Restoring the King: My Thoughts on Elvis EPiC

I watched the new Elvis EPiC film directed by Baz Luhrmann, and I have to say, it was a fascinating experience from beginning to end. There were several surprising facts revealed throughout the documentary-style archival segments, and I wanted to go over a few of them while also giving my thoughts on the film itself.

One thing I should point out is that much of the footage featured in the movie has already circulated online for years, particularly on YouTube. However, when the marketing for Elvis mentioned “never-before-seen footage,” it mainly referred to restored clips, alternate camera angles, behind-the-scenes material, and archival elements that had not been widely presented in documentaries or theatrical releases before. It did not necessarily mean that every interview shown in the film was completely new to the public.

I had already watched some of Elvis’s interviews prior to seeing the movie, but I had never seen portions of his 1972 Las Vegas residency performances in such remarkable quality. There were also several intimate behind-the-scenes moments of Elvis singing that I had never encountered before, which made the experience even more absorbing. Perhaps what I appreciated most were the meticulous high-quality restorations, the different edits and extended snippets of footage, the seamless integration of dramatized scenes with authentic archival material, and the apparent access to material from the Presley archives. The film gave the footage a renewed sense of vitality and immediacy. I especially enjoyed the sequences showing Elvis entering the Army, as those moments carried a certain poignancy knowing how dramatically his life and career would later evolve.

What surprised me most, however, were some of the statistics presented at the end of the film. One fact revealed that Elvis never performed outside North America, despite reportedly wanting to tour places such as Japan and Europe. The only time he ever truly left the country was during his military service in Germany. Another astonishing revelation was the sheer intensity of his touring schedule during the final years of his career. Between 1969 and 1977, Elvis performed an incredible 1,100 concerts in just eight years. Even more shocking, there were occasions where he would perform as many as three shows in a single day. When viewed in that context, the exhaustion visible in his later years becomes far easier to understand.

The film ultimately succeeds not only as a visually extravagant musical spectacle, but also as a rather tragic portrait of a man consumed by relentless performance demands, fame, and the machinery surrounding celebrity itself. Regardless of how familiar one may already be with Elvis Presley’s life story, the restoration work and archival presentation alone make the film worth watching.

EPiC: Elvis Presley in Concert trailer:



I still have yet to see the Elvis biopic starring Austin Butler. I know I mentioned in a past blog that I would eventually review that film as well, but I am admittedly a bit behind. That will definitely be the next Elvis-related film on my viewing list.

That said, I highly recommend this documentary-style film to anyone with even a passing interest in Elvis Presley or to those simply wanting to learn more about his life, career, and the astonishing intensity of the fame that surrounded him. The archival restorations, behind-the-scenes material, and historical perspective alone make it an engrossing and worthwhile viewing experience.

Artists vs. Airplay: The American Music Fairness Act and Radio’s Role in 2026

I hit “submit” on the form supporting the American Music Fairness Act… but if I’m being honest, I’m still not 100% sure where I stand.

On paper, the American Music Fairness Act sounds like common sense. It would require AM/FM radio stations to pay performers when their songs are played—something that already happens on streaming platforms like Spotify and Apple Music. And when you hear that radio generates billions in advertising revenue, it’s hard not to think: yeah… artists should probably get a piece of that.

But the deeper I thought about it, the more complicated it got.

From the artist perspective—especially indie and legacy artists—this could be a really big deal. Legacy artists who aren’t touring anymore still get spins on the radio, yet they don’t earn anything from those plays as performers under the current system. Indie artists, too, can land radio play and gain exposure, but exposure doesn’t pay bills. Even a small royalty could turn that moment of airplay into something tangible. That’s where the emotional weight of this argument really hits: if music is generating revenue, shouldn’t the people who made it share in that?

At the same time, I can’t ignore the other side of it.

Streaming platforms already pay performers. So part of me keeps asking—are we now expecting radio to do the same thing, too? Is that fair, or is it changing the rules of a system that’s always worked differently? Radio has traditionally been seen as promotion. It’s helped break artists, build fanbases, and push songs into the mainstream. So where exactly is the line between promotion and profit in 2026?

Then there’s the money question.

Is there actually enough to go around if every performer gets paid for every spin? Supporters of the bill say yes, pointing out that fees would be limited for small stations and scaled so larger corporations carry more of the burden. Critics, though, worry about the strain—especially for smaller broadcasters trying to stay afloat. The truth probably sits somewhere in the middle, but it’s a real concern worth talking about.

What I keep coming back to is this:

Without artists, there is no radio.

But at the same time…

Without radio, a lot of artists wouldn’t have careers.

And that’s where this debate really lives—in that tension. It’s not as simple as “pay artists” versus “protect radio.” It’s about redefining a relationship that’s existed for decades and figuring out what fairness actually looks like in today’s music industry.

So yeah, I signed the form. I support artists getting paid. But I also think this is one of those issues where it’s okay to sit in the gray area for a minute and really think it through.

Because the answer isn’t as obvious as it first seems.

Want to Take Action?
Sign here: https://musicfirstcoalition.org/take-action-new/https://musicfirstcoalition.org/take-action-new/

Why I Love This Joe Jackson Interview: Music, Creativity, Career Stories & Live Performances

One of my favorite interviews with Joe Jackson, this piece offers an engaging and insightful look into both his career and creative mind. Throughout the conversation, Jackson reflects on his journey as a successful artist, his time studying at the Royal Academy of Music in London, and the evolution of his songwriting process.

He also delves into the inspiration behind his work, including his Grammy Award-winning album Symphony No. 1, sharing how his classical influences intersect with his roots in punk and new wave. His thoughts on punk rock and the artists who shaped that era add an extra layer of depth, especially for longtime fans.

The interview is further enriched by stories from his time living in Berlin and New York, giving a glimpse into how different environments have influenced his music. Interspersed throughout are intimate solo live performances, making the experience feel both personal and immersive.



New track:



I’ll be seeing Joe Jackson again this summer, and I’m really looking forward to it. It’s been a while since I’ve caught one of his shows, so this feels especially exciting. If you get the chance, I highly recommend seeing him live—his new Hope and Fury tour (also the title of his latest album) is shaping up to be something special.

Todd Rundgren & The Call Team Up for 2026 EP Release of Classic Hit

Originally released in 1983 by The Call, “The Walls Came Down” became one of the band’s most powerful and enduring songs. Written by frontman Michael Been, the track captured the tension and uncertainty of the Cold War era with its urgent lyrics and driving sound. Decades later, the song still resonates just as strongly, which may be why it has remained a favorite in the live shows of Todd Rundgren.

After performing the song live for years, Rundgren eventually teamed up with surviving members of the band to record an official studio version—bringing new life to a classic while honoring the spirit of the original. The new EP is scheduled for release on March 27, 2026.



I can’t help but love this collaboration between Todd Rundgren and The Call. Rundgren has been performing the band’s classic song “The Walls Came Down” live in concert for years, and hearing his version for the first time is really exciting. It’s easy to see why the song has become such a standout in his live shows. That’s why it’s especially great to finally hear his take captured in an official recording. The release of this new EP makes this collaboration even more exciting.

It’s always great to see a classic song find new life through collaboration, and this version proves just how timeless “The Walls Came Down” really is.

Love Songs: Handpicked Heartbeats, Radio Hits, and Other Delights 💘💋🔑

Valentine’s Day is supposed to be about quiet candlelight and tasteful background music, but if we’re honest, most of our real love stories sound more like a mixtape burned at 2 a.m.—a little messy, wildly sincere, and occasionally questionable. I curated this playlist for Valentine’s Day with that in mind. Some of these tracks are handpicked radio hits that feel tailor‑made for the occasion; others are deep cuts and lesser‑known tunes that just hit me in the chest in the right way. I threw in some classic oldies, too—you can’t have a Valentine’s Day playlist without “Unchained Melody” by the Righteous Brothers, the gold standard of slow‑dance devotion. And I had to include Stevie Wonder’s “I Just Called to Say I Love You,” because the lyrics speak so simply and directly to being in love that it feels like overhearing someone serenade the person they adore, no pretense, just feeling.

I also purposely added two Elton John songs. I couldn’t leave off “No Valentines.” On the surface, it plays like an “anti–Valentine’s Day” ballad about loneliness, disillusionment with romance, and the sense that all the usual gestures—cards, hearts, the holiday itself—lose their meaning after heartbreak. I like the artistic idea behind it: a melancholy counterpoint to the usual Valentine’s sugar rush, a song that focuses on the absence of love rather than its celebration. It may be anti‑Valentine’s Day, but it belongs here, because every good love‑song playlist needs a shadow to make the light shine a little brighter.

Valentine’s Day Love Songs Playlist

“Every Day I Write the Book” – Elvis Costello

“My Funny Valentine” – Frank Sinatra

“Too Much Passion” – The Smithereens

“Cupid Must Be Angry” – Nick Lowe

“I Guess That’s Why They Call It the Blues” – Elton John

“Under My Thumb” – The Rolling Stones

“The Shoop Shoop Song (It’s in His Kiss)” – Cher

“No Valentines” – Elton John

“Lips Like Sugar” – Echo & the Bunnymen

“She Loves Me” – Stephen Duffy

“Wonderful” – Adam Ant

“If Sugar Was as Sweet as You” – Rockpile

“Now That I Have Found You” – The Juliana Hatfield Three

“Happy Loving Couples” – Joe Jackson

“Four Leaf Clover” – Catherine

"Modern Love" - David Bowie

“She Belongs to Me” – The Ramones

“What a Crying Shame” – The Mavericks

"You Got It" - Roy Orbison

“Tempted” – Squeeze

“Arthur’s Theme (Best That You Can Do)” – Christopher Cross

“It’s Different for Girls” – Joe Jackson

“Every Breath You Take” – The Police

“Love My Way” – The Psychedelic Furs

“Unchained Melody” – The Righteous Brothers

“The Lady in Red” – Chris de Burgh

“Fools Rush In” – Elvis Presley

“I Just Called to Say I Love You” – Stevie Wonder

"Baby, Baby" - Amy Grant

“Hammer in My Heart” – Utopia

"Higher Love" - Steve Winwood

“Juju Man” – Dave Edmunds

“Mystify” – INXS

“Every Time I See Her” – Dave Edmunds

“For Your Babies” – Simply Red

“Love Plus One” – Haircut 100

“At Last” – Etta James

“I Can’t Help Myself (Sugar Pie, Honey Bunch)” – The Four Tops

“In Your Arms” – Erasure

“Never Tear Us Apart” – INXS

“How Sweet It Is (To Be Loved by You)” – Marvin Gaye

“Love Shack” – The B‑52’s

Valentine’s Day playlists are never really finished; they just collect new stories. I like the idea that this one can keep evolving past whatever year you’re reading this, so consider this your invitation to help me wreck it (lovingly). Drop your own embarrassing favorites, anti‑Valentine’s anthems, slow‑dance staples, and “we really shouldn’t have called this our song” tracks in the comments. I’ll keep adding standouts to the list—because if love is a little chaotic, the soundtrack should be too.❤️

🎸 Rockin’ Into the New Year: A Retro MTV Journey from the ’80s to the ’90s 🎊

I can’t believe it’s already been a year since last year’s New Year’s post. I hadn’t planned on posting anything New Years-oriented this year, but why not make it a Wafflesound Music tradition? After publishing last year’s blog, I thought, “Aww, I could have added this video!” So, I decided to share it this year. It’s an MTV New Year’s Eve Rock n Roll Ball from 1987, featuring Dave Edmunds and friends. How fun! ♪♫.

Below is the full show from 1987:



Here's another cool video. This is the 1996 MTV video music awards complete with commercials and pre-show:



Watching this evokes a wave of nostalgia that's hard to resist. Those performances light up my face with both smiles and wistful sighs—MTV was truly a gem in those days. By the mid-nineties, the channel had transformed, yet it still held onto that enchanting aura. I recall sitting in my bedroom, eagerly awaiting my favorite music videos, rewinding VCR tapes to relive the performances that stole my heart, and tuning into award shows just to witness the thrilling chaos unfold live. Music videos were a vibrant tapestry of grunge, alternative rock, pop, and hip-hop, while televised concerts and award shows became exhilarating events—electric, unpredictable, and brimming with life.

I often wish for just a fleeting moment to be transported back to that mid-nineties realm—when life seemed simpler and nostalgia wasn’t merely something we viewed on a screen but a vivid experience we lived. Though we can't rewind time, thanks to YouTube and archived clips, I can at least glimpse those cherished days and reignite a flicker of that magic all over again.

Happy New Year! Crank up the tunes, celebrate the moments, and let’s rock 2026 like it’s a classic MTV night! 🎸🎉🥂🍾

Holiday Fruitcake Offers Alternative Music Choice to Standard Holiday Fare 🎄🎅☃️

If you’re looking to break free from the usual holiday playlist, Holiday Fruitcake 6 offers a welcome alternative. Released worldwide for the 2025 holiday season on Smoking Bishop Records, the latest volume in the Holiday Fruitcake series delivers a collection of entirely original holiday songs created by independent artists who put creativity first.

Holiday Fruitcake 6 is available to stream or download on Apple Music, iTunes, Spotify, Amazon Music, Pandora, Deezer, YouTube, and most other major digital platforms, with CDs also available. This year’s release features nine brand-new tracks from Busker Incognito & the Christmas Balls, The Gruntles, Lewis Music Inc., Cowboy Ernie Sites, Scoria, The Mohnflowers, Jolene Windmiller, and Dave Kline & the Mountain Folk Band, spanning a wide range of musical styles.

The album is paired with new YouTube videos for every song, expanding the project beyond audio alone. To showcase the music, a one-hour cable TV and internet special was created, hosted by Dave Kline, Bob Yost, and Dave Lewis, the principal producers behind the Holiday Fruitcake project. The new special joins three previous Holiday Fruitcake one-hour programs and is available on demand on YouTube, with additional airings on select cable outlets including BCTV and CWTAP-TV.

Click here to watch the show:



The Holiday Fruitcake project began in 2020 during the COVID lockdown, when producers and musicians Dave Kline and Dave Lewis set out to encourage artists to write and record original holiday music at a time when live performances and creative outlets had largely disappeared. Animator Bob Yost soon joined the effort, along with a growing circle of songwriters and performers, helping transform a one-time collaboration into an annual release series.

Now in its sixth year, Holiday Fruitcake continues to celebrate originality, collaboration, and genre-blending holiday music. The full Holiday Fruitcake catalog is available on major digital platforms, offering listeners a growing alternative to traditional seasonal fare.

I find the Holiday Fruitcake project genuinely interesting, especially as a platform for independent artists to showcase their creativity outside the usual holiday mold. It’s inspiring to see so many original voices come together to create something joyful for the season—and yes, in their own way, they really are bringing a little joy to the world.

More on this can be found here: https://www.bctv.org/2025/12/12/holiday-fruitcake-6-offers-alternative-music-choice-to-standard-holiday-fare/