Welcome to NEXT. We are a new music show on the radio with a very simple goal – find you a NEXT, new favorite song.

May NEXT find a song that makes your ears smile. Enjoy it all.

“For me, there is something primitively soothing about this music, and it went straight to my nervous system, making me feel ten feet tall.” – Eric Clapton

Let us begin NEXT week 789 with Mighty Oaks. Mighty Oaks deliver a hearty soundtrack to overcoming hardship, Mighty Oaks’ fourth record is as intimate as it expansive – a truly magnificent, wide-eyed and open-hearted album breathing with wonder and refreshing fortitude. Spirited and dynamic, Mighty Oaks’ Mexico glows like a beacon of warm folk rock light as the Berlin-based trio dive deeper into themselves than ever before, emerging from the pandemic with a glowing collection that inspires, enchants, and ignites a fire within. Mighty Oak’s mix of rich vocal harmonies, driving beats, warm guitars and sweeping pianos makes every moment a charming revelry to behold, beaming with stirring emotion and sweet folk sound that soothes a weary soul. “Mexico was written and recorded faster and more effortlessly than any of the previous three we have released,” Mighty Oaks’ Ian Hooper explains. “Once it became clear that all live shows were off for the foreseeable future, I decided that I’d immerse myself in regular songwriting, something that had proven elusive in years past due to sheer lack of time. Music has always been a way for me to process life and all of its ups and downs. The pandemic proved to be a source of inspiration for me, as it forced me to see the world, and our place in it, a bit differently.” Or you can look at this Mighty Oaks’ song being like this is the anti-love song – like being in love is shit – nothing but hardship and than it could be like a breakup song. Until you’re a ghost to me means your dead to me. So I think it’s up for interpretation in there, people are gonna find what they want in the song. But at the end of the day Mighty Oaks were borderline not gonna put the song on the album and than we started jamming out and I started singing this little vocal tag you know the song’s starts out with and the song just completely changed and now it’s one of my favourite on the album and it’s an amazing Mighty Oaks song and I really love it it’s super deep and the production and everything is on point“ really cool song.

Lindsey Buckingham’s first new solo album in ten years. Lindsey Buckingham returns with fingerpickin’. It’s great to hear Lindsey Buckingham back again doing what he does best. After his split with Fleetwood Mac in 2018 and recovery from a heart attack the following year, the 71-year-old singer / songwriter and guitarist has recorded his first new solo album since 2011’s Seeds We Sow and revealed the first single, I Don’t Mind. Buckingham’s self-titled album was written, recording and produced by the musician at his home studio in LA. Lindsey Buckingham revealed the track and much of the album share a theme. “I Don’t Mind, like many of the songs on my new album, is about the challenges couples face in long-term relationships,” says Lindsey Buckingham. “Over time, two people inevitably find the need to augment their initial dynamic with one of flexibility, an acceptance of each others’ flaws and a willingness to continually work on issues; it is the essence of a good long term relationship. This song celebrates that spirit and discipline.”

Lucy Dacus sings a song inspired by a rubbish high school relationship. Another reminder not to date songwriters. “‘Brando’ refers to a very dramatic friend I had in high school whose whole personality was the media he consumed,” Lucy Dacus: “He showed me a lot of amazing movies and music, but I think he was more interested in using me as a scrapbook of his own tastes than actually getting to know me. He claimed to know me better than anyone else but I started to feel like all he wanted from me was to be a scene partner in the movie of his life.”

The Front Bottoms enlisted the help of Blink-182 guitar hero Matt Skiba, The Front Bottoms’ latest punk-fueled single is everything you could ever want and more, and boasts the same effortless charm that populates the majority – if not all – of the duo’s discography. Favoring a rollercoaster-like sense of temporal urgency distilled by way of a three-beats-and-we’re-off intro, Voodoo Magic takes you on a two-and-a-half-minute ride, layering on gain-drenched powerchords, fuzzy lead lines and supporting acoustic strums that are panned to the sweet spot so you can just about hear the pick as it races across the strings. Skiba’s six-string influences are all over Voodoo Magic, too, in both its composition and execution. Decorating the track with tasty vocal-shadowing single-string phrases and punctuating it with precise strumming patterns, the ensemble put on a show that will have you reaching for the replay button before it’s even finished. A punk pairing made in heaven? Quite possibly. The result? A fitting pre-weekend romp that deserves to be played full-blast as the working week comes to a close.

Steve Marriner is an Ottawa, ON-based bluesman. Steve Marriner is ushering a decidedly more roots-rock Americana sound to the forefront with the release of his new solo album, Hope Dies Last. “I like to be on the move,” Steve Marriner shares: “To me, standing still feels the same as walking backwards; not only is it a survival mechanism, but it truly is my passion to have my hands in so many different projects. There’s just so much to learn, and it’s that learning that sustains me as an artist. Steve Marriner had decided a couple of weeks into the pandemic that he would use my new-found downtime to learn how to engineer and mix recordings. It’s something Steve Marriner had always wanted to know how to do; Steve Marriner had been producing records and doing session work for a bunch of artists, and sat beside some incredible engineers in my career… Turns out, Steve Marriner absorbed a ton of what he was witnessing.”

To Cheap Trick’s fans the band was worthy of induction into the Rock and Roll Hall of Fame years before it was ever nominated. When that finally happened in 2016 and original members Rick Nielsen, Robin Zander, Tom Petersson and Bun E. Carlos took the Barclay Center stage it wasn’t the swansong to a 43-year career. Turned out it was simply the closing of another chapter and the exciting beginning to the next. A month earlier, the quartet – Cheap Trick — with drummer Daxx, son of Rick, Nielsen replacing Carlos – released the well-received Bang, Zoom, Crazy…Hello. Two more releases – “We’re All Alright!” and Christmas Christmas — followed 16 months later. And, of course, Cheap Trick continued performing around 100 concerts each year. Cheap Trick returns with In Another World, another stellar addition to Cheap Trick’s catalog. The new album subtly revisits past glories as much as it offers 13 hook-laden rockers and ballads to its storied history. “Here’s Looking at You” and “The Summer Looks Good On You” recall the band’s 1979 classic “Dream Police,” the keyboard textures on “So It Goes” offers a nod to The Beatles and the first two singles – “Boys & Girls & Rock N Roll’ and “Light Up the Fire” – do the job of indicating that prime rock and roll pop is in store for listeners on the rest of the album.

Long Beach funk-infused indie rockers Cold War Kids took an unconventional path for their latest series of releases, New Age Norms. The album is being released as a trilogy, with the each of the first two parts released so far including eight new tracks. It makes each release more than an EP, but not quite to the traditional LP length, giving fans more than enough new material to chew on for a while. On New Age Norms 2, the band takes all the elements it does best—funk and soul jams mixed with lo-fi indie rock—and fleshes it out to the nth degree. The tunes are big, bold, confident and as infectious as they are expansive.

Tom Petty’s ‘She’s The One’ reimagined as ‘Angel Dream’ for 25th anniversary. Fans can get their hands on a limited-edition cobalt blue vinyl version on Record Store Day. A reimagined version of Tom Petty & The Heartbreakers’ 1996 album ‘She’s The One’ has been announced to celebrate its 25th anniversary. ‘Angel Dream’, the updated album is a remixed, remastered and reimagined version of the group’s â€˜Songs And Music From The Motion Picture She’s The One’. “‘She’s The One’ was originally a great way to include some of the songs that didn’t make it on to Wildflowers, but it has its own thing to it, its own charm, and putting it out now in a restructured form makes for a sweet little treat,” Heartbreaker Benmont Tench. “We got a nice vibey version of Beck’s song and I’ve always loved Lucinda’s song ‘Change The Locks,’ so I was more than happy to cut it with our band.  Oh, and this album has ‘Angel Dream’ on it, one of the loveliest songs Tom ever wrote.” Tom Petty’s long-term engineer and co-producer Ryan Ulyate remixed the audio for the reissue and worked with the late musician on the mixes before his passing. The song selection was designed to work as a Tom Petty & The Heartbreakers album rather than a film soundtrack. Four unreleased tracks have been added: ‘One Of Life’s Little Mysteries’, written by Petty; ‘Thirteen Days’, a JJ Cale cover; ‘105 Degrees’, another Petty original; and ‘French Disconnection’, an instrumental in the same vein as those on the original album. An extended version of ‘Supernatural Radio’ has also been included. Petty’s widow Dana Petty said of the album: “These songs are extremely special. I am grateful this record is getting the recognition it deserves. The remix Ryan Ulyate did sounds amazing, and the unreleased gems are a lovely bonus. Annakim, Adria, and I took a lot of time finding artwork that reflects the mood of the album. I think we finally achieved that with Alia Penner’s work. It is surreal and beautiful, just like life during that time.”

Much of the charm of Local Valley, the fourth album from the Swedish-Argentinian singer-songwriter José González, comes from its intimate production values. González’s guitar and vocals lie at the center of the mix, both captured almost exclusively by a single Neumann U67, giving the record a consistent and focused sound, whether José González’s using his Esteve 9C/B, or Córdoba Rodriguez nylon-string guitars. On the sonic periphery, José González fills out his songs with creative overdubbing, light drum-machine grooves, and field recordings of birds. This simple but intentional approach draws the ears into each song and, rather than making the music sound polished or produced, creates a cozy setting for each track. The sound of Local Valley is a logical next step for the guitarist – José González. Throughout José González’s career—which has included three solo albums, two full-lengths and several EPs with his band Junip, and placements in a long list of television shows and the soundtrack of a prominent feature film, The Secret Life of Walter Mitty— José González has established a singular brand of soft-spoken songwriting and practical production techniques. The musical atmosphere on Local Valley reflects not only José González’s recording process but the warm home environment in which he created the record.

Hiss Golden Messenger, the indie-folk project led by M.C. Taylor, has released a new single ahead of his forthcoming album Quietly Blowing It. The song, “Glory Strums (Loneliness of the Long-Distance Runner),” explores the confusion at the beginning of the pandemic, and makes way for a world slowly returning to normalcy. The harmonica rests over resounding piano notes and glittery guitars, capturing a somber nostalgia for such a scary time for so many people. Frontman Taylor – Hiss Golden Messenger-  shares that the track was “written in the chaotic green spring of 2020 as a hymn to finding the places and spaces that make us human.” The accompanying video, directed by Vikesh Kapoor, is a fuzzy portrait of a lonely man making the best of his solitude, a very appropriate representation of creating a new routine and finding new ways to maintain contact with the outside world.

Lorde’s Solar Power an outpouring of joy. First single in over four years. All that euphoria is delivered in a different package this time around, there’s not a synth in sight, just an acoustic guitar opening, perhaps signaling a far more ‘organic’ sound for this Lorde cycle. Now, this isn’t a boring acoustic guitar mind, it’s acoustic by way of – as you’ve probably heard – ‘Freedom 90’ by George Michael. There’s an A Tribe Called Quest reference in the verses, it’s got the swagger of ‘Walk On The Wild Side’ (funnily enough referenced in Haim’s ‘Summer Girl’, which this tracks ALSO recalls), and it goes out with a bang with a gospel ending. Phoebe Bridgers and Clairo did the backing vocals on this one for Lorde.



“Even before I started, I knew I was gonna make a good album because I had so many songs and I had so much energy. For me to do my own album after all that – it was joyous. Dream of dreams.” 

– George Harrison


Recorded and released in the wake of The Beatles’ April 1970 dissolution, George Harrison’s landmark solo album, All Things Must Pass, is a fully realized statement by a bold and audacious artist. Produced by Harrison and Phil Spector, the 23-track All Things Must Pass stands tall a half century later as an epic, ambitious expression of Harrison’s remarkable gift for sheer songcraft, powerful spirituality and a celebration of both his inimitable individuality and unique camaraderie with his fellow musicians. All Things Must Pass was an overdue artistic release for George as a songwriter and musician. The first-ever triple studio album, All Things Must Pass overflows with a voluminous range of ideas, musical styles and influences, spanning rock ‘n’ roll, country, gospel, blues, pop, folk, R&B, Indian classical music, and devotional songs. Despite the album being wildly successful and Harrison’s affection for it, he would write in the liner notes for the 30th anniversary remaster, released in 2001, “I still like the songs on the album and believe they can continue to outlive the style in which they were recorded,” adding however, “it was difficult to resist re-mixing every track. All these years later I would like to liberate some of the songs from the big production that seemed appropriate at the time”. Decades in the making and lovingly crafted by the Harrison family, All Things Must Pass has now been completely remixed from the original tapes for a stunning suite of 50th anniversary releases that fulfills Harrison’s longtime desire. Executive produced by Dhani Harrison, product produced by David Zonshine and mixed by triple GRAMMY® Award-winning engineer Paul Hicks (The Beatles, The Rolling Stones, John Lennon), the new mix transforms the album by sonically upgrading it – making it sound brighter, fuller and better than ever before.

Maine’s troubadours of holler-folk. The Ghost of Paul Revere’s core members—banjoist Max Davis, bassist Sean McCarthy and guitarist Griffin Sherry— have been friends since they were three years old. In fact, Sherry posits that the first two months of quarantine were “the longest time that The Ghost of Paul Revere were apart since 2008.” And that’s despite the fact that the three still live within 20 minutes of each other near Portland, Maine. “We’ve always lived kind of right next door to each other, so that still hasn’t changed,” explains Sherry of The Ghost of Paul Revere.

“Ghost” marks the announcement of a five song mini-album called Little Heart. The album includes the three release tracks as well as new songs “Glitter and Gold” and “Maybe Maybe Someday” The unique and distinct collection of songs sees Katie Toupin displaying a giant leap of strength and confidence as a solo artist, away from her previous ensemble Houndmouth. When creating and writing these songs, I feel more connected to my “inner child” or the purest version of myself thus far in my career, Katie says. I am extremely proud and they mark a moment of real personal growth for me.

King Gizzard & The Lizard Wizard release their new album, Butterfly 3000. It might be their most fearless leap into the unknown yet: a suite of ten songs that all began life as arpeggiated loops composed on modular synthesisers, before being fashioned into addictive, optimistic and utterly seductive dream-pop by the six-piece. Butterfly 3000 sounds simultaneously like nothing they’ve ever done before, and thoroughly, unmistakably Gizz, down to its climactic neon psych-a-tronic flourish.The new album follows 17 studio albums, including the recently-released K.G. and L.W. Similar to its two predecessors, Butterfly 3000was executed in isolation, recorded entirely in the band members own homes, their studio and rehearsal space remaining out-of-bounds. Creatively, Stu Mackenzie describes the process of making the album as a “group challenge.” The band adhered to rules which, much like Brian Eno’s Oblique Strategies, placed them firmly but fruitfully outside of their comfort zones. First and foremost, the band were writing this new material on unfamiliar equipment, like modular synthesizers. As we’re not very skilled at them and don’t have the deepest knowledge of this stuff, we’d get happy accidents“ lots of weird, wrong, broken sounds we flipped and looped and turned into songs. King Gizzard committed to writing every one of Butterfly 3000’s songs in major key, marking a profound shift in modus operandi. “We were trying to make upbeat dance music, in our own way, and we’d never gone there before,” says Mackenzie. Butterfly 3000 also abandoned another Gizzard method, what Mackenzie describes as throwing a lot of shit at the wall and finding that magic take, or building something with 20 tracks of guitar overdub. Instead, the new album was a process of refinement, paring tracks back to their elements and foregrounding the melodies. It’s the most considered album Gizz has ever made.The product of many nights spent sweating over synthesisers and sequencers, looping and layering weird noises in the dark and annoying their neighbours into the wee small hours, Mackenzie describes Butterfly 3000’s inspired, maverick pop as weird, odd, off-kilter polymetric arpeggios in strange time signatures, but with proper grooves you can stomp along to. At heart it’s avant garde, but a six-year-old could enjoy it.” Indeed, while this is an album that thrives on the shock of the new, when familiar elements enter the fray the effect can be dizzyingly thrilling.  not least the unmistakably motorik drums of Michael Cav Cavanagh. Thorny knots of prog surface occasionally, but the dominant mode is brilliantly focused and accessible. Butterfly 3000 displays a confidence at odds with its experimental methods, and a succinctness that pays dividends.It’s reflective of the album’s themes, which are dreams and metamorphosis, change and evolution, Mackenzie explains. its a journey, it’s a fantasy. It’ one of our lightest records, and it’s come out of this really trying time. We were challenging ourselves on this album to make something King Gizzard never done before, which is a major-key, positive, uplifting record.Butterfly 3000 is a triumph of King Gizzard & The Lizard Wizard’s characteristic extra-terrestrial approach to music, to their oblique strategies, and their refusal to repeat themselves. It’s also testament to a group who a decade and 18 albums into one of the most remarkable careers“ are still able to surprise, still hungry to reinvent their own paradigm, still finding fresh inspiration in infinite possibilities. Long may they hew to their alien instincts.

Music is Life. Thanks again for listening.

You can listen to NEXT on the radio.
River Radio in the UK – Tuesday night.
Ocean 98 in Maryland – Sunday nights at 10.
Saturday afternoon on VOBB in Canada

Spotify playlist updates on Thursday(ish). Link to Chris Bro on Spotify.

WARNING may contain bad words. Or may not. Depends.

Artist and Song Title:

  1. Mighty Oaks – Ghost
  2. Lindsey Buckingham – I Don’t Mind
  3. Lucy Dacus – Brando
  4. The Front Bottoms – Voodoo Magic
  5. Steve Marriner – Somethin’ Somethin’
  6. Cheap Trick – Gimme Some Truth (Cover)
  7. Cold War Kids – What You Say
  8. Tom Petty And The Heartbreakers – Angel Dream (No. 2)
  9. Jose Gonzalez – Head On
  10. Hiss Golden Messenger – Hardlytown
  11. Lorde – Solar Power
  12. George Harrison – Run Of The Mill (Take 36)
  13. The Ghost of Paul Revere – One Of These Days
  14. Katie Toupin – Ghost
  15. King Gizzard And The Lizard Wizard – Catching Smoke

and remember if you love someone hug them right now

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