Music

Friday Music Guide: New Music From Ariana Grande, Bleachers and More

Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

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This week, Ariana Grande finds her Sunshine, Jack Antonoff pushes Bleachers forward and 4batz receives a huge co-sign. Check out all of this week’s picks below:

Ariana Grande, Eternal Sunshine



While Eternal Sunshine, Ariana Grande’s seventh studio album, explores a new beginning in her romantic life, the pop superstar is also pressing start on a fresh phase in her career: following 2020’s Positions and ending her longest gap between full-lengths thus far, Grande sounds emboldened through elapsed time and newfound wisdom, and more uncompromising than ever in her lyrics and aesthetic. Thumping lead single “Yes, And?” acts as a bit of a red herring for an album that’s often pensive and prodding, with the subtle R&B of Positions expanding in scope and deepening in detail; pop fans will find more playlist fodder in the shimmering synth showcase “We Can’t Be Friends (Wait For Your Love)” and the snappy, clever “The Boy is Mine” re-imagining, but Eternal Sunshine is an extended dive into the psyche of a generational talent who’s only getting more thoughtful, and better, with time.

Click here for a full breakdown of every song on Ariana Grande’s Eternal Sunshine.

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Bleachers, Bleachers 



Jack Antonoff keeps refining Bleachers, but instead of sanding down his band’s rougher edges, he’s amplifying their quirks, and translating the live-wire energy of their live shows into the studio setting. Bleachers, Antonoff’s fourth and best album as the leader of the collective, is an apt project to end up self-titled: songs like the rollicking “Modern Girl,” wistful “Alma Mater” and quietly graceful “Woke Up Today” exist in different modes but get to the root of Antonoff is trying to accomplish, various shades of indie-flecked pop-rock with communal hope coalescing around his strengthening voice.

4batz feat. Drake, “act ii: date @ 8” remix 



Since Drake emerged as a star in the late 2000s, there have been multiple years in which his career was defined by hopping on smaller artists’ hit songs and pouring some gasoline on their chart prospects. That age-old impulse returns with the remix to “act ii: date @ 8,” the viral R&B smash from Dallas native 4batz; here, Drizzy essentially doubles the original song’s length and remakes the second half in his image, taking 4batz’s late-night musings and running with an extended verse on love and lust.

Norah Jones, Visions 



Now squarely in her forties and 20 years removed from her mega-selling debut album Come Away With Me, Norah Jones keeps regularly cranking out accomplished, sonically adventurous projects. Visions, her strongest since 2012’s Little Broken Hearts, is especially daring in its verve, a soul record that’s swirled a little garage-rock onto its canvas: Jones sounds fantastic leading full-throated tracks like “Paradise” and “All This Time,” while producer Leon Michels guides the throwback arrangements with a light touch.

Editor’s Pick: The Marías, “Run Your Mouth” 



“Hope you dance to this one,” Marías leader María Zardoya declares in a press release for the band’s new single “Run Your Mouth,” which precedes forthcoming sophomore album Submarine. It’s easy to oblige: “Run Your Mouth” boasts an effortless groove that funks up the Marías’ alt-pop sound, with a hustling tempo and an extended instrumental breakdown that invites embarrassing hand-dancing (for some of us, at least). Drop this in your favorite weekend playlist and don’t think twice.

Melissa Etheridge Reflects On Early Career In ‘Gender Equity In Music Report’: ‘My Queerness Protected Me’

Today (March 8) is International Women’s Day, and to mark the occasion Tunecore has released its fourth annual Be The Change: Gender Equity In Music Report. Prepared by research firm Midia, the study offers key findings on progress and challenges around representation for women and nonbinary people in the industry.

Beyond the findings, the study incudes a forward from rock pioneer Melissa Etheridge, who reflects on the discrimination she has experienced and witnessed during her four decade career. She notes that while women have dominated the charts for decades, “typically white, male executives have profited from our labor.”

She also tracks some of the changes she’s seen during her long music career, noting that the industry has become more inclusive for women and gender expansive people since she started out in the ’80s, a time, she writes, when being gay protected her from some of the discrimination she saw straight women experiencing.

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She emphasizes how crucial it is to truly be the change one is hoping to affect, writing that “people are sometimes driven by their own misunderstanding and fear, so if you become the love you want to see, we hope they will feel that and change.”

Read Etheridge’s foreward in full:

It’s no secret that the music industry has historically been a boys’ club. There have been decades of music defined by incredible women dominating the charts, but behind the scenes women have often been pushed aside and prevented from reaching the same career heights while typically white, male executives have profited from our labor.

When I started in the business back in the ‘80s, the A&R reps who came out to see me were all men. There were very few women in the business, and this was the norm at the time.

In the late ‘80s, the industry started to change. There was finally a bit of interest in women artists’ music and experiences. In 1988, when I was finally signed and my album came out, women were starting to break through the industry wall. Tracy Chapman, k.d. lang, Toni Childs, and Sinéad O’Connor were writing and releasing songs, and people finally started paying attention and realizing we had something to say.

In music—as in life—being a woman comes with its own set of obstacles, both seen and unseen. Ranging from unequal pay and a diminished sense of autonomy to the countless cases of sexual harassment and abuse that have come to light in recent years from all corners of the industry. And, these obstacles are compounded for women of color and gender expansive individuals.

What was the hardest for me was also a blessing. I was lucky enough to find steady work in L.A.’s lesbian bars, so when I entered the music industry, it was already known that I was gay. It changed the way people responded to me. I didn’t experience the same sexual harassment as straight women did in the industry. Men stood back and didn’t know how to deal with me, so in a way, my queerness protected me.

To me, BE THE CHANGE means that when you try to spend your time and energy trying to change everyone else – that’s a rough road. The best change is to become what you want to see. You want to see more peace, more inclusiveness and understanding? Then you need to be more peaceful, inclusive, and understanding.

I’ve been around in the music industry for over 40 years now – long enough to see how far women and gender expansive musicians have come. It’s really important to give thanks for that so that this work doesn’t feel so impossible. It used to be that people were either straight or gay and now there’s a beautiful rainbow – a whole sphere of beings and ways of being, and it’s important to celebrate that. The best thing to do is not to make it an issue of us against them. People are sometimes driven by their own misunderstanding and fear, so if you become the love you want to see, we hope they will feel that and change.

The history of our industry does not have to be a vision of its future. Studies like BE THE CHANGE: Gender Equity In Music educate our peers and help close the perception gap through storytelling and provide actionable solutions to combat gender-based discrimination.

Through this, we can reshape the face of music. We can work together to create a more equitable, accessible, and inclusive industry, where people of all backgrounds, sexualities, abilities, and gender identities are granted the same opportunities for success. From the stage, to the studio, to the board room, we each have a part to play to make that vision a reality. It’s on all of us to take action to combat discrimination in all forms. Inclusivity is a necessary ingredient for our industry to thrive. We all have to BE THE CHANGE.

Ariana Grande Gets Her Mind Wiped in Futuristic ‘We Can’t Be Friends (Wait For Your Love)’ Video

On the heels of dropping her eagerly anticipated Eternal Sunshine album, Ariana Grande also debuted the futuristic video for the collection’s new single, “We Can’t Be Friends (Wait For Your Love)” on Friday morning (March 8).

The singer teased the clip last week with an image from the waiting room in which she signs a consent form stating, “You have given extensive thought behind your decision and give ‘Brighter Days Inc.’ the exclusive permission to remove this person completely from your memory,” as her pen hovers over the box marked “No,” before the 30-year-old pop star opts for “Yes” at the last second and signing her name as “Peaches.”

That scene from the Christian Breslauer-directed visual is the opening act of a moody video that finds Grande — wearing a furry grey coat over a mini dress and knee-high boots and sporting some dramatic, tribal-like makeup around her left eye — sitting in the drab, wood-paneled lobby of the Brighter Days Inc. clinic awaiting an appointment with a doctor. When Peaches’ name is called, Grande grabs a white box filled with memories and enters a surgery arena, where she lays back on a chair as she begins to sing the ballad’s introspective lyrics.

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“I didn’t think you’d understand me/ How could you ever even try,” she sings as a nurse takes a stuffed bear out of the box and a screen shows the teddy’s brain scan. “I don’t want to tip-toe, but I don’t want to hide/ But I don’t want to feed this monstrous fire,” she continues over the song’s bubbling beat while being fitted with a silver headband with glowing red contacts on her temples.

The scene then jumps to a 1980s-style video game arcade as the tempo builds and Grande and a boyfriend pluck the bear from a claw machine and she promises to “wait for your love.” The heartbreak ballad about vowing to pretend until a love is rekindled is a travelogue of good times — including a shout-out to the final iconic birthday cake scene in 1984 coming-of-age classic Sixteen Candles — mixed with the present-day footage of Grande receiving the love-erasing procedure.

The storyline of the video — which ends with Grande blithely passing her old love and his new girlfriend while strolling with her new man — should come as no surprise given Grande’s avowed love of Jim Carrey’s similarly themed 2004 love removal machine sci-fi drama Eternal Sunshine of the Spotless Mind, which Grande tapped as an inspiration for the album’s title.

In that Michel Gondry-directed movie, Carrey and girlfriend Kate Winslet’s characters, Joel and Clementine, undergo brain surgery to wipe all the memories of their painful breakup. So, in the lead-up to the album’s release, Grande posted photos and videos in which she dressed up in outfits and hairstyles inspired by the film’s leading lady.

The midtempo track is the second single from Eternal Sunshine, following the January Billboard Hot 100 chart-topping hit “Yes, And?” Grande has previously said that she wouldn’t be issuing any more songs ahead of her seventh studio album’s release. Grande will be the musical guest on this weekend’s Saturday Night Live alongside Dune 2’s Josh Brolin.

Watch the “Wait For Your Love” video below.



Taylor Swift Scores Her 13th No. 1 on Pop Airplay Chart With ‘Is It Over Now?’

Taylor Swift’s favorite number – 13 – now doubles as the amount of No. 1s that she has achieved on Billboard’s Pop Airplay chart. She tallies her record-extending 13th leader on the list as “Is It Over Now? (Taylor’s Version) [From the Vault]” ascends to the top of the March 16-dated ranking.

Following Swift, Maroon 5, Katy Perry and Rihanna each boast 11 Pop Airplay No. 1s.

Notably, the song, on Swift’s album 1989 (Taylor’s Version), on Republic Records, marks her first track that has topped a Billboard airplay chart from a “Taylor’s Version” album, among the four rerecorded sets that she has released so far.

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Here’s a recap of Swift’s 13 No. 1s on Pop Airplay, which measures songs’ weekly plays, as tabulated by Mediabase and provided to Billboard by Luminate, on over 150 U.S. mainstream top 40 radio stations. (The chart began in October 1992.)

Title, Weeks at No. 1, Year(s):

  • “Is It Over Now? (Taylor’s Version) [From the Vault],” one (to-date), 2024
  • “Cruel Summer,” 10, 2023
  • “Karma,” one, 2023
  • “Anti-Hero,” three, 2022-23
  • “Delicate,” one, 2018
  • “Look What You Made Me Do,” one, 2017
  • “Wildest Dreams,” two, 2015
  • “Bad Blood” (feat. Kendrick Lamar), five, 2015
  • “Style,” three, 2015
  • “Blank Space,” six, 2014-15
  • “Shake It Off,” two, 2014
  • “I Knew You Were Trouble.,” seven, 2013
  • “Love Story,” one, 2009



Swift, meanwhile, links her third consecutive Pop Airplay No. 1, as “Is It Over Now?” follows the rules of “Cruel Summer” and “Karma.” She notches her second streak of at least three straight leaders on the chart, after she reigned with the first five singles from 1989 in 2014-15: “Shake It Off,” “Blank Space,” “Style,” “Bad Blood” and “Wildest Dreams.”

1989 (Taylor’s Version) launched atop the Billboard 200 chart in November, becoming her 13th No. 1 album – the most among women. The same week, the song soared in at No. 1 on the all-genre, multimetric Billboard Hot 100, becoming her 11th and most recent leader.

Concurrently, the track takes over at No. 1 on Adult Pop Airplay (which reflects plays on adult top 40 stations). It becomes Swift’s 12th No. 1, the most among soloists and second overall only to Maroon 5’s 15 (dating to the chart’s March 1996 start in Billboard’s pages).

All charts dated March 16 will update on Billboard.com Tuesday, March 12.

Morgan Wallen to Play London’s Hyde Park

Over the past few years, Morgan Wallen has steadily taken his tours to superstar heights, thanks to a slate of sold-out stadium and arena shows, both domestically and internationally.

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Now, the 11-time Billboard Music Awards winner is expanding on his December 2023 concert at London’s O2 Arena (where he sold out the 20,000-capacity arena), by returning to London for a one-night-only show at the city’s 350-acre Hyde Park on July 4, 2024.

Hyde Park, which has an official capacity of 65,000 but has hosted concerts attended by thousands more than that, has been home to concerts by Queen, Pink Floyd, Bruce Springsteen, The Rolling Stones and more.

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 “Last fall was my first time in the U.K. and man, I loved it,” Wallen said in a statement. “I saw so much while I was there, and the people were incredible.” He added of his upcoming Hyde Park show, “To play where legendary artists like Pink Floyd and The Rolling Stones have played is a huge honor for me and my band, and we can’t wait to be back.”

The concert reveal follows the release of Wallen’s Abbey Road Sessions, which honors the one-year anniversary of his record-setting One Thing at a Time album. His Abbey Road Sessions, recorded at London’s iconic Studio Two at Abbey Road Studios on Dec. 5, 2023, offers five live recordings from One Thing at a Time, as well as the fan-favorite “Lies Lies Lies” and a cover of British rock band Nothing But Thieves’ “Graveyard Whistling.”
 
Tickets go on sale Wednesday, March 13, at 10 a.m. GMT at bst-hydepark.com. Supporting talent will be announced at a later date. 

Wallen isn’t the only country superstar on Hyde Park’s BST summer lineup: Shania Twain will headline on July 7. Other artists on the Hyde Park lineup this summer include SZA, Kings of Leon, Stevie Nicks and Stray Kids.

Skidoosh Me ‘…Baby One More Time’: Jack Black Drops Full Tenacious D Britney Spears Cover

Jack Black knows what you need. So, after giving a little tease of his band Tenacious D’s rocked-up cover of Britney Spears signature 1998 Billboard Hot 100 No. 1 smash “…Baby One More Time” last week, the singer/actor dropped the full thing on Friday (March 8). In addition, Black and TD bandmate Kyle Gass got all dressed up for the song’s video, which they recorded on the red carpet at the Sunday’s Los Angeles premiere for the Black-starring animated quadquel Kung Fu Panda 4.

The clip finds Black — dressed in a black and white tuxedo — pulling off some impressive high front kicks on the carpet as he and Gass strut and dance to the cover’s funky, fat-bottomed riff, with Black dispatching his partner in rock at one point with a series of pantomimed punches and foot snaps.

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Because the song will play over the end credits of the movie out today (March 8), Black and Gass share the screen in the video with the film’s co-stars, including Bryan Cranston, Ke Huy Quan, Dustin Hoffman, Awkwafina and James Hong, who gamely dance, goof around and throw air haymakers at the excitable Black as he sings, “hit me baby, but not too hard.”

After the TikTok tease of the cover went viral last week, Black told The Hollywood Reporter the origin story for the hot Spears take. “[Kung Fu Panda 4 director Mike Mitchell] said, ‘Hey, we would love to have a Tenacious D song for the end credits’ and I was like, ‘Really? Can we do Britney Spears?’ He said, yeah, and he said, ‘Let’s do Hit Me Baby One More Time for the kung fu aspect of that song,’ and we were like, ‘Hell yeah.’”

At press time, it did not appear that Spears — who deactivated her Instagram earlier this week — had reacted to the full video on her socials.

Check out Tenacious D’s “…Baby One More Time” video below.



Cardi B Raps ‘Enough Is Enough’ on New Track: ‘Me Vs. You and You Know Who They Pickin’

Cardi B dropped a new burner on Thursday night (March 7), teasing what appears to be her next single in TikTok video from the recording studio. Barefoot and dressed down in sweats, a white tank top, round eyeglasses, no makeup and her hair straightened, Cardi ripped off her typically acerbic lines over a spare, g-funk style beat, once again making it clear that haters need not apply.

“Me vs. you and you know who they pickin’,” she rhymes to set up the unnamed track. “I can survive in the coldest conditions… B–ches is washed, soapin’ the dishes/ I apply pressure like boa constrictors/ One b–ch, two b–ch, old b–ch, new b–ch, none of y’all not gonna do s–t/ I’m in Miami I pull up on cruise ships.”

Dancing along to her own track, Cardi gives the ultimate ultimatum, rapping, “I see my opps linking up, I’m like, ‘What the f–k?/ If you scared, then just say that hoe/ Enough is enough.” The post got a few comment from famous friends, including SZA, who wrote “the hair is giving” and Camila Cabello, who added, “sheeeeesh.”

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At press time Cardi hadn’t provided any additional information on the track, though the caption of her TikTok post, “15” and a winking emoji, appeared to suggest it was due out on March 15. If the song comes out next week, it would mark the follow-up to last week’s “Like What (Freestyle).” She also dropped a sexy video for the freestyle in which pays tribute to Missy Elliot and tries on a wide variety of eclectic outfits in the clip directed by estranged husband rapper Offset; last month, Offset told his ex to “stop being scary” and drop her sophomore album already.

“Like What” is Cardi’s first solo record since 2021’s “Up,” which earned the rapper her first Billboard Hot 100 No. 1 hit and a 2022 Grammy nomination for best rap performance. Since then she’s dropped “Tomorrow 2” with GloRilla, “Jealously” with Offset and the Megan Thee Stallion collab “Bongos.”

Cardi has been teasing new music for months, including an in Insta Story last week in which she told fans that her long-awaited sophomore album could be released this year. She told the Bardi Gang that she was “not letting my anxiety, I’m not letting what haters say, I’m not letting what fans say” prevent her from releasing new songs, adding that “I’ve got no choice because I’m dropping my album this year, so stay tuned for the announcement.”

The follow-up to the MC’s breakthrough 2018 debut studio album, Invasion of Privacy,

Check out a snipped of Cardi’s new track below.

Selena Gomez Wishes Benny Blanco a Happy 36th Birthday, Praises Boyfriend’s ‘Loving, Kind Heart’

Selena Gomez posted a sweet tribute to boyfriend Benny Blanco on Friday morning (March 8) in honor of the producer’s 36th birthday. “Happy birthday baby! Your emotional endurance, positive disposition, unbelievable talent (that blows me away), undeniable humor and loving, kind heart absolutely kill me,” she wrote on Instagram.

“I love you,” she added along with birthday cake and crying eye emoji. Blanco responded with a series of emoji, including kisses, hearts and a matching pair of welling-eyes. Gomez’s post also included a carousel of pictures of the happy couple hugging, snuggling, kissing, touching tongues and spinning around on the teacup ride.

The loved-up salute came two weeks after the 31-year-old singer and Only Murders in the Building co-star celebrated the release of her new single, “Love On,” by opening up about the effect Blanco has had on her heart. “Without getting into too much detail, I think it’s just really important to meet someone that respects you,” she told Apple Music’s Zane Lowe of her romance, without specifically naming Blanco. “And I think it’s really nice to also lean on someone who understands the world that I live in.”

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Gomez added, “I’d have to say overall, it’s the safest that I feel and it’s been really lovely. I’ve only grown through it, so it’s awesome.”

The pair have celebrated their love openly on their socials after first going public in December, when Gomez confirmed that she and the acclaimed producer (Britney Spears, Maroon 5, BTS) had been dating for six months. Since then they’ve been spotted snuggling at a Lakers game, attending the Emmys in January and celebrating Valentine’s Day together.

Check out Gomez’s post below.

Madonna Welcomes Kylie Minogue on Stage at L.A. ‘Celebration’ Concert: Watch

It was royal affair at Madonna’s Celebration Tour date in Los Angeles on Thursday night (March 7) as the Queen of Pop welcomed on stage Kylie Minogue, Australia’s very own Princess of Pop.

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Kylie joined Madonna for a performance of Gloria Gaynor’s girl-power disco-era classic “I Will Survive,” timed perfectly for International Women’s Day, and for a rendition of Kylie’s 2001 hit “Can’t Get You Out of My Head.”

For the thousands looking on, the spectacle of a Kylie and Madonna collaboration won’t get out of their heads anytime soon, as many shared images and video of the special moment on social media.

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Kylie got in on the social media action by sharing a video of herself, dancing in the aisles to “Ray of Light,” the title track from Madonna’s William Orbit-produced LP from 1998. She writes, “MADONNA. It’s been a long time coming!!! LOVED being with you!!!! Celebration Tour AND it is now International Women’s Day …. THANK YOU and LOVE LOVE LOVE.”

And, for those pop fans with a long memory, Kylie paid the ultimate tribute to Madonna and her supporters by wearing a shirt emblazoned with the icon’s name, continuing a mutual appreciation society that can be traced back decades. Indeed, Madonna wore a “Kylie”-branded shirt when she performed at the MTV Europe Music Awards in Stockholm, Sweden back in 2000, with Kylie going on to repeat the favor.

Minogue is a wanted woman in the United States. On Wednesday, she was celebrated with the Icon Award at the Billboard Women in Music event; her Las Vegas residency, the More Than Just a Residency show at Voltaire at the Venetian, has been extended through May; she collected her second Grammy Award last month; and she recently signed with United Talent Agency (UTA) for live representation in the U.S. and Canada and acting roles worldwide. The 55-year-old artist last week collected the BRITs Global Icon award at the 2024 BRIT Awards in England, where she’s adopted as a national treasure.

“Can’t Get You Out Of My Head” is one of Kylie’s two career top 10s on the Billboard Hot 100, peaking at No. 7 in 2002 (the other is “The Loco-Motion,” hitting No. 3 back in 1988).

Madonna kicked off a five-night stand at the Kia Forum in Inglewood on Monday, March 4, the L.A. leg of her Celebration Tour, a career-spanning look back on her hits, personal struggles, pop culture impact and enduring influence.

During the opening night of her L.A. stretch, the 65-year-old superstar revealed that the severe bacterial infection she suffered in June 2023 — which led to her hospitalization and the postponement of her current trek — at one point made it nearly impossible for her to move around. “This summer I had a surprise,” she told the crowd, holding a cowboy hat in one hand and gripping a guitar in the other. “It’s called a near-death experience.”

Benson Boone, Taylor Swift Reign Over Australia’s Charts

It’s a beautiful week for Benson Boone, as the U.S. singer and songwriter scores his first No. 1 in Australia, while Taylor Swift continues to dominate the national albums survey.

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Boone, the Monroe, Washington native, tops the latest ARIA Singles Chart, published Friday, March 8, with “Beautiful Things” (via Warner Music), up 3-1 in its seventh week on the tally.

“Beautiful Things” leads a top three ahead of Beyonce’s “Texas Hold ‘Em” (Columbia/Sony), holding at No. 2, and Swift’s “Cruel Summer” (Universal), down 1-3.

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Meanwhile, Stranger Things star Joe Keery has his very first Australian top 10 with “End Of Beginning” (AWAL), released through his music project Djo. Released back in 2022, “End Of Beginning” is enjoying a global resurgence thanks to a TikTok trend, lifting 14-9 on the ARIA Chart.

Fred Again tends to create hysteria in Australia, and he’s doing that (again). The British singer and songwriter performed a pop-up concert at the Sydney Opera House last month, setting a ticketing record en route to an immediate sell out. Then, the surprise announcement of six arena shows and an outdoor pop-up concert, which shifted 100,000 combined tickets in the blink of an eye. Off the back of that frenzy, several Fred Again tunes surge up the Australian tally, led by “Leavemealone” with Baby Keem, up 56-13 for a new peak position. His seven-date east coast run started Monday (March 4) at Rod Laver Arena, Melbourne and wraps next Thursday, March 14 at Qudos Bank Arena, Sydney.

Homegrown electronic producer Cyril lands his first top 40 hit with “Stumblin’ In” (Spinnin’ Records /Warner), his reimaged house version of Suzi Quatro and Chris Norman’s ‘70s song, up 45-19. The original peaked at No. 2 back in 1979, and was co-produced and co-written by another Australian, Mike Chapman.

Meanwhile, Taylor Swift locks up the top 5 on the ARIA Albums Chart for the third consecutive week, with Lover (Universal) claiming the title for the first time in more than four years, up 2-1.

The Swift Sweep continues with 1989 (Taylor’s Version) (via Universal), Folklore (Republic/Universal), Midnights (Universal) and Reputation (Big Machine/Universal) respectively completing the top 5.

A handful of homegrown recording enter the ARIA Top 50 on debut, including Mildlife’s Chorus (at No. 36 via PIAS/Inertia), Donny Benét’s Infinite Desires (No. 46 via Donnyland Records/Orchard) and San Cisco’s Under The Light (No. 47 via ICR/MGM).