Sonic Youth, Diamond Seas<\/em><\/h2>\n\n\t\t\t![\"Sonic](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Sonic-Youth-Diamond-Seas.jpg?w=300\")
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\n\n\tSonic Youth haven\u2019t been an active band for a decade and a half, but they\u2019ve kept their fans happy with a steady stream of live archival releases (mostly thanks to the efforts of drummer Steve Shelley<\/a>). This latest offering is one of the coolest yet. Diamond Seas <\/em>highlights an underrated aspect of the noise-rock innovators\u2019 legacy by bringing in John Oswald, the guy behind the Grateful Dead\u2019s \u201cDark Star\u201d megamix Grayfolded<\/em><\/a>, to work his magic on their 1995 classic \u201cThe Diamond Sea.\u201d Oswald wove together 32 vintage live performances of the song into what promises to be a truly epic journey through oceans of feedback, filling both sides of a 12\u2033 on white vinyl (side A is all \u201995 shows, side B is all \u201996). What better way to celebrate the jammier side of SY? \u2014Simon Vozick-Levinson<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nNeil Young and the Chrome Hearts, As Time Explodes<\/em><\/h2>\n\n\t\t\t![\"Neil](\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\")
![\"Neil](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Neil-Young-and-Chrome-Hearts-as-time-explodes.jpg?w=300\")
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\n\n\tIn the summer of 2025, Neil Young played a spectacular series of concerts across Europe and North America with his new band, the Chrome Hearts<\/a>. The shows featured a mixture of classics like \u201cOhio,\u201d \u201cHarvest Moon,\u201d and \u201cLike a Hurricane,\u201d and fan-favorite deep cuts, including \u201cLooking Forward\u201d and \u201cName of Love\u201d from latter-day CSNY reunion albums, \u201cBe the Rain\u201d from his 2003 eco-rock album Greendale<\/em>, and \u201cBig Crime,\u201d a furious screed against the Trump administration that Young wrote on tour. These were intense, fiery shows, some of the best he\u2019s played in years. As always, Young recorded every one, and he cobbled together the best moments on this new collection, As Time Explodes<\/em>. A follow-up tour was originally booked for this summer, but Young wound up cancelling it. At least we have this live album to remember it.\u00a0\u2014Andy Greene<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nJoni Mitchell, For the Roses<\/em><\/h2>\n\n\t\t\t![\"Joni](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Joni-Mitchell-for-the-roses.jpg?w=300\")
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\n\n\tWhat happened after Joni Mitchell made her masterpiece, Blue<\/em>? Just shy of 30, the songwriter escaped her newfound stardom, relocating from Los Angeles to her home country of Canada. She settled in the remote, serene Sunshine Coast of British Columbia, living in a stone cabin with little electricity. It was there that she created For the Roses<\/em>, a follow-up that leaned into gritty, all-encompassing nature \u2014 while also sarcastically commenting on the music industry. That is mostly evident on the hit single \u201cYou Turn Me On I\u2019m a Radio,\u201d but also in the original album artwork, depicting roses coming out of a horse\u2019s behind, and now available for the first time on Record Store Day. Mitchell would return to L.A. excess for 1974\u2019s Court and Spark<\/em>, making For the Roses<\/em> her brief respite from the spotlight. More than 50 years on, the record is still severely underappreciated. Hopefully, this release changes that. \u2014Angie Martoccio<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nJeff Buckley, Live \u00e0 L\u2019Olympia<\/em><\/h2>\n\n\t\t\t![\"Jeff](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Jeff-Buckley-Live-at-Olympia.jpeg?w=300\")
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\n\n\tThere couldn\u2019t be better timing for the vinyl release of this posthumous Jeff Buckley live album. The record begins with an incandescent take on \u201cLover, You Should\u2019ve Come Over,\u201d a song that just became a bona fide Hot 100 hit<\/a> more than three decades after its release. From there, Buckley is in top form throughout this 1995 Paris performance: Along with top renditions of Grace<\/em> standbys, you can hear his cover of \u201cKick out the Jams,\u201d his goofy Led Zeppelin \u201cKashmir\u201d parody, and his location-appropriate cover of \u201cJe ne\u2019en Connais Pas la Fin.\u201d\u00a0\u2014Jonathan Bernstein<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nBruce Springsteen, Live from Asbury Park 2024<\/em><\/h2>\n\n\t\t\t![\"Bruce](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Bruce-Springsteen-Live-From-Asbury-Park.jpeg?w=300\")
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\n\n\tWhen Bruce Springsteen headlined the Sea.Hear.Now festival<\/a> in his adopted hometown of Asbury Park, New Jersey, in the summer of 2024, he threw his standard setlist into the shredder and played a nostalgic set of tunes from his earliest days with the E Street Band.\u00a0\u201cI put that in one of the top five or three shows we\u2019ve ever done,\u201d Springsteen told<\/a> Rolling Stone<\/em> the following year. \u201cThat\u2019s how special it was for me anyway. And partly because I was in that town when there was no one there, when it was a ghost town. So to be there for its rebirth and when it came back to life, and to see that happen on that beach in front of us on a beautiful September night was one of the loveliest performing experiences of my life.\u201d The show has been available as a download, but it truly deserves this physical release.\u00a0\u2014A.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nWeezer, 1192<\/em><\/h2>\n\n\t\t\t![\"Weezer,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/weezer-1192.jpg?w=300\")
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\n\n\tThe music that Weezer made on their 1994 debut has only gotten more popular with time; there\u2019s something about those songs that just keeps resonating with new generations of fans. Now we can go back to the source with the long-lost studio demos for the Blue Album. Recorded in November 1992 and forgotten until now, when former Weezer bassist Matt Sharp came across the reel-to-reel master tape, 1192<\/em> features the O.G. lineup of frontman Rivers Cuomo, drummer Pat Wilson, Sharp, and guitarist Jason Cropper running through early takes of \u201cSay It Ain\u2019t So,\u201d \u201cUndone (The Sweater Song),\u201d \u201cNo One Else,\u201d \u201cSurf Wax America,\u201d and \u201cThe World Has Turned and Left Me Here.\u201d Cropper would be out of the band by the time they finished the Blue Album, and Sharp left after one more LP. Those early days have been endlessly mythologized<\/a> by Weezer fans since then, and 1192<\/em> is something like a holy grail. \u2014S.V.L.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nTom Petty & the Heartbreakers, July 16, 1978 \u2013 Paradise Theater, Boston, MA<\/em><\/h2>\n\n\t\t\t![\"Tom](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Tom-Petty-and-Heartbreakers-paradise-theater.jpeg?w=300\")
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\n\n\tTom Petty and the Heartbreakers only had two albums in their discography when their tour bus pulled up at Boston\u2019s Paradise Theater in July 1978 for a ferocious, note-perfect show that became a legendary bootleg, thanks to local rock station WBCN-FM airing the whole thing. It\u2019s wild to hear Petty introducing \u201cI Need to Know\u201d as \u201cour new single,\u201d and an encore packed entirely with cover songs. A new Record Store Day release finally captures it all as an official release, with better sound quality than ever before, thanks to restoration work from longtime Petty producer\/engineer Ryan Ulyate.\u00a0 The release, pressed on pink-and-green vinyl, comes with a repro tour pass. \u2014Brian Hiatt<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nCharli XCX, \u2018Party 4 U\u2019 7\u2033<\/h2>\n\n\t\t\t![\"Charli](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/charli-xcx-party-4-u.jpeg?w=300\")
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\n\n\tCharli XCX is busy preparing her next checkmate move on the pop chessboard, with early reports<\/a> indicating that guitars will feature prominently on her eighth LP. (One song<\/a> evidently features the line, \u201cI think the dance floor is dead, so now we\u2019re making rock music.\u201d Got it!) While we wait for more, revisit the post-Pop 2<\/em>, pre-Brat <\/em>moment when she was getting deeper into electro mood music. This 2020 single was a highlight of her How I\u2019m Feeling Now<\/em> era, and it\u2019s won even more fans since then, reaching its chart peak just last year after a late-breaking TikTok surge. Now it\u2019s on ultra-clear vinyl for the first time, with an etching on side B. \u2014S.V.L.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nGrateful Dead, Boston Music Hall, Boston, MA 6\/11\/76<\/em><\/h2>\n\n\t\t\t![\"Grateful](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Grateful-Dead-Boston-Music-Hall.jpeg?w=300\")
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\n\n\tThe Dead released June 1976 <\/em>as a 15-CD box set<\/a> in 2020, but they specifically remastered this particular show from 6\/11\/76 on vinyl. Every Deadhead knows why: It\u2019s an early show from one of their most historic tours, when they returned to the road after they retired their massive Wall of Sound and Mickey Hart rejoined the band after a five-year sabbatical. Back in theaters for the first time in years, they basked in intimate, magical moments like \u201cLooks Like Rain\u201d and \u201cShip of Fools,\u201d with supreme vocal arrangements that would be discussed for decades. 50 years on, the music never stopped, and the conversation is still going. \u2014A.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nGil Scott-Heron, Reflections<\/em><\/h2>\n\n\t\t\t![\"Gil](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Gil-Scott-Heron-Reflections.jpeg?w=300\")
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\n\n\t\u201cWell, the first thing I want to say is, \u2018Mandate, my ass!\u2019\u201d That\u2019s actually from the final track on Reflections<\/em>, the spoken-word Reagan takedown \u201cB\u2019movie,\u201d but if the late poet taught us anything, it\u2019s that his proto-rap genius can hit at any time. The vinyl for Reflections <\/em>has been hard to come by \u2014 until now. The 1981 LP will be available in stunning purple, with original artwork and an obi side spine. Come for the covers of Bill Withers\u2019 \u201cGrandma\u2019s Hands\u201d and Marvin Gaye\u2019s \u201cInner City Blues (Make Me Wanna Holler),\u201d stay for the sensual jazz of \u201cMorning Thoughts.\u201d \u2014A.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nThe Who, A Quick One<\/em><\/h2>\n\n\t\t\t![\"The](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/the-who-a-quick-one.jpeg?w=300\")
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\n\n\tBefore Tommy<\/em>, there was \u201cA Quick One, While He\u2019s Away,\u201d Pete Townshend\u2019s quirky dry run at stringing together song-bits into a mini-rock-opera. (It wasn\u2019t quite his first attempt at the form \u2014 that was \u201cRael\u201d from The Who Sell Out<\/em>.) The nine-minute track is the centerpiece of A Quick One<\/em>, the 1966 album that\u2019s getting a deluxe Record Store Day release, with bonus outtakes. The album is a fascinating grab-bag look at the Who in their earlier years, from the John Entwistle oddball classic \u201cBoris the Spider\u201d to the preposterous, Keith Moon-let-loose instrumental track \u201cCobwebs and Strange.\u201d \u2014B.H.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nOlivia Dean, BBC Radio 1 Live Lounge 7\u2033<\/h2>\n\n\t\t\t![\"Olivia](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Olivia-Dean-Live-at-the-BBC.jpg?w=300\")
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\n\n\tIn September, Olivia Dean brought her luscious vocals to the BBC Radio 1 Live<\/a> Lounge to deliver a soulful rendition of her smash hit \u201cMan I Need,\u201d from her second album, The Art of Loving<\/em>. Now, fans can get a vinyl pressing of that special live performance for RSD as part of her \u201cBBC Radio 1 Live Lounge\u201d 7\u2033 release. The pressing features the hit single on side A and Dean\u2019s cover of Ravyn Lenae\u2019s \u201cLove Me Not,\u201d which she also performed on BBC 1 Live Lounge<\/a>, on side B. \u2014Maya Georgi<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nHilary Duff, (Mine)<\/em><\/h2>\n\n\t\t\t![\"Hilary](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Hillary-Duff-Mine.jpeg?w=300\")
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\n\n\t2026 is the year of the Duffaissance. The actress and singer released her comeback album<\/a> Luck\u2026.Or Something<\/em> earlier this year<\/a>, so it only made sense for her to make us go back, back to the beginning, to revisit \u201cCome Clean.\u201d Pressed on silver vinyl, (Mine)<\/em> features a present-day Hilary re-recording the 2004 classic, as well as the Lizzie McGuire Movie<\/em> highlight \u201cWhat Dreams Are Made Of\u201d and five more songs. \u201cThank you for continuing to love this song all these years,\u201d she said<\/a> when the \u201cCome Clean\u201d remake hit streaming last week. <\/a>\u201cIt\u2019s been so fun growing up with her.\u201d We have to agree. \u2014A.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nPeter Gabriel, \u2018Sledgehammer\u2019 7\u2033<\/h2>\n\n\t\t\t![\"Peter](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Peter-Gabriel-Sledgehammer.jpg?w=300\")
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\n\n\tPeter Gabriel\u2019s solo career can be neatly cleaved into two halves: pre-\u201cSledgehammer\u201d and post-\u201cSledgehammer.\u201d Prior to the breakthrough 1986 hit, he was a cult artist still trying to shake off the \u201cex-Genesis singer\u201d label. After \u201cSledgehammer,\u201d thanks in large part to its groundbreaking video, he was an MTV superstar playing sold-out arenas and appearing on the cover of Rolling Stone<\/em>.\u00a0 \u201cEveryone thinks, \u2018Oh, he must have created that to get a hit,’\u201d Gabriel told us<\/a> in 2012. \u201cAnd it wasn\u2019t done that way. In fact, [bassist] Tony Levin reminded me that he was packing his bags to go home, and I called him back into the studio, saying \u2018I\u2019ve got this one idea that maybe we can fool around with for the next record \u2013 but I like the feel.\u2019 That was \u2018Sledgehammer.\u2019 It was late in the day and we just fell into the groove, landed a beautiful drum track on it, a great bass line and it all came together.\u201d To celebrate the 40th anniversary, Gabriel is releasing the 12\u2033 version as a zoetrope picture disc with still images from the video stamped onto it.\u00a0 \u2014A.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nBlur, Live at the Budokan<\/em><\/h2>\n\n\t\t\t![\"Blur,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Blur-Live-at-the-Budokan.jpeg?w=300\")
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\n\n\tWill Blur ever play the U.S. again? Damon Albarn offered the tiniest crumb of hope the last time we asked him<\/a>, but we know to keep our expectations on this subject tempered by now. In the meantime, fans can remember what a brilliant live act they are and were by diving into this recording of a Tokyo date on their <\/em>1995 tour for The Great Escape<\/em>. Originally released 30 years ago in Japan but long out of print in physical formats, it\u2019s a two-LP document of their peak Britpop era, boasting a setlist packed with mid-Nineties hits from \u201cCharmless Man\u201d and \u201cCountry House\u201d to \u201cGirls and Boys\u201d and \u201cEnd of a Century.\u201d It\u2019s a gift for Blur fans who still think these were the best days<\/a>. \u2014S.V.L.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nCrosby, Stills & Nash, The Solo Albums<\/em><\/h2>\n\n\t\t\t![\"Crosby,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Crosby-Stills-Nash-the-Solo-Albums.jpeg?w=300\")
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\n\n\tThe enormous success of their 1969 debut LP as a trio turned David Crosby, Stephen Stills, and Graham Nash into superstars. The following year, after their buddy Neil joined and the whole thing imploded, the original three all headed into the studio to cut solo albums. Crosby\u2019s If I Could Only Remember My Name<\/em>, Stills\u2019 Stephen Stills<\/em>, and Nash\u2019s Songs for Beginners<\/em> are all extraordinary albums; in the decades that followed, none of them ever quite managed to top them on their own. For the first time ever, all three of them are packaged together in this four-LP box set, which also features a full record of demos, live tracks and stray songs from that era. In some ways, this is the 1971 CSN album that never happened. \u2014A.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nTaylor Swift, \u2018Elizabeth Taylor\u2019 7\u2033<\/h2>\n\n\t\t\t![\"Taylor](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/taylor-swift-elizabeth-taylor.jpg?w=300\")
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\n\n\tTaylor Swift\u2019s megastar power has played a role in Record Store Day, and the overall vinyl business, for a long time now. Last year, her 12th studio album, The Life of a Showgirl<\/em>, and its many variants helped U.S. vinyl sales surpass $1 billion in revenue for the first time since 1983. Now, Swift is releasing an exclusive, galactic purple-and-blue pressing of Showgirl<\/em> single \u201cElizabeth Taylor\u201d as part of RSD 2026. If you ever asked yourself, what could you possibly get for the girl who has everything and nothing all at once? Well, it\u2019s this record. Officially titled the \u201cCry My Eyes Violet Glitter\u201d edition, it includes the original album version of the song on side A and the stripped back, \u201cSo Glamorous Cabaret Version\u201d on the B-side. The record also features a black-and-white collectible artwork cover of Swift embodying the movie star she writes about. \u2014M.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nLook Outside Your Window, Look Outside Your Window<\/em><\/h2>\n\n\t\t\t![\"Look](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Look-Outside-Your-Window.jpg?w=300\")
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\n\n\tWhen Slipknot were recording All Hope Is Gone <\/em>in 2008, four out of the nine members took off their masks and formed an experimental alt-rock quartet called Look Outside Your Window<\/a>. They\u2019ve sat on releasing their self-titled debut for nearly two decades so that it could get the attention it deserves, and it does deserve attention. The music recalls Radiohead and Q Lazzarus, though with a slightly heavier edge, which may surprise the musicians\u2019 longtime fans and likely win over new ones who aren\u2019t into Slipknot\u2019s metal or theatrics. \u2014Kory Grow<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nThe Cars, Heartbeat City Live<\/em><\/h2>\n\n\t\t\t![\"The](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/The-Cars-Heartbreak-City-Live.jpg?w=300\")
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\n\n\t1984\u2019s Heartbeat City <\/em>was a pivotal album for the Cars, the one where their sleek new-wave hooks got even sleeker. Singles like \u201cYou Might Think,\u201d \u201cDrive,\u201d and \u201cMagic\u201d connected with a new MTV audience, and a band that had been cranking out top-shelf pop-rock for years was suddenly bigger than ever. This live set, originally released last year as part of a 40th anniversary reissue of the album, documents a September 1984 performance at a Houston arena. Turn it up and let the good times roll.\u2014S.V.L.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nThe Jayhawks, 2 Meter Sessions<\/em><\/h2>\n\n\t\t\t![\"The](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/The-Jayhawks-2-Meter-Sessions.jpg?w=300\")
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\n\n\tFans of the\u00a0Jayhawks\u2019 Gary Louris-driven period of the late Nineties are going to feast on this compilation of performances they did for a Dutch television show. Recordings from 1997 and 2000 show the band at its best on songs like \u201cMr. Wilson\u201d and \u201cI\u2019m Gonna Make You Love Me.\u201d Even more unique are the acoustic versions of Sound of Lies<\/em> standouts like \u201cBig Star.\u201d This recording is a long-overdue documentation of an overlooked period from these Minnesota legends.\u00a0\u2014J.B.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nAdrianne Lenker, Live at Revolution Hall<\/em><\/h2>\n\n\t\t\t![\"Adrianne](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Adrienne-Lenker-Live-at-Revolution-Hall.jpg?w=300\")
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\n\n\tThe first-ever vinyl pressing of Big Thief singer Adrianne Lenker\u2019s innovatively tracked live album is a must-have. Over a whopping 43 tracks (or, in this case, six sides), Lenker performs signature Big Thief tunes (\u201cLittle Things,\u201d \u201cSpud Infinity\u201d) and devastating solo selections (\u201cSadness Is a Gift\u201d) in a mix of fidelities: Some songs are pristine documents that make you feel like you\u2019re onstage next to her; others feel more like field recordings. At one point, Lenker even teases \u201cI Will Always Love You.\u201d It\u2019s the perfect recording for any fan of Big Thief.\u00a0\u2014J.B.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nWire, Read & Burn 03<\/em><\/h2>\n\n\t\t\t![\"Wire,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Wire-Read-and-Burn.jpg?w=300\")
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\n\n\tWhen art-punk firebrands Wire re-emerged from a hiatus that lasted most of the Nineties, they returned with a series of EPs. Read & Burn 03<\/em>, which came out in 2007, featured four highly textured, urgent-sounding songs, including the nearly 10-minute \u201c23 Years Too Late,\u201d whose surrealistic lyrics complemented the group\u2019s mixture of avant-garde ambience and Cockney punk. It was the last new music recorded by the band\u2019s original lineup. This reissue expands the track list with two versions of \u201cDesert Driving,\u201d a song that\u2019s an echo of their Chairs Missing <\/em>track \u201cHeartbeat\u201d; the original mix of \u201cOur Time\u201d; and \u201cDip Flash,\u201d which presaged \u201c23 Years Too Late.\u201d \u2014K.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nMama Cass, Dream a Little Dream<\/em><\/h2>\n\n\t\t\t![\"Mama](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/Mama-Cass-Dream-a-Little-Dream.jpg?w=300\")
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\n\n\tCass Elliot\u2019s solo debut is a must-have this Record Store Day, pressed on violet vinyl and including two bonus covers: John Sebastian\u2019s \u201cDarling Be Home Soon\u201d and Joni Mitchell\u2019s \u201cSisotowbell Lane.\u201d The rest of the album features A-list personnel, including Sebastian, Stephen Stills, and Wrecking Crew drummer Hal Blaine. As Elliot told Rolling Stone<\/em><\/a> in 1968, \u201cDavid Crosby said about a dozen times it took him further than he\u2019d meant to go, which I thought was such a groovy compliment.\u201d Ditto what Croz said. \u2014A.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nJohn Lennon, Love Meditation Mixes<\/em><\/h2>\n\n\t\t\t![\"John](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/04\/John-Lennon-Meditation-Mixes.jpg?w=300\")
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\n\n\tLove was a cottage industry for John Lennon. There was \u201cAll You Need Is Love,\u201d \u201cReal Love,\u201d \u201cOh, My Love,\u201d and, of course, the Plastic Ono Band <\/em>song \u201cLove.\u201d Lennon\u2019s son, Sean, continues the family business by turning that last song into meditations on this release, which features three LPs containing radical, ambient re-workings of \u201cLove.\u201d Some are slower, some are extended, and some feature new instrumentation by Sean, John, and Yoko Ono. There\u2019s even one LP side filled with mantras like \u201creal,\u201d \u201cknowing,\u201d \u201cfree,\u201d and \u201cwanting.\u201d It\u2019s a lot to consider, and that\u2019s the point. \u2014K.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
\t\t\t\t\t<\/figure>\n\t<\/p>\n
\n\tSonic Youth haven\u2019t been an active band for a decade and a half, but they\u2019ve kept their fans happy with a steady stream of live archival releases (mostly thanks to the efforts of drummer Steve Shelley<\/a>). This latest offering is one of the coolest yet. Diamond Seas <\/em>highlights an underrated aspect of the noise-rock innovators\u2019 legacy by bringing in John Oswald, the guy behind the Grateful Dead\u2019s \u201cDark Star\u201d megamix Grayfolded<\/em><\/a>, to work his magic on their 1995 classic \u201cThe Diamond Sea.\u201d Oswald wove together 32 vintage live performances of the song into what promises to be a truly epic journey through oceans of feedback, filling both sides of a 12\u2033 on white vinyl (side A is all \u201995 shows, side B is all \u201996). What better way to celebrate the jammier side of SY? \u2014Simon Vozick-Levinson<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tIn the summer of 2025, Neil Young played a spectacular series of concerts across Europe and North America with his new band, the Chrome Hearts<\/a>. The shows featured a mixture of classics like \u201cOhio,\u201d \u201cHarvest Moon,\u201d and \u201cLike a Hurricane,\u201d and fan-favorite deep cuts, including \u201cLooking Forward\u201d and \u201cName of Love\u201d from latter-day CSNY reunion albums, \u201cBe the Rain\u201d from his 2003 eco-rock album Greendale<\/em>, and \u201cBig Crime,\u201d a furious screed against the Trump administration that Young wrote on tour. These were intense, fiery shows, some of the best he\u2019s played in years. As always, Young recorded every one, and he cobbled together the best moments on this new collection, As Time Explodes<\/em>. A follow-up tour was originally booked for this summer, but Young wound up cancelling it. At least we have this live album to remember it.\u00a0\u2014Andy Greene<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tWhat happened after Joni Mitchell made her masterpiece, Blue<\/em>? Just shy of 30, the songwriter escaped her newfound stardom, relocating from Los Angeles to her home country of Canada. She settled in the remote, serene Sunshine Coast of British Columbia, living in a stone cabin with little electricity. It was there that she created For the Roses<\/em>, a follow-up that leaned into gritty, all-encompassing nature \u2014 while also sarcastically commenting on the music industry. That is mostly evident on the hit single \u201cYou Turn Me On I\u2019m a Radio,\u201d but also in the original album artwork, depicting roses coming out of a horse\u2019s behind, and now available for the first time on Record Store Day. Mitchell would return to L.A. excess for 1974\u2019s Court and Spark<\/em>, making For the Roses<\/em> her brief respite from the spotlight. More than 50 years on, the record is still severely underappreciated. Hopefully, this release changes that. \u2014Angie Martoccio<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThere couldn\u2019t be better timing for the vinyl release of this posthumous Jeff Buckley live album. The record begins with an incandescent take on \u201cLover, You Should\u2019ve Come Over,\u201d a song that just became a bona fide Hot 100 hit<\/a> more than three decades after its release. From there, Buckley is in top form throughout this 1995 Paris performance: Along with top renditions of Grace<\/em> standbys, you can hear his cover of \u201cKick out the Jams,\u201d his goofy Led Zeppelin \u201cKashmir\u201d parody, and his location-appropriate cover of \u201cJe ne\u2019en Connais Pas la Fin.\u201d\u00a0\u2014Jonathan Bernstein<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tWhen Bruce Springsteen headlined the Sea.Hear.Now festival<\/a> in his adopted hometown of Asbury Park, New Jersey, in the summer of 2024, he threw his standard setlist into the shredder and played a nostalgic set of tunes from his earliest days with the E Street Band.\u00a0\u201cI put that in one of the top five or three shows we\u2019ve ever done,\u201d Springsteen told<\/a> Rolling Stone<\/em> the following year. \u201cThat\u2019s how special it was for me anyway. And partly because I was in that town when there was no one there, when it was a ghost town. So to be there for its rebirth and when it came back to life, and to see that happen on that beach in front of us on a beautiful September night was one of the loveliest performing experiences of my life.\u201d The show has been available as a download, but it truly deserves this physical release.\u00a0\u2014A.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThe music that Weezer made on their 1994 debut has only gotten more popular with time; there\u2019s something about those songs that just keeps resonating with new generations of fans. Now we can go back to the source with the long-lost studio demos for the Blue Album. Recorded in November 1992 and forgotten until now, when former Weezer bassist Matt Sharp came across the reel-to-reel master tape, 1192<\/em> features the O.G. lineup of frontman Rivers Cuomo, drummer Pat Wilson, Sharp, and guitarist Jason Cropper running through early takes of \u201cSay It Ain\u2019t So,\u201d \u201cUndone (The Sweater Song),\u201d \u201cNo One Else,\u201d \u201cSurf Wax America,\u201d and \u201cThe World Has Turned and Left Me Here.\u201d Cropper would be out of the band by the time they finished the Blue Album, and Sharp left after one more LP. Those early days have been endlessly mythologized<\/a> by Weezer fans since then, and 1192<\/em> is something like a holy grail. \u2014S.V.L.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tTom Petty and the Heartbreakers only had two albums in their discography when their tour bus pulled up at Boston\u2019s Paradise Theater in July 1978 for a ferocious, note-perfect show that became a legendary bootleg, thanks to local rock station WBCN-FM airing the whole thing. It\u2019s wild to hear Petty introducing \u201cI Need to Know\u201d as \u201cour new single,\u201d and an encore packed entirely with cover songs. A new Record Store Day release finally captures it all as an official release, with better sound quality than ever before, thanks to restoration work from longtime Petty producer\/engineer Ryan Ulyate.\u00a0 The release, pressed on pink-and-green vinyl, comes with a repro tour pass. \u2014Brian Hiatt<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tCharli XCX is busy preparing her next checkmate move on the pop chessboard, with early reports<\/a> indicating that guitars will feature prominently on her eighth LP. (One song<\/a> evidently features the line, \u201cI think the dance floor is dead, so now we\u2019re making rock music.\u201d Got it!) While we wait for more, revisit the post-Pop 2<\/em>, pre-Brat <\/em>moment when she was getting deeper into electro mood music. This 2020 single was a highlight of her How I\u2019m Feeling Now<\/em> era, and it\u2019s won even more fans since then, reaching its chart peak just last year after a late-breaking TikTok surge. Now it\u2019s on ultra-clear vinyl for the first time, with an etching on side B. \u2014S.V.L.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThe Dead released June 1976 <\/em>as a 15-CD box set<\/a> in 2020, but they specifically remastered this particular show from 6\/11\/76 on vinyl. Every Deadhead knows why: It\u2019s an early show from one of their most historic tours, when they returned to the road after they retired their massive Wall of Sound and Mickey Hart rejoined the band after a five-year sabbatical. Back in theaters for the first time in years, they basked in intimate, magical moments like \u201cLooks Like Rain\u201d and \u201cShip of Fools,\u201d with supreme vocal arrangements that would be discussed for decades. 50 years on, the music never stopped, and the conversation is still going. \u2014A.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\t\u201cWell, the first thing I want to say is, \u2018Mandate, my ass!\u2019\u201d That\u2019s actually from the final track on Reflections<\/em>, the spoken-word Reagan takedown \u201cB\u2019movie,\u201d but if the late poet taught us anything, it\u2019s that his proto-rap genius can hit at any time. The vinyl for Reflections <\/em>has been hard to come by \u2014 until now. The 1981 LP will be available in stunning purple, with original artwork and an obi side spine. Come for the covers of Bill Withers\u2019 \u201cGrandma\u2019s Hands\u201d and Marvin Gaye\u2019s \u201cInner City Blues (Make Me Wanna Holler),\u201d stay for the sensual jazz of \u201cMorning Thoughts.\u201d \u2014A.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tBefore Tommy<\/em>, there was \u201cA Quick One, While He\u2019s Away,\u201d Pete Townshend\u2019s quirky dry run at stringing together song-bits into a mini-rock-opera. (It wasn\u2019t quite his first attempt at the form \u2014 that was \u201cRael\u201d from The Who Sell Out<\/em>.) The nine-minute track is the centerpiece of A Quick One<\/em>, the 1966 album that\u2019s getting a deluxe Record Store Day release, with bonus outtakes. The album is a fascinating grab-bag look at the Who in their earlier years, from the John Entwistle oddball classic \u201cBoris the Spider\u201d to the preposterous, Keith Moon-let-loose instrumental track \u201cCobwebs and Strange.\u201d \u2014B.H.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tIn September, Olivia Dean brought her luscious vocals to the BBC Radio 1 Live<\/a> Lounge to deliver a soulful rendition of her smash hit \u201cMan I Need,\u201d from her second album, The Art of Loving<\/em>. Now, fans can get a vinyl pressing of that special live performance for RSD as part of her \u201cBBC Radio 1 Live Lounge\u201d 7\u2033 release. The pressing features the hit single on side A and Dean\u2019s cover of Ravyn Lenae\u2019s \u201cLove Me Not,\u201d which she also performed on BBC 1 Live Lounge<\/a>, on side B. \u2014Maya Georgi<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\t2026 is the year of the Duffaissance. The actress and singer released her comeback album<\/a> Luck\u2026.Or Something<\/em> earlier this year<\/a>, so it only made sense for her to make us go back, back to the beginning, to revisit \u201cCome Clean.\u201d Pressed on silver vinyl, (Mine)<\/em> features a present-day Hilary re-recording the 2004 classic, as well as the Lizzie McGuire Movie<\/em> highlight \u201cWhat Dreams Are Made Of\u201d and five more songs. \u201cThank you for continuing to love this song all these years,\u201d she said<\/a> when the \u201cCome Clean\u201d remake hit streaming last week. <\/a>\u201cIt\u2019s been so fun growing up with her.\u201d We have to agree. \u2014A.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tPeter Gabriel\u2019s solo career can be neatly cleaved into two halves: pre-\u201cSledgehammer\u201d and post-\u201cSledgehammer.\u201d Prior to the breakthrough 1986 hit, he was a cult artist still trying to shake off the \u201cex-Genesis singer\u201d label. After \u201cSledgehammer,\u201d thanks in large part to its groundbreaking video, he was an MTV superstar playing sold-out arenas and appearing on the cover of Rolling Stone<\/em>.\u00a0 \u201cEveryone thinks, \u2018Oh, he must have created that to get a hit,’\u201d Gabriel told us<\/a> in 2012. \u201cAnd it wasn\u2019t done that way. In fact, [bassist] Tony Levin reminded me that he was packing his bags to go home, and I called him back into the studio, saying \u2018I\u2019ve got this one idea that maybe we can fool around with for the next record \u2013 but I like the feel.\u2019 That was \u2018Sledgehammer.\u2019 It was late in the day and we just fell into the groove, landed a beautiful drum track on it, a great bass line and it all came together.\u201d To celebrate the 40th anniversary, Gabriel is releasing the 12\u2033 version as a zoetrope picture disc with still images from the video stamped onto it.\u00a0 \u2014A.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tWill Blur ever play the U.S. again? Damon Albarn offered the tiniest crumb of hope the last time we asked him<\/a>, but we know to keep our expectations on this subject tempered by now. In the meantime, fans can remember what a brilliant live act they are and were by diving into this recording of a Tokyo date on their <\/em>1995 tour for The Great Escape<\/em>. Originally released 30 years ago in Japan but long out of print in physical formats, it\u2019s a two-LP document of their peak Britpop era, boasting a setlist packed with mid-Nineties hits from \u201cCharmless Man\u201d and \u201cCountry House\u201d to \u201cGirls and Boys\u201d and \u201cEnd of a Century.\u201d It\u2019s a gift for Blur fans who still think these were the best days<\/a>. \u2014S.V.L.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThe enormous success of their 1969 debut LP as a trio turned David Crosby, Stephen Stills, and Graham Nash into superstars. The following year, after their buddy Neil joined and the whole thing imploded, the original three all headed into the studio to cut solo albums. Crosby\u2019s If I Could Only Remember My Name<\/em>, Stills\u2019 Stephen Stills<\/em>, and Nash\u2019s Songs for Beginners<\/em> are all extraordinary albums; in the decades that followed, none of them ever quite managed to top them on their own. For the first time ever, all three of them are packaged together in this four-LP box set, which also features a full record of demos, live tracks and stray songs from that era. In some ways, this is the 1971 CSN album that never happened. \u2014A.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tTaylor Swift\u2019s megastar power has played a role in Record Store Day, and the overall vinyl business, for a long time now. Last year, her 12th studio album, The Life of a Showgirl<\/em>, and its many variants helped U.S. vinyl sales surpass $1 billion in revenue for the first time since 1983. Now, Swift is releasing an exclusive, galactic purple-and-blue pressing of Showgirl<\/em> single \u201cElizabeth Taylor\u201d as part of RSD 2026. If you ever asked yourself, what could you possibly get for the girl who has everything and nothing all at once? Well, it\u2019s this record. Officially titled the \u201cCry My Eyes Violet Glitter\u201d edition, it includes the original album version of the song on side A and the stripped back, \u201cSo Glamorous Cabaret Version\u201d on the B-side. The record also features a black-and-white collectible artwork cover of Swift embodying the movie star she writes about. \u2014M.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tWhen Slipknot were recording All Hope Is Gone <\/em>in 2008, four out of the nine members took off their masks and formed an experimental alt-rock quartet called Look Outside Your Window<\/a>. They\u2019ve sat on releasing their self-titled debut for nearly two decades so that it could get the attention it deserves, and it does deserve attention. The music recalls Radiohead and Q Lazzarus, though with a slightly heavier edge, which may surprise the musicians\u2019 longtime fans and likely win over new ones who aren\u2019t into Slipknot\u2019s metal or theatrics. \u2014Kory Grow<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\t1984\u2019s Heartbeat City <\/em>was a pivotal album for the Cars, the one where their sleek new-wave hooks got even sleeker. Singles like \u201cYou Might Think,\u201d \u201cDrive,\u201d and \u201cMagic\u201d connected with a new MTV audience, and a band that had been cranking out top-shelf pop-rock for years was suddenly bigger than ever. This live set, originally released last year as part of a 40th anniversary reissue of the album, documents a September 1984 performance at a Houston arena. Turn it up and let the good times roll.\u2014S.V.L.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tFans of the\u00a0Jayhawks\u2019 Gary Louris-driven period of the late Nineties are going to feast on this compilation of performances they did for a Dutch television show. Recordings from 1997 and 2000 show the band at its best on songs like \u201cMr. Wilson\u201d and \u201cI\u2019m Gonna Make You Love Me.\u201d Even more unique are the acoustic versions of Sound of Lies<\/em> standouts like \u201cBig Star.\u201d This recording is a long-overdue documentation of an overlooked period from these Minnesota legends.\u00a0\u2014J.B.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThe first-ever vinyl pressing of Big Thief singer Adrianne Lenker\u2019s innovatively tracked live album is a must-have. Over a whopping 43 tracks (or, in this case, six sides), Lenker performs signature Big Thief tunes (\u201cLittle Things,\u201d \u201cSpud Infinity\u201d) and devastating solo selections (\u201cSadness Is a Gift\u201d) in a mix of fidelities: Some songs are pristine documents that make you feel like you\u2019re onstage next to her; others feel more like field recordings. At one point, Lenker even teases \u201cI Will Always Love You.\u201d It\u2019s the perfect recording for any fan of Big Thief.\u00a0\u2014J.B.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tWhen art-punk firebrands Wire re-emerged from a hiatus that lasted most of the Nineties, they returned with a series of EPs. Read & Burn 03<\/em>, which came out in 2007, featured four highly textured, urgent-sounding songs, including the nearly 10-minute \u201c23 Years Too Late,\u201d whose surrealistic lyrics complemented the group\u2019s mixture of avant-garde ambience and Cockney punk. It was the last new music recorded by the band\u2019s original lineup. This reissue expands the track list with two versions of \u201cDesert Driving,\u201d a song that\u2019s an echo of their Chairs Missing <\/em>track \u201cHeartbeat\u201d; the original mix of \u201cOur Time\u201d; and \u201cDip Flash,\u201d which presaged \u201c23 Years Too Late.\u201d \u2014K.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tCass Elliot\u2019s solo debut is a must-have this Record Store Day, pressed on violet vinyl and including two bonus covers: John Sebastian\u2019s \u201cDarling Be Home Soon\u201d and Joni Mitchell\u2019s \u201cSisotowbell Lane.\u201d The rest of the album features A-list personnel, including Sebastian, Stephen Stills, and Wrecking Crew drummer Hal Blaine. As Elliot told Rolling Stone<\/em><\/a> in 1968, \u201cDavid Crosby said about a dozen times it took him further than he\u2019d meant to go, which I thought was such a groovy compliment.\u201d Ditto what Croz said. \u2014A.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tLove was a cottage industry for John Lennon. There was \u201cAll You Need Is Love,\u201d \u201cReal Love,\u201d \u201cOh, My Love,\u201d and, of course, the Plastic Ono Band <\/em>song \u201cLove.\u201d Lennon\u2019s son, Sean, continues the family business by turning that last song into meditations on this release, which features three LPs containing radical, ambient re-workings of \u201cLove.\u201d Some are slower, some are extended, and some feature new instrumentation by Sean, John, and Yoko Ono. There\u2019s even one LP side filled with mantras like \u201creal,\u201d \u201cknowing,\u201d \u201cfree,\u201d and \u201cwanting.\u201d It\u2019s a lot to consider, and that\u2019s the point. \u2014K.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\nNeil Young and the Chrome Hearts, As Time Explodes<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nJoni Mitchell, For the Roses<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nJeff Buckley, Live \u00e0 L\u2019Olympia<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nBruce Springsteen, Live from Asbury Park 2024<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nWeezer, 1192<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nTom Petty & the Heartbreakers, July 16, 1978 \u2013 Paradise Theater, Boston, MA<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nCharli XCX, \u2018Party 4 U\u2019 7\u2033<\/h2>\n
\t\t\t\t\t<\/figure>\nGrateful Dead, Boston Music Hall, Boston, MA 6\/11\/76<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nGil Scott-Heron, Reflections<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nThe Who, A Quick One<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nOlivia Dean, BBC Radio 1 Live Lounge 7\u2033<\/h2>\n
\t\t\t\t\t<\/figure>\nHilary Duff, (Mine)<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nPeter Gabriel, \u2018Sledgehammer\u2019 7\u2033<\/h2>\n
\t\t\t\t\t<\/figure>\nBlur, Live at the Budokan<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nCrosby, Stills & Nash, The Solo Albums<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nTaylor Swift, \u2018Elizabeth Taylor\u2019 7\u2033<\/h2>\n
\t\t\t\t\t<\/figure>\nLook Outside Your Window, Look Outside Your Window<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nThe Cars, Heartbeat City Live<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nThe Jayhawks, 2 Meter Sessions<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nAdrianne Lenker, Live at Revolution Hall<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nWire, Read & Burn 03<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nMama Cass, Dream a Little Dream<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\nJohn Lennon, Love Meditation Mixes<\/em><\/h2>\n
\t\t\t\t\t<\/figure>\n