Rhythms Magazine

After Bluesfest: Trust, Tribute and the Changing Sound of How We Listen

The long goodbye to Bluesfest continues in Episode 16 of On The Record, but this time the tone shifts from shock to something closer to forensic analysis. If last week was a reaction, this is reconstruction.

If Bluesfest is a case study in organisational failure, Scarpetta is its televisual equivalent. The long-gestating adaptation of Patricia Cornwell’s crime novels earns a near-unanimous drubbing.

Redemption comes via The Outlaws, Stephen Merchant’s Bristol-set series, which earns a glowing recommendation for its balance of humour, character, and social observation.

Brian Wise reports from Castlemaine’s Theatre Royal, where the “Man Out of Time” tribute to Broderick Smith becomes a reminder of what Australian roots music does best: community, continuity, and songcraft.

The episode closes on a note of tentative optimism, with Wise anticipating a film adaptation of The Magic Faraway Tree, his “favourite book of all time.” Whether it will soar or suffer the fate of Scarpetta remains to be seen.

Show Links

Rolling Stone ‘It Wasn’t A Sudden Collapse. It Was a Slow Bleed’: Former Bluesfest Executive Speaks Out 

Jay E Clair The REAL Reason Bluesfest Fell Apart: From Sold Out to Collapse 

Check out Michael's debut album 'Oversharing With Strangers' under the moniker Imposter Syndrome 

Scarpetta - Official Trailer | Prime Video  

The Outlaws - Official Trailer | Iview  

The Magic Faraway Tree | Official Trailer 

Tedeschi Trucks Band website 

Tedeschi Trucks Band - "Midnight in Harlem" (Live on eTown) 

Florry - First it was a movie, then it was a book (Official Music Video) 

Geese – Taxes Jimmy Kimmel Live 

AUSTRALIAN GOOD FOOD GUIDE Origini in Castlemaine 

Broderick Smith - Snowblind Moon 

Dead At 36 : Why Bluesfest Couldn't Continue (What We Know So Far)

Episode 15 of On The Record is the sound of a long-running Australian institution going quiet — followed by the louder, messier noise of what happens when a festival doesn’t just “take a break”, but goes into liquidation.

Brian Wise and Michael Mackenzie devote the bulk of the episode to the sudden demise of Bluesfest after 36 years, and they do it with a guest who knows the event from the inside: Sarah Ndiaye, now Mayor of Byron Shire, formerly the “head honcho” of the Bluesfest photo tent — the social headquarters where media, and photographers regrouped each Easter.

Important Links

Bluesfest Reportage

Variety: Calls Mounting for a Class Action Against Bluesfest After 2026 Event Cancelled By Neil Griffiths 

ABC News: Confusion and anger as Bluesfest ticketholders question timing of cancellation By Julia André 

Byron Shire Echo: Bluesfest ancillary event in Bruns cancelled By Hans Lovejoy 

AFR: Refund complication as Bluesfest collapses owing $5.7m by Michael Bailey Arts & Culture editor 

Opinion If the Bluesfest era has ended, I’ve lost something more precious than money by David Free 

Pharaoh Sanders The Creator Has A Master Plan 

Ben Harper - With My Own Two Hands (Official Music Video) 

From Folk Big Tops to F1 Soap Operas: Port Fairy, Drive to Survive and the Gospel of Steve Poltz

The latest episode of On The Record opens where any self-respecting Australian roots podcast should: the Port Fairy Folk Festival. It then takes a characteristic detour into aging payment technology, Formula One, Mick Turner guitar lines and the comedic chops of Steve Poltz.

Show Notes

Port Fairy Folk Festival 

Queenie & Hank - Anyhow I Love You Video 

ANNIE & THE CALDWELLS – Wrong feat. Deborah Caldwell Moore (Official Music Video) 

Kasey Chambers - Runaway Train (live) 

Mary Coughlan - 'I Can't Make You Love Me' | The Late Late Show | RTÉ One 

Liz Stringer – 'The Metrologist' (Live at Triple R) 

Liz's Final Show in Aust before heading back to the UK 

Steve Poltz - "The Son Of God" (live on eTown) 

Jim Lauderdale "Artificial Intelligence" Live From The Opry 

Shane O'Mara · Jac Tonks Sorrow Hides the Longing to Be Free - The Songs of Bert Jansch  Blues Run the Game 

Emma Donovan - Take Me To The River (Official Show Trailer) 

Sons Of The East - Come Away [Official Video] 

Sons Of The East - Sweet Thing

Mick Wall Eagles - Dark Desert Highway: How America s Dream Band Turned into a Nightmare 

Mick Turner - Don't Tell The Driver (2013) [Full Album] 

Mess Esque "Take Me to Your Infinite Garden" (Official Music Video) 

Messesque on Bandcamp 

Detectorists on Amazon Prime 

Steve Poltz Aust tour dates 

Paul in Scotland, Wings in Lagos, and a Hall of Fame That Can’t Stop Arguing With Itself

If you ever needed proof that the Rock and Roll Hall of Fame is less a museum and more a cultural argument with a gift shop, Episode 13 of On The Record opens by doing what the institution does best: stretching the phrase “rock and roll” until it politely accommodates everyone from Wu‑Tang Clan to Shakira, with a quick stop at INXS (or, as Michael once heard on the BBC, the new Australian sensation “Inks”).

Brian runs through the 2026 nominee list like a gig guide for the afterlife—The Black Crowes, Jeff Buckley, Joy Division/New Order, Oasis, Phil Collins (solo, because apparently we’re double-dipping now), Melissa Etheridge, Lauryn Hill, New Edition, Pink, Luther Vandross—and lands on the question that always makes the Hall quietly hilarious: who is this for, exactly? Michael’s baffled by the ceremony mechanics (do nominees really “turn up hoping”?), while Brian reassures him it’s not quite the Oscars, before casually dropping the detail that there’s a public vote. Nothing says rock’s rebellious spirit like “exercise our democratic right” via a link.

The more interesting subtext, though, is what induction inevitably drags in: absence. Several nominees have key members who’ve died—Buckley, Michael Hutchence, Ian Curtis—prompting the kind of morbid logistics only a Hall of Fame can inspire. Michael wonders aloud whether New Order could be coaxed into a once-only appearance, and if so, would Peter Hook be anywhere near the bass, given the long-running fallout. Rock history, as ever, is part music, part family law.

From there, the episode pivots into “telly as coping mechanism” territory. 

Michael has started season two of Hijack, acknowledging (with Idris Elba’s own executive-producer embarrassment) the inherent silliness of re-hijacking a man who has already been hijacked. 

Brian, meanwhile, goes looking for light relief in bleak news cycles and discovers Resident Alien—a show he’d dismissed as fluff until it turns out to be fluff with enough teeth to feel like therapy. The alien-in-a-small-town premise becomes an excuse for a few sharp jokes about humanity’s trajectory.

But the main event is the week’s shared homework: Paul McCartney: Man on the Run, the new documentary spanning the years between the Beatles’ breakup and Lennon’s murder. 

Brian begins with dread—opening on “Silly Love Songs” is hardly a confidence-builder—but both hosts admit the film wins them over. They praise the craft: strong editing, collage-like imagery, and an effective “no talking heads (but their voices)” approach. Then they do the responsible thing and ask the awkward question: how honest can a documentary be when McCartney’s own company financed it?

Their answer is satisfyingly unresolved. Michael argues it’s “warts-and-all enough” to avoid feeling like a total snow job—especially when the film lets other musicians (Nick Lowe, Chrissie Hynde) politely wonder what on earth Paul was thinking during the early, patchy years. 

Brian agrees McCartney produced plenty of throwaway material, though he’ll still go in to bat for Band on the Run and even dares to defend “Coming Up” (which Michael treats as a personal affront). 

They both wish the doco lingered longer on the Lagos chapter, one of the few moments in the Wings story that feels like true risk rather than post-Beatles reputation management.

The emotional spine, however, is Scotland. The documentary’s portrayal of McCartney retreating to a remote farm with Linda is read here not as quaint pastoral cosplay, but as a survival strategy—grief, disorientation, and the sudden absence of the band-as-family. 

The hosts talk candidly about parental loss, the Beatles as McCartney’s “emotional prop,” and Lennon as the creative foil who kept Paul’s “twee” instincts on a leash. 

Linda comes out of it as both partner and lightning rod: necessary to him, mercilessly judged by everyone else. 

Along the way, Brian remembers seeing Wings at the Myer Music Bowl in 1975 (yes, he was there), and the hosts revive Norman Gunston as the patron saint of awkward interviews—plus Michael’s conspiracy theory that McCartney’s infamous Japan marijuana bust may have been a deliberate exit strategy from a tour that Wings’ hearts weren’t in. 

It’s ridiculous. It’s also, perversely, the kind of narrative logic rock biographies thrive on.

By the end, the Hall of Fame is still a “broad church,” McCartney is still a genius with a questionable edit button, and Scotland remains the unlikely setting for both reinvention and retreat. 

The biggest twist is that for two men who can’t even land a sponsor, they spend 30 minutes proving the oldest rock cliché true: the past is never really over—someone’s just nominated it.

Important Links

Rock & Roll Hall of Fame 2026 Nominees! 

Paul McCartney: Man on the Run - Official Trailer | Prime Video 

Syfy's Resident Alien - Official Trailer (2021) Alan Tudyk 

Nineteen Hundred And Eighty Five (2010 Remaster) 

The Art Of Paul McCartney 

Paul McCartney - Maybe I’m Amazed 

Paul McCartney - Norman Gunston 1975 

Gillian and Dave Reviewed, Andy White Joins In, Presley’s Epic Is Seen, Bill Frisell’s New Record, Michael and Brian Fall Out Over A Gaelic Murder

In this episode, roots music returns via the altar: Gillian Welch & David Rawlings live at Melbourne’s Forum, with guest Andy White joining the chat. 

They describe the duo as deities in Australia, playing with disarming minimalism (mics on guitars, SM58s, no fancy DI wizardry), and drawing an audience so quiet it feels like church.

Brian’s only complaint is the kind you’re only allowed after 20-plus gigs: he wanted setlist variations — the tour’s Neil Young (“Cortez the Killer”), Springsteen (“Racing in the Street”, “Atlantic City”), maybe a Garcia nod — and didn’t get them. 

Michael diagnoses him as “gluttonous”, which is fair, though “devout” might be kinder.

The conversation widens into stagecraft: tuning mishaps, the art of filling dead air, and the delicate question of whether you should tell stories between songs or let the song do the work. 

That segues beautifully into a bigger theme: the thrill (and terror) of the no-setlist life.

Bill Frisell becomes the exemplar: dazzling, improvisational, apparently operating without a set list, with Brian recounting a classic partner-at-gig moment — Karen asking if Frisell’s strange effects are just him tuning up. 

Frisell, told the story, laughs and admits people say that a lot. (This is the highest compliment: “your art is so unfamiliar I assumed it was maintenance.”)

From Frisell they leap to Elvis — specifically Baz Luhrmann’s concert-footage film EPiC (Elvis Presley in Concert), made from newly uncovered Vegas-era material. 

Michael’s key point is unexpectedly roots-adjacent: underneath the jumpsuits and spectacle, Elvis is vulnerable. 

He’s also a kind of bodily conductor, cueing the band with movement rather than baton, with the musicians watching him like hawks for the next dynamic turn. It’s showbiz as improvised gospel.

And in case you worried the episode might end without another collector’s item, Brian flags a song that did land perfectly at the Forum: Gillian & Dave covering Guy Clark’s “Desperados Waiting for a Train”, from Old No. 1 (1975), notable also as Steve Earle’s first recorded appearance — and now reissued in a special edition. 

They wrap by teasing more about the new McCartney documentary, sponsor fantasies (“someone with really deep pockets”), and the ongoing podcast mission statement: tell your friends — and also tell people you don’t like.

Which, frankly, is the most honest marketing plan in music media.

You can catch Andy White live on stage in May at the Merri Creek Tavern.

Important Links

Gillian Welch & David Rawlings: Tiny Desk Concert

Andy White - James Joyce's Grave (live at Abbey Road)

The Rolling Stones - Can't You Hear Me Knocking (Live At The Wiltern)

Billy Bragg - A New England (Later... with Jools Holland) 

EPiC: Elvis Presley in Concert | Official Main Trailer 

Paradise Season 2 | Official Trailer | Hulu

An t-Eilean | BBC ALBA trailer

RTÉ | These Sacred Vows trailer

Blue Lights | Trailer - BBC

BILL FRISELL TRIO - "You Only Live Twice" @ XJAZZ Festival | LIVE FROM BERLIN

Bill Frisell's New Album In My Dreams

Bill Frisell - In My Dreams (Live / Visualizer)

Bill Frisell - A Change Is Gonna Come

Guy Clark - Desperados Waiting For A Train

New Madness Doco, John Peel’s Hidden Records, Blonde on Blonde Turns 60, Robert Finley, Gillian and David Reviewed, Small Prophets Enchants and Is This Thing On?

Episode 10 opens in the long-running genre they’ve accidentally perfected — two grown men versus consumer electronics — as Michael explains how he revived his ageing Samsung “smart TV” (now “a bit of a nuff-nuff”) with a cheap HDMI streaming box bought from an Australian online retailer that “rhymes with Hogan”. 

The thrill here isn’t just 4K; it’s the moral victory of upgrading the brain while keeping the body. 

The upgraded TV then becomes a portal to two YouTube documentaries that send the pair (and us) into a warmly nostalgic British lane. One is an ARTE doc on Madness — “Princes of Ska” — which prompts Michael to re-fall in love with a band he rates as not just a ska novelty act, but an elite singles machine whose later pop craftsmanship deserves more credit than the pigeonhole allows.

The other find is the real rabbit hole: John Peel’s Record Box — an hour built around the late BBC DJ’s stash of 142 singles kept separate from his famously vast collection (more than 100,000 records). The documentary hauls the box around to fellow travellers and famous fans — Jack White, Elton John, others — letting them rummage, remember and speculate on why those particular records were kept close. 

Peel, it turns out, could contain multitudes: Sheena Easton’s “9 to 5”, some Status Quo, a heavy White Stripes presence… and a special extra shrine for The Fall, who were apparently too important even for the box. 

Then Brian takes the wheel for the episode’s marquee music moment: Bob Dylan’s Blonde on Blonde turns 60, marked with a concert at Tulsa’s legendary Cain’s Ballroom, presented by the Bob Dylan Center (sitting right next to the Woody Guthrie Center, because Tulsa is quietly running a curriculum). 

Brian’s spoken with the Center’s director, Steve Jenkins, who teases an event titled Sooner or Later with a lineup that reads like an alternate-universe festival poster: 

Naturally, they can’t leave the album itself alone. They circle around what makes Blonde on Blonde such a gravitational object: the New York-to-Nashville recording shift, Al Kooper and Robbie Robertson in tow, and the snap-in brilliance of Nashville players like Charlie McCoy and Joe South. 

Michael calls it the culmination of Dylan’s ridiculous 18-month streak from Bringing It All Back Home through Highway 61 Revisited to Blonde on Blonde — productivity that makes modern “content schedules” look like a wellness day. 

Song picks follow: Michael is unwavering on “Visions of Johanna”; Brian leans toward “Most Likely You Go Your Way (And I’ll Go Mine)”, while also marvelling that Dylan had “Positively 4th Street” sitting on the bench, unused, like a spare masterpiece.

There are lighter detours too: a surprisingly vivid discussion of a film built around stand-up comedy as therapy (Will Arnett, Laura Dern, John Bishop’s life story, Bradley Cooper popping up in a minor role because he can), and then Brian’s recommendation of Mackenzie Crook’s Small Prophets — a title that briefly defeats Michael because he searches the wrong spelling and finds financial advice instead. 

Once located, it lands hard: whimsy, sadness, small acts, and a specific episode-four moment that gets Brian teary without him wanting to spoil why.

Michael flags the return of Gillian Welch & David Rawlings, apparently digging deep into the back catalogue (with a Guardian five-star review from Toowoomba), plus the pair’s Grateful Dead-adjacent moves and upcoming US tribute tour.

They also talk up Robert Finley, the 71-year-old, legally blind Louisiana singer with the late-blooming career arc (carpenter most of his life, first records in his 60s, produced by Dan Auerbach of The Black Keys), heading to Australia in May for intimate shows. 

Finley’s story lands like a parable for anyone who’s ever thought they missed their chance. (Michael, who’s finishing his own record — under the gloriously self-aware pseudonym Imposter Syndrome, album titled Oversharing with Strangers — certainly hears it that way.)

Episode 10, then, is classic On The Record: a podcast held together by cable management, cultural memory, and the belief that the best stories are found when you stop pretending you have a plan.

Important Links:

Madness - Princes Of Ska (2025 Documentary)

John Peels Record Box {Full show}

The Fall Bremen Nacht (Vinyl Version)

BOB DYLAN CENTER PRESENTS “SOONER OR LATER,” ALL-STAR CONCERT CELEBRATING SIXTIETH ANNIVERSARY OF DYLAN’S CLASSIC ALBUM “BLONDE ON BLONDE” 

Emma Swift - "Visions of Johanna" (Live at Layman Drug Company)

Bob Dylan - Most Likely You Go Your Way (And I'll Go Mine) (Official Audio)

IS THIS THING ON? | Teaser Trailer | Searchlight Pictures

Small Prophets | Official Trailer - BBC

Gillian Welch & David Rawlings - Brokedown Palace (Grateful Dead) Capitol Theatre, Port Chester, NY

Robert Finley - Helping Hand (Later... with Jools Holland)

Robert Finley First Australian Tour Details and Tix 

 

Bad Bunny, Bob Dylan’s Silence and Buddy Guy at 90: Ep 9’s Wild Tour Through Modern Roots + Fela and Charli XCX

Episode 9 is the one where Brian Wise and Michael Mackenzie briefly mistake themselves for an IT helpdesk, a sports panel, and a moral philosophy seminar—before landing, somewhat dazed, back in music.

It opens with Wise declaring he “can’t stand” the sound of his own voice (a bold confession for a career built on talking), while Mackenzie offers the sort of praise that feels both affectionate and faintly menacing: “the voice of a generation.” 

Before the audio collapses entirely, the conversation sprints through Wise’s great sporting exertion: the exhausting labour of watching sport. 

There’s genuine distress at skier Lindsey Vonn crashing out in 13 seconds, complete with a description of pain you could feel through the screen. 

From there, the mood whiplashes into the Super Bowl halftime show—Wise calls Bad Bunny’s performance the best he’s ever seen, even while admitting he couldn’t understand a word of it. Mackenzie, meanwhile, is stuck on the visuals of sugar cane cutting and its historical echoes closer to home. 

Their consensus: if Donald Trump calls it the worst halftime show ever, that’s basically a five-star review.

Then comes one of Wise’s purest modern urges: gadget-lust triggered by sport. Spotting tennis champion Elena Rybakina wearing a watch post-match, he consults “our friend AI” and discovers it’s a Vanguard Orb worth a mere $200,000. 

At which point the show finally pivots to the Grammys—specifically the stuff that doesn’t make the glossy broadcast. 

Wise notes that Fela Kuti received a posthumous Lifetime Achievement Award, nearly 30 years after his death at 58, making him the first African musician to be honoured that way. 

They sketch Kuti as both musical revolutionary and political force, the Afrobeat originator whose trance-like repetition and complex grooves seeped into Remain in Light and My Life in the Bush of Ghosts. The point: the Grammys have 85 categories, and the good parts are buried where only the determined will look.

The episode’s left turn into pop comes via Mackenzie’s discovery of Charli XCX through the comedy-chat juggernaut Smartless. Wise’s response—“Who’s he?”—is treated as both generational commentary and perfectly on-brand. 

The subtext is clear: don’t confuse “not my cup of tea” with “not worth paying attention to”.

Politics drifts in, as it tends to now, through the question of who’s writing protest songs. Wise notes Nils Lofgren’s “No Kings, No Hate, No Fear”, nods to Lucinda Williams and Mavis Staples, and longs—audibly—for Bob Dylan to re-enter the ring with something era-defining.

 Mackenzie is unconvinced, offering the counterpoint that Dylan’s signature move in moments like this is often silence.

Screen culture gets its usual run: Mackenzie’s recommendation of the British robbery thriller Steel mostly lands—until Wise objects to the final 15 minutes for explaining too much, revealing his mother’s literary habit of reading the last chapter first. 

The music talk returns in force with Buddy Guy. Wise has interviewed him (Buddy turns 90 this year and is flagged as possibly touring Australia for the last time), and the hosts linger on the question Wise once had about Buddy’s live habit of paying tribute to other blues greats. 

Finally, Al Green turns up as both salvation and complication. Wise recommends Green’s EP To Love Somebody (Bee Gees cover included, plus “Perfect Day” featuring RAYE and a take on R.E.M.’s “Everybody Hurts”), while Mackenzie raises the perennial problem: applauding the artistry while not airbrushing the artist. 

Episode 9’s through-line, then, isn’t sport or even the Grammys. It’s the way culture arrives in the room: messy, overlapping, sometimes off-mic, and always demanding you listen harder than the algorithm wants you to.

Essential Links

Lindsey Vonn's heroic return ends in heartbreak | Wide World of Sports

Bad Bunny's Apple Music Super Bowl Halftime Show

Vanguart Orb Flying Tourbillon Review: The Futuristic Titanium Timepiece of 2025

FELA Anikulapo Kuti - All songs

The Rolling Stones and Steve Riley - Zydeco Sont Pas Salés [Official Audio]

Smartless on YouTube

Charli xcx - I might say something stupid (official lyric video)

Charli xcx - House (Lyrics) ft. John Cale

Nils Lofgren - No Kings No Hate No Fear

STEAL - Official Trailer | Prime Video

A HOUSE OF DYNAMITE | Official Trailer | Netflix

Sinners (2025) - Post Credit Scene (1/2)

Sinners Soundtrack This Little Light of Mine

Buddy Guy Aint Done With The Blues 

Buddy Guy Where You At Where U At

Al Green - Everybody Hurts (Official Lyric Video)

Episode 8: Polka Legends, Reggae Giants, Why Tennis Triumphs Over Music, and Van Is (Once Again) The Man

Episode 8 of On The Record opens with Brian Wise and Michael Mackenzie doing what many seasoned music listeners now do instinctively when the Grammys roll around: stare at the screen and wonder which planet they’ve accidentally landed on.

Brian reminds us that the Grammys permanently lost their way the moment they abolished the polka category. 

This wasn’t a niche concern, either. For years, Brian faithfully rang Jimmy Sturr, the undisputed Muhammad Ali of polka, who won his Grammy almost every time. A system so reliable has no place in modern music awards culture, clearly.

The tone shifts sharply—and respectfully—with news of the death of Sly Dunbar, one half of the mighty Sly & Robbie. What follows is a proper reckoning with just how vast Dunbar’s influence was: reggae, dub, dancehall, pop, rock, Dylan (Infidels), Grace Jones (Nightclubbing, Warm Leatherette, Living My Life), even a dub version of the Rolling Stones’ “Undercover of the Night.” Sly and Robbie weren’t just players, they were architects.

See the list of some of their important work below, along with links to every other turning point in the conversation.

From there, Episode 8 pivots to the curious durability of certain artists who simply refuse to age in the expected way. David Byrne is a rare example of someone who keeps recalibrating his work, with his latest tour behind Who Is The Sky garnering rave reviews in every state.

That thought feeds neatly into a wider cultural question: why the Australian Open continues to thrive while music festivals across the country are quietly collapsing?

The answer, the hosts suggest, has less to do with sport versus music and more to do with clarity of purpose. Tennis delivers a fixed narrative, star power, and infrastructure, while festivals increasingly ask audiences to tolerate inconvenience, rising costs and vague promises of “vibes.” It’s a sobering comparison given the state of live music in Australia right now.

The episode closes with genuine surprise at the quality of Van Morrison’s latest release, an album that sidesteps the curmudgeonly baggage of recent years and reconnects with the musical instinct that made him essential in the first place. It’s not framed as a comeback so much as a reminder: when Morrison stops arguing with the world and channels his Celtic soul, something powerful still happens.

Important Links

Grammys 2026 list of nominees and winners 

Jimmy Sturr website 

Jimmy Sturr youtube channel 

BAD BUNNY Wins BEST MÚSICA URBANA ALBUM | 2026 GRAMMYs 

Bad Bunny Tiny Desk Concert 

BAD BUNNY - NUEVAYoL (Video Oficial) | DeBÍ TiRAR MáS FOToS 

The Goodies Pirate Radio (A Walk In the Black Forest) 

 Chat GPT’s Top 20 Albums Featuring / Produced by Sly & Robbie

1. Black Uhuru – Red (1981)
2. Black Uhuru – Chill Out (1982)
3. Grace Jones – Nightclubbing (1981)
4. Grace Jones – Warm Leatherette (1980)
5. Grace Jones – Living My Life (1982)
6. Sly & Robbie – Language Barrier (1985)
7. Black Uhuru – Sinsemilla (1980)
8. Gregory Isaacs – Night Nurse (1982)
9. Peter Tosh – Bush Doctor (1978)
10. Sly & Robbie – Rhythm Killers (1987)
11. Culture – International Herb (1979)
12. Ini Kamoze – Ini Kamoze (1984)
13. Serge Gainsbourg – Aux armes et cætera (1979)
14. The Gladiators – Proverbial Reggae (1978)
15. Bunny Wailer – Rock ’n’ Groove (1981)
16. Sly & Robbie – Dub Experience (1979)
17. Black Uhuru – Anthem (1984)
18. Bob Dylan – Infidels (1983)
19. Jimmy Cliff – The Power and the Glory (1983)
20. Sly & Robbie – Reggae Greats (1984)

 

Uncut: interview with Sly Dunbar on music 

Undercover (Of The Night) (Dub) with Sly on percussion

Black Uhuru Sistren 

Grace Jones - Pull Up To The Bumper 

David Byrne Tiny Desk Concert

David's Reasons To Be Cheerful newsletter 

FRANKENSTEIN Trailer (2025) Guillermo del Toro 

Michael's fave food movie Chef is on Iview 

STEAL - Official Trailer | Prime Video 

Van Morrison Somebody Tried To Sell Me A Bridge (full album) 

Gillian Welch talks to Brian about Her Forthcoming Tour of Australia with Dave Rawlings 

Lucinda Williams On her new album World's Gone Wrong 

Lucinda Williams discusses her new album World's Gone Wrong

Lucinda Williams talks to Rhythms Editor Brian Wise about her new album World's Gone Wrong, a scathing commentary on current political events in the USA. 

Gillian Welch discusses her forthcoming Australian tour with Dave Rawlings

Gillian Welch spoke to Rhythms Editor Brian Wise about her forthcoming Australian tour with her musical and life partner David Rawlings. David was set to join us but was held up in the studio mastering the vinyl version of the Time (The Revelator) album.
Music included: Neil Young’s Albuquerque from the album Live & Obscure Vol. 1, Mavis Staples' version of Gillian’s ‘Hard Times', Emmylou Harris with Gillian’s 'Orphan Girl' from Emmylou's 1995 album Wrecking Ball produced by Daniel Lanois and 'Revelator' from Gillian’s Time (The Revelator) album and 'North Country' from Woodland.

Details of the latest tour which begins on February 13 in Brisbane can be found at lovepolice.com.au/tours