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JB In The Morning, Oceanside, CA (2025)

12/28/2025

This The Blasters album was Released on This Day in 1981
I’ll be honest — before I dove into this self-titled album, I’d never really listened to The Blasters. I knew the name, figured they were rootsy, and assumed “American Music” might be some daytime TV special. Then one day I popped the record in, and- whoa- it was like discovering a secret stash of rock ’n’ roll that’d been hiding under my soft rock comfort zone all these years. The Blasters weren’t polished pop, they were a full-tilt celebration of rockabilly, blues, R&B and early rock ’n’ roll, served fast and loud. Tracks like “Marie Marie” and “American Music” don’t just play- they announce themselves, like a band stomping onstage with no regard for volume limits.
What makes this album stick around, decades later, is how alive it feels. Recorded at a time when punk and new wave were all over the charts, The Blasters stuck to the roots- and audiences noticed. The Blasters charted on the Billboard 200 and critics named it among the Top Ten Albums of 1982, which is no small feat for a band that built its reputation in clubs before labels came calling. With Dave Alvin’s gritty guitar and Phil Alvin’s vocals digging into every lyric like it was a story worth telling, the album feels timeless instead of retro. And the band wasn’t just a one-shot deal- members went on to influence generations of roots and Americana artists, with Dave Alvin having a distinguished solo career and Grammy wins for his work.
Now, as a radio host, playing cuts from The Blasters is always a fun pivot that gets listeners interested. Even though the classic lineup isn’t touring regularly, the band’s legacy is very much alive- fans reminisce about seeing them in sweaty clubs or discovering them later through reissues and anniversary editions. And there’s a charming irony in introducing this album to folks who came up with polished radio rock: once they hear “American Music,” they’re hooked, tapping their feet like they’ve found something they should’ve known all along. That’s the magic of The Blasters — it sneaks up on you with swagger, rhythm, and enough heart to make you glad you finally gave it a spin. JB In The Morning

12/27/2025

This Christopher Cross Album was Released on This Day on in 1979:
I’ll never forget spinning Christopher Cross for the first time — I was already deep into soft rock staples like Hall and Oates and Dire Straits, but this album hit a sweet spot I didn’t even know existed. From the opening glide of “Sailing” to the breezy romance of “Never Be the Same,” it felt like someone bottled the perfect sunset and put it on vinyl. I wore that LP out so fast the grooves started waving back at me. Christopher’s voice was smooth as silk, the melodies were impossibly catchy, and every song seemed tailor-made for late-night drives with the windows down and not a worry in the world.
Over the years, this debut has aged like a fine Chardonnay in a sun-dappled vineyard — not faded, just mellowed and richer. The album snagged five Grammy Awards, including Album of the Year, Record of the Year, and Best New Artist, and it’s easy to see why: it wasn’t just soft rock, it was classical-meets-coastal, blending jazz, pop, and that breezy yacht-rock sheen into something unforgettable. (Billboard and Rolling Stone have both noted its lasting influence on the West Coast sound.) Tracks like “Ride Like the Wind,” featuring that unforgettable backing vocal from Michael McDonald, still light up requests because they feel good, plain and simple. And those smooth, layered harmonies? Still the unofficial anthem of chill.
Now, as a radio host, I get to share the Christopher Cross story and its soundtrack with listeners who weren’t even born when this thing first ruled the charts. Cross himself has stayed active over the years, playing select dates and continuing to remind fans why his catalog feels timeless — his official tour announcements and Instagram updates still draw smiles from longtime followers. (Verified sources like his official site and recent interviews confirm he’s still performing live.) Every time I cue up “Sailing” or “Say You’ll Be Mine,” phones light up, memories pour in, and I get to remind folks that sometimes music doesn’t have to hit hard to hit right. Smooth, melodic, and absolutely unforgettable — that’s Christopher Cross, y’all. JB In The Morning

12/26/2025

This Warren Zevon Album was Released on This Day in 1980
When 'Stand in the Fire' first crossed my path back in the early ’80s, I listened out of curiosity, not devotion. Warren Zevon’s studio albums like Excitable Boy had that sly wink and sharp storytelling, but a full-on live record? I wasn’t sure what to expect. What I got was something far more immediate and visceral. 'Stand in the Fire' was recorded over five nights at The Roxy Theatre in Los Angeles in August 1980, and it crackles with a raw, unpolished energy you don’t always hear on live records. Zevon and his backing band Boulder rip through favorites like “Werewolves of London,” “Excitable Boy” and “Lawyers, Guns and Money” with a sweaty, rock-and-roll abandon that makes you feel like you’re right there in the crowd.
Listening now, years later, I’ve come to appreciate how 'Stand in the Fire' captures not just performances but a moment in time. These shows came just as Zevon was gaining steam as a performer — his sardonic wit and piano-driven songs were hitting their stride — and the recording reflects that live spark. The album even debuted two new originals, the title track and “The Sin,” and closes with a raucous medley of “Bo Diddley’s a Gunslinger/Bo Diddley,” paying homage to his rock roots. Later expanded editions added even more depth with bonus tracks like “Johnny Strikes Up the Band.” What once sounded like a sweaty bar gig now feels like a document of artistic urgency, a reminder that Zevon was just as compelling on stage as he was in the studio.
Now, as a radio host, spinning 'Stand in the Fire' for listeners is one of those moments that gets reactions — from die-hard fans and the curious alike. And there’s an extra layer of resonance in 2025: Zevon’s long-overdue recognition has come full circle with his posthumous Rock & Roll Hall of Fame induction in the Musical Influence category, honored by longtime friend David Letterman and a tribute performance by The Killers at the 2025 ceremony.
When I cue up a live cut on the air, someone always shares a story — about the first time they heard Zevon live, or that first laugh and shiver at “Werewolves.” In a way, 'Stand in the Fire' feels like that perfect middle ground between who I thought Zevon was and the unforgettable performer he always was. JB In The Morning

12/24/2025

This Official Yngwie Malmsteen Album Released on this Day in 2002
I’ll be honest: back when The Genesis surfaced, I wasn’t exactly rushing to blast it on my speakers. Yngwie Malmsteen’s blazing neoclassical metal always felt like the guitar equivalent of espresso shots — intense, technical, and a lot of notes. But this album isn’t a standard release. It’s a time capsule of his very early recordings from around 1980, a snapshot of a young Swedish shredder just figuring out how to bend lightning into music. Hearing those raw, hungry tracks — some later reworked into his classic solo career material — was like discovering vintage photos of a rock hero before the leather and super-fast runs took over.
Over the years, 'The Genesis' has grown on me more than I ever expected. Rather than a polished studio album, it’s more like flipping through Yngwie’s sketchbook — guitars screaming with speed, imagination spilling out all over the fretboard, and the promise of something explosive just around the corner. This was before Rising Force turned him into a neoclassical metal legend; this was the birth of that voice. Fans of his work hear the seeds of blazing melodies and classically inspired runs that would define his sound. And honestly? Even as someone who once shrugged at ultra-technical playing, there’s a weird charm in hearing the roots of the guitar style that shaped a generation of players.
Now, as a radio host, spinning 'The Genesis' for listeners is like showing them the origin story of the guy who basically wrote the blueprint for neoclassical metal — whether you loved it then or raised an eyebrow at the sheer speed of it. Yngwie’s still touring in 2025, celebrating decades on the road with blistering live shows and a loyal fanbase that eats up every high-flying note he throws down. He even hit the road for a 40th-anniversary tour of his solo career that’s taken him all over North America and Europe, proving that even if you weren’t an instant fan back in the day, there’s no denying his influence and commitment to the craft.
Every time I drop a track from The Genesis on the air, somebody always texts with a good story — and a grin. JB In The Morning

12/23/2025

This Status Quo album was Released on this Day in 2003
I’ve got to admit, when Riffs first showed up, I wasn’t exactly front of the line. Status Quo’s boogie-rock stomp wasn’t really my thing back then — I liked my rock with a bit more… variety. So when this album rolled in, a collection of covers and re-recorded classics, I kinda shrugged and said, “Alright, let’s see what all the fuss is about.” Turns out, Riffs isn’t trying to reinvent the wheel — it’s trying to drive it fast, loud, and straight into your speakers. Hearing Quo take on tunes like “Born to Be Wild” and “Takin’ Care of Business” with that trademark Quo grind made me perk up more than once. It’s like they showed up to a dinner party with a sledgehammer and somehow made it work.

Over the years, Riffs has grown on me like a riff you can’t get out of your head — the good kind, not the one you regret at 3 a.m. What makes this record interesting is that it came out of the same sessions as Heavy Traffic and feels like the band’s homage to the simple joy of rock ‘n’ roll. Rather than chasing radio singles, they dug into songs that shaped them and threw in re-imagined versions of their own staples like “Whatever You Want.” And for those curious, the 2022 remastered deluxe edition expanded the experience with bonus tracks and live cuts, giving it a little extra punch for fans and newcomers alike. (Sources: uDiscover Music, Status Quo official releases)

Now, as a radio host, spinning tracks from Riffs is like getting to share a secret handshake with listeners. Even though I wasn’t the biggest Quo fan back in the day, I’ve come to appreciate their relentless work ethic — and the fact that they’ve been touring into 2025, with frontman Francis Rossi saying these final tours might truly be the last hurrah after decades on the road. (Source: Louder Sound) Hearing “Caroline” or “Down the Dustpipe” from Riffs still gets folks tapping the dashboard or reminiscing about their own first concerts. And that’s the real payoff: music that maybe didn’t win me over at first, now brings smiles, stories, and a whole lot of rock ‘n’ roll energy to the airwaves. JB In The Morning

12/22/2025

Turn up the volume and pour another cup ☕🎶 I’m LIVE from The JB Studios on the beaches of Southern California at 6:00am PDT (UTC -0800) bringing you some of the best Classic Rock tracks around. Don’t miss it—join me LIVE: https://www.jbinthemorning.com
JB In The Morning

12/22/2025

This Deep Purple Album Released on This Day in 1972:
When I think about Made in Japan and how it became my personal introduction to Deep Purple’s live thunder. Back in the day, I grabbed that double LP thinking I was picking up just another concert record- nope. What I got was THE live album: blistering, unpolished, and joyfully loud. Ian Gillan’s voice cutting through scorching versions of “Smoke on the Water,” “Highway Star,” and “Child in Time” felt like being at the Budokan myself. The band was in full flight, riffs and solos stretching out like they were all trying to out-shred each other in the best way possible. It was like Blackmore, Lord, Glover, Paice, and Gillan had invented a secret language of volume and groove just for me.
Revisiting it over the years has only made me appreciate what a milestone it is. Originally recorded during three shows in Osaka and Tokyo, it was intended as a Japan-only release yet swiftly became one of rock’s most celebrated live albums, peaking at #6 on the U.S. Billboard charts and going platinum across multiple countries. What makes it timeless isn’t just the searing performances, it’s that sense of right here, right now energy- like the room was alive and the band knew it. Whether it’s the feral sprint of “Space Truckin’” or the longing build of “Child in Time,” this record still feels immediate, not aged. Lucky for us, a new Super Deluxe Edition remixed in stereo and Dolby Atmos by Steven Wilson hit in 2025, giving us a fresh way to hear every roar and guitar bend just as it happened.
Now, as a radio host, dropping Made in Japan into the playlist never fails to spark conversations — and ear-wiggles. Listeners still light up when “Highway Star” kicks in, and the stories I get back range from “my first concert!” to “this blasted my speakers in college!” Deep Purple may be in their later touring years with a world tour and festival dates planned into 2026- but this album reminds us why they earned that road-warrior reputation in the first place. Fact is, Made in Japan still sounds like a band riding the lightning, and every time I play it, I feel like I’m inviting my audience back into that wild night in ’72. JB In The Morning

12/21/2025

This REO Speedwagon album was Released in 1973:
"Ridin’ the Storm Out" hit my turntable back in ’73, and I must’ve played that title track so much the needle dug ruts in the grooves. As a fan, this album felt like REO Speedwagon’s first real declaration: we’re not just another Midwest bar band, we’re out here riding the storm out of life and loving every minute of it. Sure, Kevin Cronin started the sessions before heading out due to creative differences, but when Mike Murphy took over on vocals, that raw, blues-rock edge gave the record grit and character all its own. Tracks like the driving title cut — with that siren-like synth from Neal Doughty and Gary Richrath’s blazing guitar — made you want to crank the volume until the neighbors made inconveniently loud noises about it.
Fast forward through the decades and this album has become one of those classic albums that shows up on “essential rock” lists for all the right reasons. It didn’t burn up the charts on release, but it eventually went platinum and really found its life on radio and in countless live sets. The title track itself didn’t even chart until the live version from Live: You Get What You Play For hit in ’77, yet it’s now one of REO’s signature songs — all swagger, punch, and that defiant “we can take it” spirit that defined so much of ‘70s rock. And let’s be honest, who hasn’t wanted to ride their own metaphorical storm out at least once?
Today, as a Classic Rock radio host, spinning "Ridin’ the Storm Out" is one of my favorite ways to remind listeners where this Wagon first earned its wheels. With REO Speedwagon officially ceasing touring under that name as of early 2025 amid some well-publicized internal disagreements, Kevin Cronin is still performing the music we love with his own band while the legacy lives on through events, retrospective shows, and even occasional reunions of classic members.
So when I drop that opening riff on the air, there’s always a smile — because this album wasn’t just a storm in a teacup, it was the start of something that helped define American rock for generations. JB In The Morning

12/20/2025

This ICONIC TThe Rolling StonesAlbum Released on This Day in 1971: Dedicated to the biggest Rolling Stones fan I know
Hobbs-Paolino
I’ll never forget the first time Hot Rocks 1964–1971 spun on my stereo — it felt like someone had handed me the ultimate greatest-hits mixtape before “greatest hits” was even cool. As an early fan, this double LP was my shortcut into the heart of The Rolling Stones’ blistering 1960s run: raw R&B-infused rock, swaggering attitude, and songs that didn’t just push buttons — they stomped all over them. From the urgent riff of “(I Can’t Get No) Satisfaction” to the brooding drama of “Gimme Shelter,” this compilation wasn’t just a collection of singles — it was the story of a band defining a decade. Tracks like “Paint It Black,” “Ruby Tuesday,” and “Jumpin’ Jack Flash” weren’t just songs — they were threaded into the soundtrack of life, summer nights, teenage triumphs, and first heartbreaks.
Revisiting Hot Rocks years later, it’s astonishing how timeless the grooves still feel. This set isn’t just nostalgia — it’s the Stones evolving right before your ears, from rough-around-the-edges blues disciples to something like rock-and-roll royalty. You hear the shift from the R&B cover “Time Is on My Side” into originals that became anthems, like “Get Off of My Cloud” and “19th Nervous Breakdown,” and then into songs with bite and swagger like “Sympathy for the Devil” and “Honky Tonk Women.” The way the tracks flow feels less like a hits parade and more like a narrative of growth, swagger, rebellion, and sheer musical bravado. It’s easy to forget this was compiled in 1971 — decades later it still feels immediate and alive every time the needle drops.
Now, as a Classic Rock radio host, I get to spin these songs for a whole new generation of listeners — and Hot Rocks continues to surprise them just like it surprised me back in the day. The Stones might be past their marathon touring days — plans for a major 2026 stadium tour were shelved recently as Keith Richards prioritizes his health, and the band adjusts to life after Charlie Watts — but their music still carries that electric pulse that made them legends.
Every time I play “Wild Horses” or “You Can’t Always Get What You Want,” I’m reminded that these tracks aren’t just classics because they’re old — they’re classics because they still speak to people. That’s the magic of the Stones and Hot Rocks: it doesn’t just reflect a golden era — it keeps that era breathing on the airwaves. JJB In The Morning

12/19/2025

It’s ☕🩴 Coffee in hand, toes practically in the sand, and Classic Rock cranked up. I’m LIVE from The JB Studios on the beaches of Southern California at 6:00am PDT (UTC -0800)—start your Friday the right way: https://www.jbinthemorning.com
JB In The Morning

12/17/2025

This Classic David Bowie Album was Released on This Day in 1971:
When Hunky Dory came out, I was already paying close attention to David Bowie, but this album was the one that really pulled me all the way in. Back then, it felt like Bowie had suddenly opened the door to his own imagination and invited us to wander around inside. Songs like “Changes” and “Life on Mars?” sounded fearless and deeply personal at the same time, while tracks like “Oh! You Pretty Things” and “Quicksand” hinted at something bigger just over the horizon. Rick Wakeman’s piano gave the whole record this warm, elegant backbone, and Bowie’s lyrics felt smart, playful, and oddly intimate — like he was letting you in on a secret.
Over the years, Hunky Dory has only grown in importance. What once felt like a bold artistic statement now feels like the calm before the creative explosion of Ziggy Stardust. You can hear Bowie figuring out who he is — not just as a performer, but as a storyteller. The album balances theatrical flair with moments of vulnerability, from the aching beauty of “Kooks” to the poetic sweep of “The Bewlay Brothers.” It’s a record that rewards patience; the more you live with it, the deeper it gets, revealing layers of wit, longing, and quiet confidence.
Now, sitting behind the mic, I love sharing Hunky Dory with listeners who may only know Bowie through his bigger, louder personas. When I cue up a track from this album, the phones don’t always light up — but the reactions are thoughtful, appreciative, and lasting. These songs still stop people in their tracks. Hunky Dory isn’t just a classic; it’s a moment where Bowie found his voice and trusted it completely. Every time I play it, I’m reminded that some albums don’t just stand the test of time — they grow richer with it, and they’re a joy to pass along to anyone ready to listen. JB In The Morning

12/17/2025

Coffee’s on, amps are up ☕🎸 I’m LIVE from The JB Studios on the beaches of Southern California at 6:00am PDT (UTC -0800) with the best Classic Rock coming your way. Join me LIVE: https://www.jbinthemorning.com
JB In The Morning

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