for it by infusing more of his sexy guitar work into its place appropriately. Top it off with a much heavier blues-rock-tinged bassline and a great stack of background vocals over the chorus by all three ‘Jacks,’ and what you have is a version of this song that reverberates quite frankly the way this song should have always been heard. Maybe that is sacrilege, and maybe we’ll get some push back for that; nevertheless, it’s real.

“Poly Molly” — What drew us immediately to this was the Delta-influenced overtone mixed with heavy electric guitar-solo-driven production, which many might immediately liken to the Chicago blues subset, but really likens itself more closely to a Detroit electric blues style. It is laden with grit, seduction, sultriness, invoking risque emotional reaction not only from its sonic feel but just as much by its playfully suggestive lyricism. This one should resonate deeply with the John Lee Hooker fanbase and those who are aficionados of similar legacy blues men. One of Goldmine‘s go-to selections for sure.

“Ghost Woman” — This is an absolutely incendiary lower mid-tempo crawl, slow riding through every chord progression, through every section of the song; a bona fide throwback heavy blues rock piece that everyone from Peter Green, to Clapton, to Hendrix, to John Mayall would be proud to have given a spin. There is everything of the classic era that this song represents with its non-conformist vibe, its seeming far reach into the depths of the soul of rock and blues, and it being sonically representative of the first wave of heavy British blues rock at its finest. There was no better way that the band could have chosen to bring this most recent Handsome Jack masterpiece to a close.

When it comes to record labels, the label that the band has mostly called ‘home,’ Alive Naturalsound, knows how to put out album projects that they truly believe in. As we’ve already made our claim for just how good this album is in context, it was also released with grandeur as well. First, all variants contain the same track list, so no matter what your format preference is, you’ll get the same great record. Most notably, Barnburners! was released on vinyl LP in two ways: primarily on a 180-gram default black vinyl variant, which includes a full-size lyric insert with a reverse side full-size photo of the band, as well as a special limited edition alternate cover variant designed by the legendary illustrator Bill Stout, and is served up on 180-gram opaque orange vinyl (see image). Moreover, this version is limited to only 200 copies worldwide, with 50 of them autographed by Stout himself. For the die-hard compact disc aficionado, there is a beautifully pressed CD album packaged in a standard jewel case, which includes a four-panel foldout with all the same info as the LP, and sounds digitally as good as the vinyl does.

^{Listen to a badass track from Barnburners! in the Sound Samples section below.}

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THE PETERSON BROTHERS | Experience

^{2024, Self-released}

^{Genre: Soul   Style: R&B, Soul, Funk}

In the musical tradition of Austin, Texas and its greater metropolitan area, there are perpetually great musicians constantly forming and segueing into becoming a bona fide part of Austin’s musical lexicon, with reputations that bleed out into the rest of that grand state and beyond. One twosome line-up that Goldmine was made privy to during a recent assignment trip to San Antonio, are the illustrious modern soul and funk duo known as The Peterson Brothers. With blood brothers Glenn Peterson Jr. wielding virtuoso-level guitar and Alex Peterson brandishing masterclass bass skills, these siblings are actually no new comers to being considered one of that geography’s musical pride and joys. Though their recorded music discography is humble, their prestige as live performing musicians and recording artists precedes them. Their music is a blend of classic soul-styled productions with funk and blues undertones, both of them performing musically not only as instrumentalists but as seasoned songwriters and vocalists, doubling as producers and arrangers as well.

In the brother’s late teens, Glenn and Alex would make their recording debut with a self titled album (2015, Blue Point Records) which housed an almost 50/50 balance of original material and classic blues covers. That being said, they honed their writing and production skills with regard to creating original material and evened that out with interpolations of classic blues compositions by the likes of Albert King, Little Johnny Taylor, and Earl King over the course of their debut album, igniting the spark that would begin to build their credit as regional musicians to be reckoned with. Though there would be a lengthy hiatus between recordings, the much more seasoned and musically matured brothers would return in 2024 with a sophomore studio album that would take a slightly different turn from their debut which was heavily blues-centric, to an album drastically centered on paying tribute to the classic soul and funk sound. Experience is an album that contains an almost entire song sequence composed by the brothers with the exception of one cover, exemplifying their propensity toward real down-home organic soul and R&B with a nod to the circa 1970’s classic era. Upon a first listen, Goldmine was convinced that this was an album which deserved to be explored and experienced by the mass of modern soul music fans who have been affected greatly by the classic soul and funk music revival that has been inundating independent music over the past decade plus.

In Goldmine fashion, we would love to bring total focus to every composition the brothers have offered on Experience, as the tracks collectively present a well-balanced spectrum of musical dynamics. However, to keep things thorough yet concise for the sake of the read, we have chosen four songs out of the 8-song track listing (essentially half the album), which, when put together, will give an accurate overall description of the album’s musical character and sonic signature, and also compare them to some of music’s iconic pioneers of similar sound.

“Family” — After a very unique album intro, which contrasts greatly from the rest of the album’s production in an almost Beatles-esque way, The PB’s break into one of what we consider to be the most articulately arranged recordings over the entirety of the track sequence. This is a lush, melodic mid-tempo that conveys sonic brilliance and a message of gratitude. The song reflects on life circumstances in juxtaposition to how family love and support can steer a person in the right and productive direction in life, expressing that no matter how busy or consumed with life one gets, staying grounded in ‘family’ can always refresh a feeling of gratefulness and keep you moving forward in positive directions. This seems to be a very powerful theme within the construct of the brothers’ music.

“Take Your Time” — With a throwback to late mid-’70s feel, invoking a reminiscing on the likes of The Brothers Johnson, Switch, L.T.D. and others, this lower mid-tempo ballad infuses all of the elements that made soul music from that era so universally palatable and enjoyable. There is nothing over-inundating going on here, simply relaxed arrangements, appropriate color with regard to the orchestration, with vocals infused into the backing track just enough to paint a clear picture of the pursuit of love. It is impactful and pacifying altogether, and went on repeat several times before we moved forward to explore the rest of the album.

“South End” — As the first of only two fully instrumental tracks found over the record, and in absolute tribute to a sound that was almost fully endemic to Frankie Beverly & Maze, The Peterson Brothers’ choice to leave voice out of this gorgeous production was without a doubt the correct thing to do. It is an immersive track that envelops you with a sonic cloud of rich melody and groove, creating what Goldmine likes to refer to as a ‘sunny-Sunday-driving-song,’ where all cares are gone, the windows are down in a freshly detailed automobile, and all that is between you and the road is the music. That is the best compliment that we can give to this piece, because it gets no better than that, and not many songs can earn a place on the official soundtrack for Sunday driving tunes.

“I’ll Be Around” — As the album’s only effort to cover a song and reimagine a classic, and one that the late Thom Bell and fellow songwriter Phil Hurtt would give kudos to if it were possible. As one of The Spinners’ greatest hits, this interpolation of the 1972 classic does not lack a level of respect for the original, not straying too far from the blueprint. There is a unique difference in production (though ever so slight yet still noticeable) beginning with The PB’s version being recorded in a slightly lower key (possibly a half step down). This does not detract from the vibrancy of the original song whatsoever. As well, in quintessential Peterson Brothers fashion, we loved to hear Glenn Jr.’s vocals doubled on the leads, adding more depth and feeling to the lyrics with seemingly Alex adding falsetto harmonies throughout the chorus. Moreover, replacing the lush Philadelphia sound string and horn section found in the bridge of the original is instead an incendiary electric guitar solo that brought entirely new life to the song. Simply fantastic.

Though the album was released a full two years ago, there is one thing about that which inspires just as much as the record itself, and that is that the brothers are due for a new one, hopefully in the foreseeable future, and that is something that we are sure many fans are anticipating, including Goldmine. Experience is available to fans of physical media on a well-pressed compact disc album, and even better, on a 180-gram lavender-colored vinyl LP which includes a printed inner sleeve with credits, as well as an oversized poster of The PBs. For those who enjoy invisible music, the album is on streaming platforms as well. Nevertheless, no matter which you prefer, we encourage you to just get it. —GM

^{Enjoy a selection from Experience in the Sound Sample section below.}

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SOUND SAMPLES

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DANA FUCHS

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FLORE LAURENTIENNE

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GALVEZTON

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HANDSOME JACK

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THE PETERSON BROTHERS

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Contact TONE Scott at GoldmineMagazine@GoldmineMag.com. Please put Eclectic Discoveries (May 2026) in the subject line.

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Get a copy of our SUMMER 2026 print issue with Public Enemy on the cover in the official Goldmine store: (Click below)

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TONE Scott is a career-long American music industry professional.  As a Grammy Award nominated, platinum selling songwriter/ composer/ producer/ vocal arranger, he has worked with some of the world’s most renowned recording artists.  As a published music journalist, he has been a feature writer for many internationally accredited music publications.  Currently on staff at Goldmine magazine, he is Senior Contributing Editor with four reoccurring online columns — The TONE of Soul, Adventures of a Music Collector, Eclectic Discoveries and Jazzology — as well as a prominent feature-article writer for the magazine’s print edition, including the reoccurring article series — Modern Music Must-Haves.  He is an acknowledged multi-genre music historian, having contributed liner notes for many album releases, as well as an expert record collector with over three decades of dedicated music collecting experience.  As a content creator he hosts his own YouTube channel – TONE Scott – were he produces vlogs revolving around his music industry career and his life as a music collector.  He is also the host of Record Store Spotlight; an online show that highlights independent record stores everywhere. Follow TONE Scott on all social media, including his YouTube channel by visiting his Linktree page, HERE.

GOLDMINE: Welcome to Goldmine as we continue Black Music Month. Thank you for the entertainment from you and your family.

LIONEL COLE: Thank you. I am lucky to have a family with people who are useful to this world.

GM: Let’s begin with the title tune from your EP Small Town, Vol. 1. I thought of John Mellencamp immediately with the title. It is beautiful with your delivery of history referencing lyrics, piano, and strings.

LC: I like to write songs that tell stories in a way that people can see the heroics. My mother became the first woman in her family to go to college and married my father. It inspired me as a child. I try to write about experiences that will encourage people to reach into themselves for the best and not be afraid to ask for help.

GM: Small Town, Vol. 2 ends with the two-part “The Longest Night.” It starts out tenderly with your deep, rich voice, and then moves to “Mona Lisa,” a number one hit for your uncle in the ‘50s, before you and I were born later that decade. The 1950 flip side was “The Greater Inventor (Of Them All),” a positive thought-provoking gospel song from your uncle. When I was driving around listening to your version of “Mona Lisa,” I noticed some interesting lyrical changes.

LC: I am glad you caught that. I try to do some modernizations to keep the power of art in context. I feel like I am a bridge from The Greatest Generation and today. I think we will be able to push this music out another hundred years before they give up on us. Most younger kids think of Nat at Christmas as someone who their nana listened to. In addition to the music, Nat had an eloquent advocacy about him. He didn’t have to say much. He busted open doors for black culture by being on radio and TV. There is a music culture that my family has shared for nearly 100 years, and I am trying to fill it with something good.

Fabulous Flip Side: The Greatest Inventor (Of Them All)

A side: Mona Lisa

Billboard pop and R&B debut: 1950

Peak position: No. 1, pop 8 weeks and R&B 4 weeks

Capitol F1010

GM: Your visual storytelling continues on the opening title track of your new album, “Down Home,” comparing yourself to your dog, describing his playful and crazy behavior.

‘Down Home’ by Lionel & the Swingers Club, available digitally from Cole Creative Services

LC: I strive to have you see a picture in your head from the story. Maybe that comes from my background as a film composer. I think the frequency of understanding is universal and if we can tap into it then the story and music make the experience wash over the listener. That’s my goal. That’s the way I write and arrange music, and that’s the way I try to perform.

GM: Speaking about music arrangements, Gabe Terracciano’s violin is beautiful on “A Child is Born.”

LC: It sure is. I am using my dad’s last band and I am grateful that I am part of something that is historical but different. I am another light in the darkness to lead us to a little bit of a better life, hopefully, as part of my family’s legacy. “A Child is Born” is me singing to my children.

“I am lucky to have a family with people who are useful to this world. There is a music culture that my family has shared for nearly 100 years, and I am trying to fill it with something good. I am grateful that I am part of something that is historical but different. I am another light in the darkness to lead us to a little bit of a better life, hopefully, as part of my family’s legacy.” – Lionel Cole

GM: “I’ll Be the Love of Your Life” is edgy, powerful, and has Stevie Wonder-like creativy.

LC: This album is with Lionel & the Swingers Club, which is my New York City band, most of who played with my dad at some point in time. In Australia, I have a band called Cole Soul & Emotion, which is an extension of my mentorship program, and we will have a new record out this year by that group, in the R&B/soul genre and it will also have “I’ll Be the Love of Your Life” on it, just a different version. The New York boys got to it first and the Australian boys will show what they think.

GM: Your voice reminds me of John Legend on “I Only Wanted.” The song is very engaging and the trumpet solo is outstanding.

LC: Josh Evans did a great job on trumpet. I appreciate your compliment on John Legend. The first Grammy I won was with John, Joss Stone, Van Hunt, along with Sly Stone, when I did the arrangement for a new version of “Family Affair” with them. “I Only Wanted” is one of three songs that I wrote with Mariah Carey for her 2002 platinum album Charmbraclet. She changed my life. When she found out she was not well, she chose me to be next to her. I’ll never know how to thank her for letting me help her to see herself again. I thought that I would send her a love note with a new version this song that we wrote together and let her know that I’m still here for her and love her.

GM: You ask, “Can it be that I love you too much?” in the beautiful finale “Too Much” featuring violin and piano.

LC: Can you love someone too much? I don’t think you can. Acceptance and liking are other things. This song has been around for awhile. A couple of my bands have recorded it. I think this version is very vulnerable. I don’t know how to change how I love, which is fully and completely.

GM: I have two more Cole family songs to highlight. In 1978, while I was in college locally in Cleveland, my future wife Donna encouraged me to branch out from the family’s restaurant business and work in a record store where she felt I truly belonged, surrounded by a wide variety of music genres. Your dad’s One More Love Song album was out and side one ended so beautifully with “I Loved You.” That song now sounds like the bridge between Nat King Cole and Lionel Richie’s solo songs in the next decade.

LC: Yes. We had conversations about modern music that he started to incorporate that into his performances. That album is probably my inspiration for the orchestrations and arrangements that I do.

GM: That year, your cousin Natalie had her second Top 10 gold single with “Our Love” with the beautiful “La Costa” on its flip side, my favorite of her flip sides.

LC: It is an amazing song that she co-wrote. The family was not known as songwriters. It was beautiful seeing her guys play that song. I lived in L.A. for a long time and got to see the La Costa neighborhood in California, which inspired the song. When Natalie passed, I was was encouraged to not give up and I take the gift of being a Cole very seriously. I feel like I have walked the most interesting past of masters in my life and love the interconnectedness that my family has given me and being able to ride this incredible ride of being a student, lap it up, and try to give it back. I have been so lucky to have met so many mentors, too, and be part of so many things that have made a difference. People trust me because of the legacy behind me. I feel the wind at my back. If I put my name on a project, I want the Cole family to be proud. I want to release multiple albums a year and mentor a lot of kids. This has been such a lovely conversation with you. You have taken the time to give an independent record guy a shot and I really appreciate you and Goldmine.

Lionel Cole promotional performing photo, courtesy of PR

Related links:

lionelcolemusic.com

Goldmine 2026: Black Music Month history by Marcus K. Dowling

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Warren Kurtz is a long-time music journalist, author and Contributing Editor at Goldmine, writing over 800 articles including the weekly Fabulous Flip Sides and monthly In Memoriam series (both exclusively online at goldminemag.com) covering rock, pop, Americana, R&B and more. goldminemag.com/author/warren-kurtz/

Warren’s Fabulous Flip Sides radio segment can be heard most Saturdays, around 9 a.m. Eastern Time as part of DJ Brian Donovan’s Moments to Remember show, on WVCR 88.3 “The Saint” at wvcr.com or iHeart.com (search WVCR). Contact email: fabulousflipsides@yahoo.com

When Martin first proposed this, I immediately thought of names and their rankings, which is the mark of a good Top 20. In fact, the first thing I asked him about was Elvis. Indeed, the mixing of those who are with us and those who have passed on adds an extra layer of intrigue. All right, let’s see what he’s come up with.—Pat Prince

Thanks, Pat. Yes, I’ve examined this topic a few ways in the past over on YouTube and with my audio-only podcast, History in Five Songs with Martin Popoff, but a) things change with the passing years and b) not sure I’ve ever put everybody living or dead in one big basket of rock stars and pondered the question. One caveat: I want to ensure these folks are considered part of the rock genre rather than pop or hip-hop. I guess this is something of a spoiler alert, but my honorable mentions are Billy Gibbons, Tom Petty, George Harrison, Brian Johnson, Prince, Bon Scott, Keith Moon, Janis Joplin, John Bonham, Bob Marley, Jerry Garcia, Chris Cornell, Bono, Jim Morrison and Axl Rose.—Martin Popoff

20. Kurt Cobain

Passed on by his own hand on April 5, 1994, at the age of 27, Kurt Cobain was mourned for what seems like a solid decade. Nirvana was good for a diamond album, along with another one at eight-times-platinum and another one at six-times-platinum. But more than anything, we love him because he was a great and uncompromising artist, as well as unflinchingly honest during the death-limited few times he got interviewed.

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19. Slash

It feels so weird putting Slash on this list and Axl in the honorable mentions, and I’m sure I’ll hear about it. But I just feel like his visual image, with the top hat, afro and glasses, has been so deeply embedded in the pop culture fabric that he’s instantly recognizable by all classes of normies. Then there’s the name Slash, along with the fact that he’s been very connecting and sociable and likeable, constantly guesting and collaborating and cranking out solo albums. Of course, he’s part of a massive band as well, and one that sells tons of tickets regularly, despite a paucity of albums.

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18. Jon Bon Jovi

Bon Jovi was the biggest band of the hair farm era, having cranked fully five successful silly records from 1984 to 1992. And then even if the records, sensibly, began to mean less (but still a lot!), the fame never waned, with the guys carefully and methodically convincing enough people that they were closer to Bruce Springsteen, intellectually, than Keel. Their baby-faced frontman was always going to be the brand, but Jon’s name recognition was emboldened further by his acting and solo career.

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17. Roger Waters

Roger’s been on high-traffic new shows over the years lately due to his vociferous defense of Palestinians versus their struggles with Israel, plus his regular tours are epic, well-attended events. Plus—almost forgot—he was once in a band you might have heard of called Pink Floyd, for which he was the literary thrust, a super-important component of that band, given their courageously minimalist music.

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16. Jimi Hendrix

Good lord, I’m conflicted about this one. His is such an iconic name, with Jimi Hendrix additionally being the world’s first guitar hero who deserves that accolade. And such is the magic talismanic nature of that name, that I’ve got him above a few others that are arguably more famed as the memory of Jimi recedes, logically, given his death on September 20, 1970, at the age of 27. Indeed, as I struggle to understand how 20- and 30-year-olds might make this list, I suspect he’d not make the grade if a younger person were writing this.

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15. Pete Townshend

It’s shocking to think that The Who, established in 1964, have cooked up only a dozen albums. But there’s the endless touring, along with a successful career for Pete as a solo artist in the ‘80s, that puts the irascible banjo-picker on this list. His honesty and intelligence as an interviewee have helped as well, even though he’s probably done fewer interviews than the average old legend.

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14. Jimmy Page

Led Zeppelin’s got four diamond albums and people still like to debate their worsts and bests (see our YouTube channel, The Contrarians). Jimmy isn’t the lead singer but he’s the chief music writer, producer and strummer and has dragon pants. Still, in this day and age, with new rock stars (and music styles) coming all the time, along with his general lack of exposure since 1980, I had to put him a fair way down this list.

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13. Angus Young

He’s an instantly recognizable brand, but normies have barely ever heard him talk, either in interviews or on stage. Should Brian Johnson have made it onto this list? Truth be told, he’d certainly make the 20 to 30 range. Unfortunately, AC/DC have experienced compromised lineups in later years, and Angus doesn’t look so hot in his white hair. Still, the image of him in his schoolboy outfit is firmly entrenched in the fabric of pop culture.

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12. Robert Plant

I feel like Robert’s become a figure more for the rock purists, given his archival, scholarly career over the past 30 years or so, beginning after Fate of Nations. He’s cultivated a quiet image to go along with that, in stark contrast to being the golden god from 1969 to 1979. In between, there was a successful solo career, now largely forgotten.

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11. David Bowie

He was big enough to be the subject of a large-scale, touring museum show, and he’s been an influence on so many punk, post-punk and new wave bands. Plus he was the queenly king of UK glam rock and then the suave guy in the big suit and tinted mop during the exciting Let’s Dance era.  He’s also been made famous by his various film roles, not to mention his “Little Drummer Boy” duet with Bing Crosby.

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10. Keith Richards

I’m kind of surprised how far Keef tumbled down the order from Mick, but such is the fate of not being the mush-mouthed lead shouter in the world’s greatest rock ‘n’ roll band (I do believe that). But in conversation, he’s more of a mush-mouth than Mick, and he’s that way on his hugely underrated solo albums as well, which are beloved (by me anyway) as many of the best Stones albums are.

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9. Alice Cooper

Alice was a huge star from about 1970 to 1975, always in the news and even on TV, charming the movie stars of the day. He blacked out for a bit, but then came back to participate enthusiastically during the hair metal years and has been a viable touring entity ever since. The PR stunts, the ads, the makeup… Alice is something of a cartoony brand that everybody knows.

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8. Freddie Mercury

Hard to believe, but Queen are said to have surpassed The Beatles as the home country’s biggest band of all time. And Queen’s fan base worldwide and in America remains substantial as well, with Freddie, given his appearance at Live Aid and thespian stamp upon songs like “Bohemian Rhapsody,” “We Are the Champions” and “Another One Bites the Dust,” being the focal point in yellow jacket. He’s also a gay icon, and on a darker front, arguably the most famous person lost to AIDS.

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7. Ozzy Osbourne

Ozzy’s moved up my list, due to the overwhelming love shown for him following his death two weeks after his farewell show with Black Sabbath in hometown Birmingham, which took place July 5, 2025, supported by an army of heavy rock legends including… Ozzy Osbourne. But he was already famous for being the loveable, working-class, salt-of-the-earth local scrounger done good, first with the Sabs but then relentlessly successful for 15 years running with his solo band. After 1995’s Ozzmosis, he was still one of the few examples of a heavy metal act able to persevere at a high level into the 2000s. Then came hit reality show The Osbournes and the whole world got to know what it was like to shuffle around in Ozzy’s shoes.

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6. John Lennon

Much to Paul’s chagrin, John Lennon was always considered the cool punk rock Beatle, and his shocking death on December 8, 1980, cemented his almost beatific legend status forever. Despite Imagine selling double platinum, his solo career was patchy, but his activism and all ‘round notoriety through the ‘70s helped make him permanently famous, on top of all the great Beatles songs he co-penned with his nemesis, Paul.

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5. Bruce Springsteen

Born in the USA has sold 19.6 million copies worldwide and Bruce was already famous to the point where he was considered the savior of rock in the ‘70s and the second coming of Elvis. Then he’s always stayed high of stature through his long, sweaty and inspiring live shows, that face, that voice and his well-meaning political interventions. Plus, we love him for his open-book humanity and his strong branding as a famous American.

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4. Elvis Presley

He was the king of rock ‘n’ roll before there was a king of pop and before Dio wrote “King of Rock ‘n’ Roll” and metal fans started calling Ronnie the King of Rock ‘n’ Roll—additionally, I sign my Dio book “R.I.P. The King of Rock ‘n’ Roll.” I would have put Elvis at the very top of this list until about five years after his death in 1977—maybe even 10—but then after that, he’s going to get usurped by the living. Plus, doubly is the effect of the passing years that ‘50s rock is receding into the rear-view mirror relentlessly. Almost everybody else on this list is going to suffer the same fate.

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3. Elton John

I almost left Elton off as a statement that he’s more pop than rock. But I relented, and here he is, zooming way up high. Why? We can relate to him with his unflinching honesty about struggles with mental health and substance abuse. He’s a gay icon, a really deep-dish music fan, and he’s had mountains of success since the mid-‘70s. Plus, he stays crazy-famous by all his collaborations and TV appearances and the massive retrospective tours he mounts like Macca. Goodbye Yellow Brick Road is eight-times-platinum, and he’s made glasses into a hobby industry.

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2. Mick Jagger

He’s the most famous Rolling Stone, plus one of two of the top writers in the band across all those beloved albums. Folks also consider him the greatest frontman of all time. His distinct singing style, with all those gears, is universally recognized, and that’s him on probably 20 of the most beloved 120 rock songs of all time. Finally, he’s been a relentless pop culture presence since the year I was born (1963) until about 1990 or whenever the end of the Steel Wheels tour was. After that, the many times they were around and playing shows, it was always headline news.

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1. Paul McCartney

He was the most famous Beatle when we had The Beatles, and then he’s had a prolific, well-regarded solo career as well as a third gold and platinum band in Wings. What’s more, he’s always participated in cultural life, touring extensively, doing interviews and just being a jolly, likeable Englishman that seems to let us into his life and celebrate it with him.  Another way to look at it, he’s rock and roll’s Queen Elizabeth.

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Embers To Ashes, Everlast’s first album in 10 years, arrives right on time — capturing recent and enduring phases of his career.

​Yes, Everlast is the same House of Pain rapper who later spent a decade as a bluesy country crooner, skilled at both picking strings and dropping bars.

​Back in 2015, twenty years after House of Pain’s 1992 album Fine Malt Lyrics, and 10 years after solo acclaim with Whitey Ford Sings The Blues, Everlast was enjoying global legacy artist status, spending time in Berlin after a concert.

​During this period, Everlast became interested in photography, bought a Leica, and attended concerts in Europe.

​He noticed fellow genre-bending rapper Yelawolf was performing at Berlin’s Columbiahalle nightclub next, and offered to shoot his concert before traveling to Paris to photograph Eagles of Death Metal.

​”Wolf actually leaned in that night and said, ‘Yo man, one day, I’d love to produce a record for you,’” Everlast says.

​One day later, on November 13, 2015, Eagles of Death Metal were performing at the Bataclan theatre in Paris. Islamist extremists stormed the venue, murdering 89 concertgoers and injuring hundreds. 

A decade after narrowly missing the Paris tragedy, Everlast and Yelawolf remain safe and aware of their timing — Yelawolf has now fulfilled his 2015 promise by producing the guitar-driven, vocal-rich Embers to Ashes.

Serendipitous fate sure spins harrowingly strange tales.

Everlast’s Enduring Influence and the Evolution of Genre-Blending Country Rap 

Whether as a member of House of Pain or as a solo artist, Everlast released an album roughly every three years over the course of three decades. 

After eight years away, Everlast’s audience remains. He’s been a staple on alternative, pop, and rock radio. His gritty, lyric-driven style is both timeless and fitting for streaming-era, genre-blind listeners, broadening his sound’s mainstream appeal. 

Fortunately for Everlast, Nashville rappers like Jelly Roll, Struggle Jennings and Yelawolf have found varying degrees of award-winning and mainstream success in recent decades. Their ascent has allowed country music — due to logistical and sonic similarities—to nurture a subgenre blending Americana, bluegrass, blues, Christian, folk and rock under one banner.

Twenty-five years ago, in the wake of the success of “What It’s Like,” that subgenre didn’t exist. 

Upon being sent to Nashville for songwriting sessions aimed at replicating the multi-platinum-selling success of “What It’s Like,” Everlast recalls getting side-eyed as a “kid in gold chains” in songwriting rooms. 

​Side-eyed because, at the same time, outlaw producer and former Def Jam Records co-founder Rick Rubin had infiltrated Nashville’s system. He brought rap’s take-no-prisoners swagger by guiding country icon Johnny Cash through three albums of covers by Beck, Ray Charles, David Allan Coe, Danzig, Tom Petty, Soundgarden and U2. This path would culminate in a critically acclaimed and award-winning version of Nine Inch Nails’ “Hurt.”

2026 feels like a space where that progression can be comfortably resurrected through albums like Embers to Ashes.

A​rtistry, Resilience and the Road to ‘Embers to Ashes’ 

Everlast isn’t releasing this record because of low sales. Averaging platinum-level sales, he remained a regular on alternative and pop radio for 20 years.

​Songs like House of Pain’s “Jump Around” and Everlast’s own works — including “What It’s Like,” “Black Jesus” and the Santana duet “Put Your Lights On”— are genre-spanning classics.

​Thus, he’s a rare artist who has defined, claimed, and owned a peerless artistic lane, then deepened it.

​For him, hip-hop’s swagger defines his creative space, but he tempers it with aesthetics and traditions from all six genres. He continues to lead at this intersection. 

​“These are records that, foremost, I like, but that are also meant to be felt, then heard,” he says. 

​He breaks down his songwriting process. Alone in his California basement studio, he strums chords and develops rhythmic melodies. These melodies spark lyrics that initially sound like rap bars, then flow into a waterfall of croon-worthy phrases.

​For the past decade, many songs—including “Rubber Bullets,” born from the grief, anger, and hope in May 2020 after the events following George Floyd’s murder in Minneapolis—remained unreleased until this 2025 album.

​“Rubber bullets kill exactly like the real ones,” Everlast sings.

​But a string of recent heartbreaks—the 2018 Woolsey fire that gutted his home, the relentless isolation of the 2020 COVID-19 pandemic, and the ache from his 2022 divorce — drove him to finally release these songs, not just as music, but as lifelines reaching out to anyone listening, including himself

​“If something on the album makes you feel good or helps you feel better, that’s the best currency I can think of,” Everlast says. “If any of it is helpful, that’s more than enough for me.”

Collaboration and Creative Chemistry: Building the Sound of ‘Embers to Ashes’ 

Collaborators on Embers to Ashes include the previously mentioned multi-platinum-selling rapper Yelawolf, as well as veteran Nashville songwriter (and former rapper) David Ray Stevens.

Over the past decade, Yelawolf has built his reputation as a top producer in indie circles, blending outlaw country with the energy of early 2000s rap.

​As for Stevens, he’s the co-writer responsible for transforming the mainstream pop edge of Bette Midler’s Janis Joplin-inspired version of “The Rose” into a way for Jelly Roll to humanize the emotion behind his hustles and struggles on the platinum-selling country chart-topper “Son of A Sinner.”

​“Working with so many artists who owe their careers to how I apparently gave them the permission to be themselves still gives me goosebumps,” —Everlast

​“It could be a party anthem or it could be a song that just wrenches your guts. It could sound like or say anything, but because somebody else loved it, you’re in communion with something,” adds Everlast about the joy collaborators shared in the album’s development.

​At the start of the album’s creative process, Everlast recalls Yelawolf telling him this project would give him a piece of his groundbreaking legacy through its collaborators.

​“Working with so many artists who owe their careers to how I apparently gave them the permission to be themselves still gives me goosebumps,” Everlast said. “They (reignited) my desire to create.”

Reflection and Renewal 

Over 25 years have passed since Everlast quietly picked up a guitar and quickly wrote “What It’s Like.” Since then, he has steered his work as a singer-songwriter toward a more folk-rock sound with a soulful edge.

​“What started as an accident while trying to make a rap album has started me on a path of having the balls to (conquer the) final boss of just me, a guitar, and a microphone, onstage,” Everlast jokes.

​Alongside the album’s title single, the release shows a bittersweet thoughtfulness. Songs like “Stones,” “Losing Man’s Game,” “Love Don’t Heal” and “Broken Heart for Hire” seem pulled straight from his life, as seen in tabloid headlines.

​

“Never Coming Home” and “Happy You Can Cry” are more sincere songs that reflect his ongoing desire to honor his blue-collar fanbase’s rawest realities.

​“My managers have wanted me to make this type of record for my entire career,” Everlast jokes. “However, I’ve never had access to the kind of production and songwriting energy that makes creating records like this so easy. These guys were big on my music. They grew up on it and were influenced by it, so their playing and writing styles resonated with me. It’s the same language. Once I got comfortable with those guys, we were off to the races.”

​This style, as the album concludes, also offers hope for what’s ahead.

​Embers to Ashes’ final track, “Young Man,” features Everlast as a caring parent. He shares life lessons with the next generation, including his two daughters.

​Everlast once rapped that his life was on the “good side of bad and down side of up and everything in-between.”

​That will always stay true. But now, he’s found a new way to exist within it.”

​“That’s what I call the highest common denominator — not some lofty, exclusive place, but the highest real place we can all find,” he says.

Everlast’s Enduring Resonance 

Even if Everlast never picks up a microphone or guitar again, he’s led an incredible artistic life that leaves a legendary, inimitable legacy.

​He’s the only OG-era member of Ice-T’s Rhyme Syndicate crew who can claim a musical legacies that span between Johnny Cash and Dr. Dre. He also has endorsements from both legendary rap producer Pete Rock and Country Music and Rock and Roll Hall of Famer Willie Nelson.

The performer is also unusually able to connect with people whose lives aren’t simply on the good side of bad and the downside of up.​

In America in 2026, there’s a strong belief that many who pick up this release will understand what the bad side of good is all about, too.

​As he delves into the core of who he is on his eighth solo album, Everlast looks back beyond the neophyte rapper known for the lightly regarded pop track “I Got the Knack.”

He recalls the kid born in Long Island and raised in Los Angeles who spent time on both coasts as his construction worker father chased work and money, occasionally relying on food stamps.

But above all, it’s the conviction that, throughout this album, the man behind every lyric stands taller than even the battles, scars, and artistry that shaped him—and survived alongside him.

​That, in itself, offers a powerful lesson.

​“When I think about the amount of s**t that I’ve accomplished, I’m grateful that it still resonates,” Everlast begins.

​“We went from champagne and crystal glasses, to drinking cheap whiskey out of plastic,” Everlast sings on the album’s title track.

​“When it’s all said and done, I want people to remember that I’ve walked a life that felt like a long mile alongside them.”

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Despite the various hit singles scored while in their initial incarnation, Haircut 100 managed to release only two studio albums during their first go-round in the early ‘80s. Although they had achieved international success and immediate attention, internal tensions led to chief singer and songwriter Nick Heyward’s subsequent departure and his stated decision and desire to embark upon a solo career, which, to his credit, took off just as quickly.

The band has reunited only intermittently ever since — although Heyward has frequently expressed his ongoing admiration for Haircut 100’s initial efforts — and yet the new album, Boxing the Compass (Absolute Label Services), marks only the first time they’ve attempted a full-scale comeback in approximately 40 years, and, for that matter, only their second studio album featuring the band’s original line-up.

As one might imagine, there will be a great deal of interest and anticipation surrounding the new release, which might have put a great deal of pressure on the band if, in fact, they were attempting to match the same degree of competence and creativity they found so early on.

Consequently, from what’s heard here, they might have been a bit over-eager. Indeed, the opening track, aptly named “Come Back To Me,” indicates a rousing return and the energy remains unabated from that point on. That said, the band bow to trendy tempos and a current motif, with songs such as “Vanishing Point,” “Sunshine,” “Someone,” “Dynamite” and “Soulbird” giving way to horns and hip-hop rhythms before getting more on track courtesy of the rock ’n’ roll revelry of “Raincloud,” Wonderful Life” and “The Unloving Plum.”

GOLDMINE PODCAST: Listen to Thompson Twins’ Tom Bailey on post-punk roots, ’80s heyday, ’90s experimentation and current solo career

While some longtime listeners might be surprised by Haircut 100’s current contemporary approach, one that veers away from the precise pop of their initial incarnation, one can hardly blame them — or, for that matter, any archival outfit — for attempting to update their sound to attract a modern audience. Still, the cool and caress found in early gems like “Love Plus One,” “Favorite Shirts” and “Fantastic Day” leaves something of a void in that other than the aforementioned rockers, much of the new music lacks the distinct charm that distinguished the group during their ‘80s endeavors.

Given the fact that this is a highly belated return, it’s possible the group was still attempting to find their footing during a much different era from that which birthed them the first time around. While this is indeed a welcome return — and a promising one at that — it remains to be seen how and where they take the music from here.

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Donna Lewis and David Lowe

Wanderlust

Aztec Records (vinyl LP, CD, and digital formats)

Wanderlust kicks off with the electronic “Burning Man” where Donna Lewis sings, “Are you a dreamer or a doer?” Lewis told Goldmine, “David would ask me, ‘Are you a dreamer or a doer?’ and I would say that I am a bit of both. When I was starting out and played piano bars, I could see that there were a few people in the room who were into what I was doing but, in my head, I always dreamt that I would do something bigger with my music. I think you must have those dreams first to become a doer.” David Lowe added, “It is a manifest. When I was a child, I made a gold record plaque in our family’s garage. I wanted one so bad. I took an old John Lennon Apple single and gold plated it. I would stand with it and pretend I was being presented that award.” Lewis explained, “For ‘Burning Man,’ I was thinking about the Burning Man festival in Nevada, imagining a line of people going to the event in the desert.”

“When I was a child, I made a gold record plaque in our family’s garage. I wanted one so bad. I took an old John Lennon Apple single and gold plated it. I would stand with it and pretend I was being presented that award.” – David Lowe

“Meet Me” is slightly reminiscent of Sixpence None the Richer’s ‘90s hit “Kiss Me” along with No Doubt’s “Don’t Speak.” Lowe stated, “I had this track on file that I used for a news program aimed at young people and added guitarist Will Turner from the band The Heavy Heavy. I first met him when he was seven years old. I was doing a talk at my kids’ school about music, and he was one of the pupils there. He told me that my talk inspired him to want to do music. We have been long-time friends.”

Another guest musician, Sovra Wilson-Dixon, plays violin on the title track “Wanderlust.” Lowe continued, “She is another friend of mine, who also sings and is a drummer. She is great on violin and with string arrangements, knowing instinctively what to play.” Lewis added, “I love what Sovra brought to the song on top of our electronics, making it the most unique song on the album. The song about a single woman being independent, traveling the world, soaking up the cultures and experiences, but also knowing that she can always come back home.”

“Fall Back Girl” is an accessible pop single. Lowe explained, “This started with another guitarist, Will Slater, a good friend who I have worked with for years. He is an experimental guitarist, a composer, and has done a lot of film scores. He is very creative. He had an idea of a song for Donna with a Fleetwood Mac style.” Lewis continued, “I was obsessed with the instrumental track, and I was coming up with vocal parts and words off the top of my mind. I went to the microphone and sang rubbish to start the process. I came up with the title ‘Fall Back Girl’ and then turned it into a story about a girl who a guy can always fall back on and I think a lot of girls have experienced that. It became a fun, catchy track. We had a great time. David and I work quickly together to capture spontaneity in our music.”

“We had a great time. David and I work quickly together to capture spontaneity in our music.” – Donna Lewis

“Coming Home” is filled with imagery of seeing Christmas lights below from a mountaintop. Lewis shared, “There is an area in Cardiff, where we would always take the dog for a walk. It is not a huge mountain, but from it, you can see all of Cardiff. I was thinking about what it is like to come home for the holidays, having a great family time. Lowe concluded, “Unlike our more spontaneous tracks, this one was nine years in the making, on and off.”

Donna Lewis and David Lowe at Rhinecliff Station, New York. Courtesy of PR.

Related Links:

donnalewis.com

davidlowemusic.com

Goldmine 2024: Donna Lewis inteview

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Warren Kurtz is a long-time music journalist, author and Contributing Editor at Goldmine, writing over 800 articles including the weekly Fabulous Flip Sides and monthly In Memoriam series (both exclusively online at goldminemag.com) covering rock, pop, Americana, R&B and more. goldminemag.com/author/warren-kurtz

Warren’s Fabulous Flip Sides radio segment can be heard most Saturdays, around 9 a.m. Eastern Time as part of DJ Brian Donovan’s Moments to Remember show, on WVCR 88.3 “The Saint” at wvcr.com or iHeart.com (search WVCR). Contact email: fabulousflipsides@yahoo.com