Razer bassist Chris Catero in NYC with Fozzy and on SiriusXM – Part 1 from Razer Band on Vimeo.

Razer bassist Chris Catero in NYC at SiriusXM – Part 2 from Razer Band on Vimeo.

taking the stage at the Super Bowl on Feb. 7, British rock legends The Who will play in front of the year’s biggest TV audience.

Now that the regular-season games are over, football fans finally know which two teams will be squaring off for the championship on February 7. The New Orleans Saints and Indianapolis Colts, however, aren’t the only folks getting ready for the Super Bowl.

Stitching together a tapestry of classic hits that will fuel a high-profile halftime show from the legendary rockers.

Speaking with Billboard.com, Pete Townshend explained that the band’s halftime show will feature a “compact medley” of their greatest hits, most of which debuted five decades ago.

The Who’s Super Bowl set was conceived by lead singer Roger Daltrey, Townshend’s brother Simon, executive producer Ricky Kirschner and director Hamish Hamilton. In recent years, artists such as Bruce Springsteen and Prince both similarly employed the medley approach to reach deep into their back catalog and create a set list of nothing but the classics.

The Who are the latest high-profile band to book the annual music-industry tradition, following in the footsteps of such recent halftime performers as U2, Tom Petty, Paul McCartney and the Rolling Stones. With the Colts and the Saints squaring off for the title, Super Bowl XLIV will be played Sunday, February 7, at Sun Life Stadium in Miami.

In two months Genesis will be inducted into the Rock and Roll Hall of Fame, but fans hoping to see Peter Gabriel sing with his former band for the first time in nearly 30 years are probably in for a disappointment. “As far as I know, I’m definitely not going to sing,” Gabriel tells Rolling Stone. “I learned at our last reunion [in 1982] that you can’t just get up there. You have to rehearse.” Gabriel is actually not even positive he’ll be able to attend the March 15th induction ceremony in New York, since he’ll be in the midst of rehearsing for a European solo tour. “I’m trying to find a way to do it,” he says. “It’s not easy. If I can work it out, I’ll go.”

Sade has returned to steal our hearts with more beautiful, uncategorizable music.

It’s been 10 years since her last album, a fatal hiatus for almost any other artist, but just another hibernation for a woman whose disdain for fame only deepens our fascination. Sade’s voice sounds unchanged, a unique emotional instrument that conjures visions of rain-streaked windows and windblown streets. Her topics — love, loss, sorrow, strength — remain the same. But her music has still moved forward.

The aggressive title track makes a bold statement, its stabbing drums continuing the bass-heavy direction of her 2000 release, “Lover’s Rock.” Some of the new album’s 10 songs are classic, smooth Sade. But there’s also a country twanger, a reggae-tinged ode to fathers who are not husbands, even Sade’s first uptempo number since 1992’s “Kiss of Life.”

This is only the sixth album in 25 years for Helen Folasade Adu, born in her father’s Nigeria and raised in her mother’s England. She is still working with her original three bandmates: bassist Paul Denman, guitarist and saxophonist Stuart Matthewman, and keyboardist Andrew Hale. She is still mysterious, ageless — and defiant.

“I only make records when I feel I have something to say,” Sade says on her Web site. “I’m not interested in releasing music just for the sake of selling something. Sade is not a brand.”

That’s exactly why you need to buy this album.