Don’t Scratch The Vinyl

In the mid-1970s, there was nothing about the rock n’ roll lifestyle that was relatable or obtainable for fans of the genre. The simple chord play and familiar song structure that dominated primitive rock music were things of the past. By the genre’s third decade, intricate and complicated instrumental play had fully taken a death grip on rock. During that same time, New York City had seen better days. The region was full of dilapidated buildings and sketchy characters. The era of The Rat Pack and Mickey Mantle running around the bright lights and big city was gone. It was now Travis Bickle’s Big Apple. And with the angst and frustration of New York literally and figuratively falling apart, a rocking revolution was taking place. Deep into the borough of Queens was the neighborhood of Forest Hills. And that is where a gang consisting of four guys donning leather jackets, tattered sneakers, and worn-out jeans formed to forever change what rock music could look and sound like. On April 23rd, 1976, The Ramones’ debut record was released to the masses. Their cover art was eye-popping, a black and white photo of the four guys leaning against a brick wall in their iconic punk rock garb. Inside the album sleeve contained 14 tracks that combined did not quite crack the half-hour threshold. But the foursome accomplished more in 29 minutes than some bands achieve in 29 years.

The first time I attended KROQ’s Almost Acoustic Christmas, I arrived holding sweaty resumes while riddled with anxiety. Just two years later, the lead singer of The All-American Rejects was telling me he recognized my face from social media. This past December, I attended 106.7 KROQ's 34th annual Almost Acoustic Christmas as a member of the press. I was excited to see bands like Rise Against, Social Distortion, Third Eye Blind, and others on that bill in person. It was an experience I will never forget. This episode includes an update on the program, including what has been happening at the start of the year and what albums the show will discuss in 2026.

No Doubt was dripping with talent, creativity, and attitude. Trying to put the Anaheim band in a genre box was as difficult as trying to pin a simple label on David Bowie. They used horns, keyboards, guitars, pianos, drums, bass, vocals, and spirit to express themselves. No Doubt could be classified as Ska, Punk, Alternative, Pop, depending on who you ask. But regardless of whichever distinction you choose, the term “unique” must accompany said description. In October of 1995, No Doubt invited the world on a tour through a Tragic Kingdom. Armed with a myriad of songs; some pumped with adrenaline, others sprouting sun beams, and a few dripping with emotion, Gwen Stefani and the lads were primed to catapult into the music stratosphere.

In early 1965, with already four folk records under his belt and enough critical praise to satisfy even Axl Rose, Bob Dylan was preparing one of the great Zags in music history. In March, the folk community was waiting with bated breath for another acoustic centric, poetic album from Dylan. But instead, he threw a curveball and electrocuted his audience by batting "Subterranean Homesick Blues" leadoff for Bringing It All Back Home. The record’s title was a red herring, as Dylan was leaving his humble folk cabin for a rock n’ roll high rise. For the first time, he brought in an assortment of musicians for an album. While he had some assistance in the studio before, this collection was not going to just be focused in on Dylan and his 6 acoustic strings. While the record would still include some pulls from his old bag of tricks, such as the endearing “Mr. Tambourine Man,” it was clear Dylan was taking his career in a different direction…down Highway 61… And on August 30th, 1965, Bob Dylan unleashed Highway 61 Revisited to the masses. It became a defining cultural document for Dylan, rock, folk, the 60s, and anyone who ever took a left because everyone wanted them to take a right.

In 1975, Aerosmith pulled out all the bells, whistles, and harmonicas for their third studio album. Toys in the Attic is riddled with tracks that were destined to grace classic rock radio until the end of civilization. The record also contains a slew of numbers that would assist in cultivating Aerosmith’s diverse catalog. The Bad Boys from Boston's footprint on 70’s culture was set in stone, but this record ensured Aerosmith would forever be considered rock n’ roll royalty.