In Memoriam: The Legendary Richard Lloyd Dies Aged 75

 

Richard Lloyd, known for his sophisticated musical style as a founding member and guitarist for the influential punk band Television, has died at the age of 75. Known for sophisticated musical style in band that played significant role in emerging 1970s punk rock movement

His family confirmed that Lloyd died Saturday morning at his home in Chattanooga, Tennessee. “His loving wife Sheila and his dog Willie Mays were with him at the end,” his family said in a statement to Rolling Stone.

According to his family, Lloyd's death was caused by cholangiocarcinoma, a form of bile duct cancer that he was diagnosed with in March 2026. A crowdfunding campaign had revealed that Lloyd had developed tumors in his liver and, crucially, there was one that could not be surgically removed.

Television, which formed in 1973, played a significant role in the emerging punk rock movement that grew up around CBGB, the legendary former music venue on the Bowery in New York City. The group was among the earliest punk acts to perform at the downtown venue, which had previously focused mainly on country and bluegrass music. During a 2007 interview, Lloyd reflected on his role in shaping the club's history, declaring: “CBGB’s is the most famous rock ‘n’ roll club to have ever existed and I fucking created it! I was the invisible force behind it.”

Television recorded just two studio albums during its peak in the late 1970s. The band’s first album, released in 1977, was Marquee Moon, which has since earned widespread recognition as a landmark recording. Rolling Stone ranked it No 107 on its 2023 list of the 500 greatest albums of all time. The record is still considered one of the most influential guitar-driven albums in rock history.

Lloyd was born Richard John Alt on Oct. 25, 1951, in Pittsburgh, Lloyd moved with his mother to New York City as an infant. He grew up in Greenwich Village, took up the guitar at an early age and attended concerts at the legendary Fillmore East as a teen; his struggles with mental health and substance abuse also began at this time. He attended New York’s prestigious Stuyvesant High School but dropped out before graduation.

After living briefly in Boston and Los Angeles, he returned to New York and gravitated toward the burgeoning scene around punk forerunners the New York Dolls. Verlaine and his longtime friend Richard Hell had formed a band called the Neon Boys with drummer Billy Ficca, and, after being introduced through Terry Ork (who would later release Television’s first single, "Little Johnny Jewel" on his self named independent label), brought Lloyd into the band. Hell left in 1975 and was replaced by Blondie bassist Fred Smith, raising the band’s instrumental prowess significantly.

Things progressed quickly for the band from there — David Bowie famously called Television "the most original band I’ve seen in New York" — and the band signed with Elektra Records in 1976 and released "Marquee Moon" in February of 1977. Domestic sales were unimpressive but the band, and the scene, captured the imaginations of the influential British rock music press — where punk rock was exploding — and the band actually enjoyed three hit singles, successful tours and two top 10 albums in the U.K.

However, the success was short-lived, as the band — marred by Lloyd's debilitating heroin addiction — split shortly after the released of its second album, "Adventure." Despite that, an album titled "Live at the Old Waldorf," recorded in June of 1978 shortly before the band’s dissolution, finds them at the peak of their powers.

Rocktrospectiva: The Masterpiece "Bandwagonesque" Turns 35

Released on 4 November 1991, "Bandwagonesque" was the third studio album by the Scottish band Teenage Fanclub. It served as the band's breakthrough record, causing a stir across Europe and North America by blending a revitalized Byrds-esque sound with contemporary production techniques—such as distortion, sampling, and elements of the "Madchester" scene. Their biggest hit, "Star Sign," helped open doors for them in the United States, followed by the beautiful alternative anthems "What You Do To Me" and "The Concept," both of which reached the Top 20 on Billboard’s Modern Rock Tracks chart. 

The album's success was such that it even managed to displace Nirvana's "Nevermind" from the No. 1 spot in *Spin*—one of the most influential music magazines of the era. Credit for the sound achieved on this masterful record goes to Don Fleming. Fleming had previously played in a band called Gumball, which specialized in a noisy brand of indie pop. Fate brought him together with Teenage Fanclub; after rehearsing a few tracks, Fleming—impressed by their chemistry—suggested they lean into the "noisy pop" style that was trending at the time (a sound that was easier to attempt than to master). 

The band liked the idea, and production began. For the band, it was crucial to regain the standing they had lost with "The King"—a lackluster collection of instrumental covers that paled in comparison to the quality of their debut, "A Catholic Education." Then came the masterful "Bandwagonesque," which drew from the British rock tradition while embracing the independent style that was setting the tone at the time. 

Even so, critics were unimpressed, dismissing the band as unimaginative; instead, they turned their attention toward groups like Suede, who were being hailed as the future of British rock. The group drew from influences such as the romanticism of The Byrds, The Beach Boys, Big Star, and The Beatles, incorporating vintage guitar sounds. From this emerged a power pop record that remains their greatest legacy and the defining moment of their career. "Bandwagonesque" features classic, high-caliber compositions; the guitars and distortion are exceptional, while the tandem of Raymond McGinley and Norman Blake delivered top-tier rhythmic work. 

Additionally, Fleming championed the use of harmonies and backing vocals, which provided the essential finishing touch to the songs. The album was released at a pivotal moment of musical transition—moving away from the excesses of the 1980s toward a new decade defined by the rise of grunge, shoegaze, and electronic music. Teenage Fanclub emerged as a vital link, bridging the gap between British jangly, melodic pop and the grit of American grunge. 

It was a beautiful, inviting sound that captivated Kurt Cobain—and, by extension, his band's fanbase—after Cobain invited them to serve as a supporting act during the European leg of the "Nevermind" tour. In the words of Norman Blake himself, there weren't many artists making melodic indie pop at the time—music imbued with a sense of innocence, which is exactly what "Bandwagonesque" offered. While the vocals weren't necessarily polished or "bright," they became powerful when wrapped in layers of guitar—a quality that deeply resonated with the youth of that era. 

The record features many great moments—starting with the beautiful "Star Sign" or the melodic and powerful "The Concept," as well as "What You Do To Me" (all of which are now indie pop classics)—but it also includes sentimental tracks like "Guiding Star" and "December," which echo the style of New Order. There is the instrumental "Is This Music," the noisy "Satan," and the perfect pop of "Sidewinder" and "Alcoholiday"—all contained within this marvelous record, which stands as the band's magnum opus. While they released other albums later, in my view, none reached the heights of this incredible record, a product of the magical year of 1991.

Bandwagonesque Track List: 

1. The Concept

2. Satan

3. December

4. What You Do To Me

5. I Don't Know

6. Star Sign

7. Metal Baby

8. Pet Rock

9. Sidewinder

10. Alcoholiday

11. Guiding Star

12. Is This Music

Rocktrospectiva: The Legendary "Loveless" Turns 35

Released on  4 November 1991, "Loveless"—the second studio album by the Anglo-Irish band My Bloody Valentine—was their most expensive and time-consuming record to produce, nearly driving their label, Creation, to ruin. Yet, it is worth noting that this album—regarded as a legendary gem within the indie world—brought the band a lasting fame and renown, especially in the context of the well-known "shoegaze" trend. The album spawned the singles "When You Sleep" & "Only Shallow."

Back in the day, the group had been searching for its own identity; their sound—characterized by distorted guitars—often led to unfavorable comparisons with The Jesus and Mary Chain. Seeking a defining sound, they found it in 1988 with their first EP, which featured a wall of ethereal vocals enveloped by strident guitars and samples—effectively giving birth to the shoegaze movement.  

Finally, the moment of truth came at last, an ambitious boundless effort to create "Loveless," the definitive masterpiece of the shoegaze movement and the band's most iconic record to date. The production process, however, was far from easy; the band cycled through 18 different sound engineers. Kevin Shields explored various techniques—such as strumming guitars while manipulating the tremolo arm, utilizing drum loops, and incorporating obscured, atmospheric vocals—over the course of three years. The project cost a total of £250,000 (though Shields claims the figure was £140,000). Regardless of the exact amount, it was a sum that nearly bankrupted Creation, the band's record label.  

Bad blood arose between the two parties over this album, and the band was dropped from the label because working with Kevin Shields proved both difficult and costly. Alan McGee, the label's owner—though not before sending them out on tour to recoup some of the investment—even put up more money for a mini-European tour, despite the fact that the band was essentially broke. 

While we consider the album incredible today, it didn't sell particularly well at the time; it reached No. 24 in the UK, but across the pond, it failed to even crack the Top 200. Despite positive reviews, no singles could be released, as Shields blocked any promotional singles and refused to include the band's name on the cover—much to McGee's growing frustration. As James Kyllo, one of the promoters, noted, the project was a beautiful undertaking, but he doubted the investment would ever be recovered. Consequently, McGee chose to terminate the contract; the risks were too high, and Shields offered no assurances that the same issues wouldn't recur, that was effectively the end for the band, which subsequently disbanded and remained largely inactive until 2013, when they finally released another record. 

"Loveless" set the bar incredibly high—effectively killing off the shoegaze genre, as no one else within it dared to attempt a work so demanding, complex, and expensive. Yet, its legacy was profound, exerting a global influence on acts ranging from Guided By Voices and Nine Inch Nails to the Latin American band Soda Stereo, who drew inspiration from their 1992 release.

Loveless Track List:

1. Only Shallow

2. Loomer

3. Touched

4. To Here Knows Whem

5. When You Sleep

6. I Only Said

7. Come In Alone

8. Sometimes

9. Blown A Wish 

10. What You Want

11. Soon

Rocktrospectiva: The Brilliant Live Album "Live Baby Live" Turns 35

Officially released on 4 November 1991, "Live Baby Live" was the first live album from the Australian band INXS. It featured live recordings from their "Summer XS Tour," captured in various cities: Paris, New York, Chicago, London, Dublin, Glasgow, Rio de Janeiro, Montreal, Madrid, Melbourne, Sydney, Philadelphia, and Las Vegas. 

 

The album peaked the top 10 in both Australia and the United Kingdom, and sold over a million copies in the United States. Two singles were released from the compilation, "Shining Star," & "The Stairs" were released from the album; the first peaked the top 40 in the UK, though it failed to crack the top 100 in the US. 

 

The band was at their highest point at the time. A year earlier, they had released "X"—a fantastic record that echoed the style and sound of their massive hit album "Kick." While the singles from "X"—with the notable exceptions of "Suicide Blonde" and "Disappear"—were not quite as successful, the band still commanded an incredible global presence. 

 

Furthermore, their charismatic frontman and the face of the group, Michael Hutchence, was in a high-profile relationship with the beautiful Kylie Minogue, which helped the band reach new audiences. A pivotal moment of the tour occurred on July 13, 1991, when they performed at Wembley Stadium; the show drew 74,000 fans. This landmark event was recorded and filmed, ultimately giving rise to the live album, which reached the top 30 in Australia and the UK, though it saw more modest success in the United States.  

 

The album was produced by Mark Opitz and the band itself, though it became a subject of controversy; many did not consider it a true live album—in fact, its status as a "live" recording was questioned, as it sounded more like a collection of studio versions, it lacked energy and vibrancy—it was, in a sense, a lifeless record. Nevertheless, fans enjoyed it, perhaps due to the fond memories held by those who attended the band's world tour.  

 

A video of the performance, directed by David Mallet, was released concurrently—though it featured a different tracklist, including four additional songs. The video captured the concert in London—a performance many of us saw broadcast on various music channels and programs. 

 

It notably showcased Hutchence, who appeared both fierce and romantic—arguably at the peak of his powers—and it is perhaps this video (later released on DVD) that remains the most enduring element of this live project.

 

Live Baby Live Track List:

 

1. New Sensation

2. Guns In The Sky

3. Mystify

4. By My Side

5. Shining Star

6. Need You Tonight

7. Mediate

8. One x One

9. Burn For You

10. The One Thing

11. This Time

12. The Stairs

13. Suicide Blonde

14. Hear That Sound

15. Never Tear Us Apart

16. What You Need 

Wembley Stadium Video Track List:

1. Guns In The Sky

2. New Sensation

3. I Send A Message

4. The Stairs

5. Know The Difference

6. Dissapear

7. By My Side

8. Hear That Sound

9. Original Sin

10. The Loved One

11. Wildlife

12. Mystify

13. Bitter Tears

14. Suicide Blonde

15. What You Need

16. Mediate

17. Never Tear Us Apart

18. Who Pays The Price

19. Devil Inside

Rocktrospectiva: Pet Shop Boys' Acclaimed Compilation "Discorgraphy: The Complete Singles Collection" Turns 35

 

 

Released on November 4, 1991, "Discography: The Complete Singles Collection" was the first major compilation from the English duo Pet Shop Boys. It contained a total of 18 tracks, including two new singles—"DJ Culture" and "Was It Worth It?"—which were recorded exclusively for the album.

 

Another interesting feature of the record was the cover/mash-up of U2’s "Where the Streets Have No Name" and Frankie Valli’s "Can’t Take My Eyes Off You." The tracks were presented in chronological order and in their 7-inch single versions. Notably, "Was It Worth It?" was omitted here, replaced by "How Can You Expect to Be Taken Seriously?" This decision was likely dictated by the storage capacity of the formats available at the time. It is worth noting that the duo’s releases have always been thoughtfully constructed and artfully presented. 

 

Although their genre has consistently hovered between dance-pop and synth-pop—occasionally incorporating standalone tracks not found on any studio album—these selections serve to showcase the duo’s range, originality, and sophistication, as well as the songwriting prowess of Tennant and Lowe. 

 

Consequently, these 18 tracks comprise one of the most consistent and innovative musical works of that era. Thirty years have passed since this flawless release, yet remarkably little has changed; the tracks have aged exceptionally well, and the music remains as impressive as ever. 

 

The compilation covered the duo's Imperial Phase period from 1984 to 1991—with the inclusion of tracks like "One More Chance" and "Paninaro"—the collection features their most iconic and memorable hits from that early era. It is particularly striking that few bands, especially within these genres, manage to remain so enduring and relevant—a testament, perhaps, to the fact that Lowe and Tennant have consistently produced music that is accessible, captivating, intelligent, melodic, and highly infectious. For those not yet familiar with their style and sound, this compilation serves as an excellent entry point to dive deep into their body of work.  

 

While subsequent compilations were released to update their catalog—all while maintaining their signature style—this particular collection was, at the time, a standout release that left a lasting, positive impression on audiences.

 

Discography: The Complete Singles Collection Track List: 

 

1. West End Girls

2. Love's Come Quickly

3. Opportunities (Let's Make Lots Of Money)

4. Suburbia

5. It's A Sin

6. Wha Have I Done To Deserve This?

7. Rent

8. Always On My Mind

9. Heart 

10. Domino Dancing

11. Left To My Own Devicees

12. It's Alright

13. So Hard

14. Being Boring

15. Where The Streets Have No Name (Can't Take My Eyes Off You)

16. Jealousy

17. DJ Culture

18. Was It Worth It?

 

News: The Cure Confirm 2027 Concert Plans And New Songs

The British alternative rock icons are preparing more live performances following their 2026 European shows, with unreleased material expected to play a major role.The Cure are planning more concerts in 2027, with frontman Robert Smith revealing that the British alternative rock band expects to introduce a substantial amount of new music during its next live performances. The announcement follows a busy 2026 touring schedule and renewed studio activity after the release of Songs of a Lost World, the group's first new album in 16 years.

The statement was shared during a recorded message for BBC Radio 6 Music, after The Cure were shortlisted for the station's 2026 Artist of the Year recognition. Smith said: "I'm looking forward to more Cure concerts in 2027," explaining that he could not yet reveal the locations or dates but expected the performances to feature numerous new songs.

The statement provides confirmation that The Cure intend to continue performing in 2027. No cities, venues, ticket-sale dates or North American concerts have been officially specified. The announcement comes after The Cure's extensive 2026 European and UK concert schedule, which included appearances at Primavera Sound in Barcelona, the Isle of Wight Festival, Manchester's Wythenshawe Park and Rock en Seine in Paris. 

The prospect of new songs is particularly significant following the band's return to recording with Songs of a Lost World, released November 1, 2024. The album ended a 16-year gap since 4:13 Dream (2008) and introduced recordings including “Alone,” “A Fragile Thing” and “All I Ever Am.”

The band's studio activity has continued beyond that release. Smith previously disclosed that The Cure recorded thirteen songs at Rockfield Studios in Wales during March 2025, forming part of the material intended for a subsequent album. In later interviews, Smith indicated that enough material had been developed for two additional records. He described one project as darker and closely related to Songs of a Lost World, while another explores a more upbeat, pop-oriented musical direction.

Neither project has received a confirmed release date or final public track listing. Smith's latest comments nevertheless suggest that some of the unreleased songs could become part of The Cure's 2027 concert repertoire before their wider commercial release.

Rocktrospectiva: The Synth Pop Masterpiece "Bizarre Love Triangle" Turns 40

Released on 3 November 1986, "Bizarre Love Triangle" was a song by English rock band New Order, released as a single from their fourth studio album, Brotherhood (1986). The song reached No. 4 on the US Billboard Dance/Disco Club Play chart and No. 5 on the Australian Kent Music Report in March 1987. It failed to enter the top 40 of both the UK Singles Chart and the US Billboard Hot 100; however, a new mix included on The Best of New Order was released in 1994 and charted at No. 98 on the Hot 100. 

"Bizarre Love Triangle" explored themes of love, desire, and the complexity of relationships. The lyrics reflected the confusion and emotional conflict that can arise in a romantic relationship, especially when multiple feelings are involved. The repetition of certain phrases in the lyrics emphasized the narrator’s internal struggle between love and uncertainty. Overall, it can be interpreted as a reflection on the difficulties and contradictions of modern love.

The 12-inch version, remixed by Shep Pettibone, also appears on the compilation Substance and a second remix by Stephen Hague features on their Best Of album. The original album version appears on the 2005 compilation Singles, the 7-inch version appears on the 2016 reissue of this compilation. New Order's live versions since 1998 are based on the Shep Pettibone remix.

The single mix has more electronics than the album version, with the Fairlight CMI music workstation used to provide sounds such as the orchestral hits, and to sequence the song. All instruments except vocals and Peter Hook's melodic bass were sequenced (the song also prominently features synthesised bass and synth choir parts).

The song has been critically acclaimed since its release. In a 30th anniversary retrospective citing the song as one of the greatest of all time, Billboard described it as a "synth-pop masterpiece" and "an incandescent jewel of mid-'80s computer love." NME praised the song as New Order's "finest pop moment".

The music video, which was released in November 1986, was directed by American artists Robert Longo and Gretchen Bender. It mainly shows a man and a woman in business suits flying through the air as though propelled by trampolines; this is based directly on Longo's "Men in the Cities" series of lithographs. The video has a black and white cut-scene where Jodi Long and E. Max Frye are arguing about reincarnation, in which Long emphatically declares "I don't believe in reincarnation because I refuse to come back as a bug or as a rabbit!" Frye responds, "You know, you're a real 'up' person," before the song resumes.

Bizarre Love Triangle Track List: 

 

7-inch FAC 163 (UK)

 

1. Bizarre Love Trinagle (Shep Pettibone Remix UK 7-inch edit)

2. Bizarre Dub Triangle 

 

7-inch: Quest 7-28421 (US) and 7-inch FAC-26 (Canada)

 

1. Bizarre Love Triangle (Shep Pettibone Remix US 7-inch edit)

2. Every Little Counts

 

7-inch: FAC-163153 (Australia)

 

1. Bizarre Love Triangle (Shep Pettibone Remix US 7-inch edit)

2. State Of The Nation

 

12-inch: FAC 163 (UK)

 

1. Bizarre Love Triangle (Shep Pettibone extended remix)

2. Bizarre Dub Triangle

 

12-inch: Quest 0-20546 (US)

 

1. Bizarre Love Triangle (Shep Pettibone extended remix)

2. I Don't Care (Actually Bizarre Dub Triangle)

3. State Of The Nation

4. Bizarre Love Triangle (Shep Pettibone Remix UK 7-inch edit)

 

CD: Quest 9 20546-2 (US) released in 1994

 

1. Bizarre Love Triangle (album version)

2. Bizarre Love Triangle (extended dance mix)

3. I Don't Care (actually Bizarre Dub Triangle)

4. State Of The Nation

5. Bizarre Love Triangle (single remix) 

New Music: You Remind Me That I'm Dying (And That It's Good To Be Alive)

          

The Big Moon have shared the single "You Remind Me That I’m Dying (and that it's good to be alive)," taken from their fourth album Forever. It is a title that sits at the center of a record about what’s left once you’ve ticked off the big milestones and come to understand how fragile life is. Back in 2024 Jackson was diagnosed with a cholesteatoma, a benign but destructive cyst inside the eardrum that has to be removed with surgery. "I permanently lost most of the hearing on one side, which was pretty much existential, because writing songs is my job and my identity," she says. She kept writing anyway but struggled. "I couldn’t hear properly, everything sounded out of tune and I was just struggling to find a point at all, just writing these miserable songs I couldn’t really hear." The way out was to change her outlook completely and write towards “a happy ending that didn’t exist yet.” As Jackson puts it: “I just decided to write songs for this imaginary time, one or two years in the future, when I would be all healed and happy again. I didn’t know if I would ever get to that point but, by projecting and almost tricking myself into it, it actually became a really nice way of writing.” The video has been edited by James Hankins

New Music: Much Love

           

The British indie band Editors have shared their new single "Much Love" alongside a music video. The song features on their new album "Surface, Echo & Sound" out yesterday,  Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely.The band wanted to do something brand new and never afraid to musically explore different shades and colours, and this track is a vivid proof of that. The video was shot by the band’s guitarist Justin Lockey in the studio in Bogota, Colombia

Rocktrospectiva: Fastway's "Trick Or Treat Soundtrack" Turns 40

 

Released on 31 October 1986, a week after the released of the film "Trick Or Treat" it was the 4th., studio album by the Heavy Metal band Fastway and the soundtrack to the heavy metal horror film. The album spawned the single "After Midnight".

 

It was the final Fastway album to feature Dave King on vocals, and is considered to this date, one of the most influential and compelling heavy metal albums ever released to date. 

 

Trick Or Treat Soundtrack Track List: 

 

1. Trick Or Treat

2. After Midnight

3. Don't Stop The Fight

4. Stand Uo

5. Tear Down The Walls

6. Get Tough

7. Hold On To The Night

8. Heft (Originally released on the album Fastway)

9. If You Could See (Originallu released on the album All Fired Up)