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Boz Scaggs Announces First Album in Seven Years ‘Detour’ Out October 17 with New Single “I’ll Be Long Gone”

Eric Alper
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Boz Scaggs Announces First Album in Seven Years ‘Detour’ Out October 17 with New Single “I’ll Be Long Gone”

Sometimes, an unexpected detour leads you right where you belong. For legendary vocalist and guitarist Boz Scaggs, that journey has resulted in Detour, a captivating and deeply personal exploration of the Great American Songbook, and his first new studio album in seven years. Set for release on October 17th via Concord Records, Detour finds the Grammy-winner interpreting timeless standards with tender insight and profound emotional sophistication. Today, Scaggs shares the album’s first single: a beautiful, newly arranged version of “I’ll Be Long Gone,” a fan-favorite track from his seminal 1969 self-titled debut.

The new album began not with a grand plan, but with the simple joy of making music. “I had no intention of making a record when I started singing these songs,” Scaggs confesses. “It was all very casual at first, just an opportunity to explore a style of music I’ve always liked, to get together with a friend and play for the sheer joy of it.”

That friend is pianist Seth Asarnow, and their informal sessions together became the heart of Detour. What started as a series of personal demos for Scaggs to expand his vocal stylings soon revealed something magical. The performances and arrangements were undeniable, demanding to be shared with the world. The result is a masterclass in interpretation, an eclectic mix of the familiar and the obscure that tips its hat to Frank Sinatra and Ella Fitzgerald as gracefully as it does to Irma Thomas and Lonnie Johnson. It is an elegant reimagining of old favorites and new discoveries, delivered with both reverence and a fresh perspective.

On Detour, Scaggs puts his essential instrument on full display. “If I look at myself as a musician over the years, I’d have to consider my primary instrument to be my voice,” he says. That voice has only gained nuance and depth, evident from the gentle tone of the album opener, Allen Toussaint’s “It’s Raining,” to a serene version of “The Very Thought Of You” that feels both timeless and contemporary. The project even led him to revisit “I’ll Be Long Gone” at the suggestion of pianist Seth Asarnow. “I get a lot of requests for it,” Scaggs explains, “he put together this beautiful arrangement… it ended up falling in perfectly with everything else we did for this album.”

It’s a fitting inclusion for a project born from an unexpected turn. On Detour, Boz Scaggs proves that the most rewarding journeys are often the ones we never planned to take.

Detour Tracklisting:

1. It’s Raining

2. Angel Eyes

3. Once I Loved

4. The Very Thought of You

5. I’ll Be Long Gone

6. Detour Ahead

7. I Could Have Told You

8. The Meaning of the Blues

9. Tomorrow Night

10. Too Late Now

11. We’ll Be Together Again

Matt Pryor of The Get Up Kids Announces New Solo Album ‘The Salton Sea’ Out November 14 with Lead Single and Video “The Salton Sea”

Eric Alper
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Matt Pryor of The Get Up Kids Announces New Solo Album ‘The Salton Sea’ Out November 14 with Lead Single and Video “The Salton Sea”

Matt Pryor (The Get Up Kids) today announced his new solo album The Salton Sea will be released on November 14th, 2025, via Nightshoes Syndicate.

The self-produced, 10-track LP, featuring mixing and additional production by Peter Katis (The National, Interpol), sees Pryor explore an expansive, full-band sound reminiscent of The Afghan Whigs and Bob Mould’s Sugar-specifically the band’s 1992 LP Copper Blue-with dreamy guitars, big drums, and shimmering production. The album’s lead single and title-track, a yearning anthem, is the perfect entry point and is out now alongside a video directed by Josh Berwanger (The Anniversary). “Three years ago I was in the darkest place of my life and this song really reflects that time. I was lost, alone, and felt forgotten-I just wanted to disappear,” Pryor explains. “I started writing stories about that time in my life, and those stories became songs, and those songs became The Salton Sea.”

It should be noted that the chosen title for his seventh album is not one that was picked arbitrarily. After spending six months in a downward spiral in what he sarcastically refers to as the penultimate moments of his “drinking career,” Pryor finally hit rock bottom. A casual habit that became a full-on addiction had officially come to a head, and in the blurry moments when 2022 became 2023, Pryor found himself with a choice that so many people before him have been forced to reckon with: Keep going on this path and face certain tragedy, or, clean up, get sober, and stay on the right side of the dirt.

Thankfully, Pryor decided on the latter, and the beautiful composite left on the shoreline for all of us to enjoy is the album now known as The Salton Sea. For those unfamiliar, The Salton Sea in Southern California is what’s known as a “terminal” lake-meaning that new water never flows into it, and its salinity increases incrementally due to evaporation and pollution. The once high-spirited desert oasis-a tourist attraction for celebrities and the upper crust in the 1950s and 60s-is now a bona fide wasteland. It’s not difficult to imagine that, while in the throes of addiction, Pryor felt exactly like this: a shadow of his younger self.

“The story that these songs tell is about that time in my life,” notes Pryor. “Autumn rolling into spring because the winter was a blackout. How the good times were great until one day they weren’t. How I lost myself and hurt people that I care about. How I got help that didn’t stick and how I lost faith in the help that did. That I came out on the other side of the whole ordeal only to realize I am still a work in progress, that we all are.”

The songs of The Salton Sea are timeless and captivating, like hearing a stranger share their journey through hell and back. As a listener, you’re left wondering what these moments are all about-how will they unfold? This is undoubtedly due to the fact that along with sobriety, Pryor found solace in writing for the sake of writing, a practice that he keeps up with daily-usually before dawn. If there’s a silver lining to all of this, one can glean the life-saving grace of having creative outlets to calm the devil that sits on your shoulder.

Father Son Duo RIX Jano and Luther Rix Announce Debut Album ‘Legacy Vol 1’ with First Single “Blow Wind Blow” Out Now

Eric Alper
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Father Son Duo RIX Jano and Luther Rix Announce Debut Album ‘Legacy Vol 1’ with First Single “Blow Wind Blow” Out Now

Jano Rix, best known as one-third of Grammy Award-nominated trio The Wood Brothers, and his father, veteran drummer Luther Rix, whose career includes work with Bob Dylan’s Rolling Thunder Revue, Leonard Cohen, and Ten Wheel Drive among numerous others, have joined forces on record for the first time. Simply calling themselves RIX, the father/son duo will release their debut album, Legacy, Vol. 1, a collaboration more than 12 years in the making, on November 7 via RPF Records/Royal Potato Family. The collection’s first single, “Blow Wind Blow,” a rendition of the classic Huey “Piano” Smith song, adapted from the arrangement recorded by Dr. John on his 1972 recording, Gumbo, is out now.

“This album celebrates the legacy, the shared feel, groove, songs and love of music that he passed down to me,” says Jano. “We have everything from songs my dad wrote in the ‘70s, to songs we wrote together, to songs he passed down to me when I was little that I played on my Fisher Price record player like ‘Blow Wind Blow.’ It’s just the two of us, singin’ and playin’ everything. There’s a certain feel we share. We’re excited to capture that and finally share it on record.”

RIX initially began recording in Nashville at Southern Ground Studios, shortly after it reopened under Zac Brown’s ownership. From there, sessions unfolded slowly and organically. Whenever touring and gigging schedules aligned, the two would meet to track another song, add a vocal, or capture a live performance. This approach resulted in an album that is both loose and deeply locked-in, reflecting their easy musical rapport.

Legacy, Vol. 1 features a mix of Luther’s vintage compositions—some dating back to the ’70s, like the instrumental “Strangely Blue,” written during his time in Ten Wheel Drive—alongside inspired covers. Highlights include first single “Blow Wind Blow,” a Dr. John classic that traces back to Jano’s childhood listening to his dad’s copy of Gumbo, and “All Kinds,” a deep cut penned by singer-songwriter Dan Wilson, which Jano discovered during his years playing with the Gabe Dixon Band.

Throughout, the duo’s feel and organic compatibility are front-and-center, whether on the humid funk ballad “Lovin’ You Is Easy” or the melancholic island groove of “I Ain’t Dancin’.” Another standout, “Down And Nylon,” is a stripped-down live performance captured at Brooklyn’s since shuttered Southpaw club with the duo slimmed down to just drums and keys. Across five-and-a-half minutes, the track sways from a rollicking New Orleans-style stomp to Band-like country funk. “Oop,” a peppy three-minute soul-funk instrumental, saunters along amidst a stack of keyboards and piano that dart and race around the bedrock of Luther’s percussion. “Sci-Fi Finale” wraps the proceedings with dubbed-out drumming and an ominous piano counterpoint, welcoming the weird as the record spins to a close.

Between them, Jano and Luther bring decades of musical experience. Luther’s career has taken him from work with rock ‘n’ roll legends such as Dylan and Cohen to symphonies, Broadway pits, and Schoolhouse Rock! sessions. Jano’s multi-instrumental work has been central to The Wood Brothers’ acclaimed Americana sound, while he has produced records for artists such as Seth Walker, Steve Poltz, Oliver Wood, Upstate, and Chris Kasper. Yet Legacy, Vol. 1 is their most personal statement, made not to chase trends or charts but to capture their shared love of music, document a unique family bond, and embrace the spirit of their shared groove.

“From the first note, we realized we feel time and groove in nearly the exact same way,” says Jano. “I never have to think about how we’ll connect—it just happens. That’s rare, and it comes from a lifetime of hearing him play, sitting behind his drums at gigs, and sharing the same musical language. This was about honoring what we share.”

“I always enjoyed playing with Jano, and I think he enjoyed playing with me,” concludes Luther, laughing. “We always played well together, so it was natural to want to record it and put it out for people to hear.”

RIX – Legacy, Vol. 1​
​Track Listing
​
1. Blow Wind Blow
2. I Ain’t Dancin’
3. Down And Nylon (Live at Southpaw)
4. All Kinds
5. Lovin’ You Is Easy
6. Melodica
7. Oop
8. Lazy Love
9. Strangely Blue
10. Folk Song
11. Sci-Fi Finale​

Legacy, Vol. 1 is out November 7 on 180-gram vinyl and digital formats. Pre-order / Pre-save available here.

Riot Fest 20th Anniversary Returns to Metro with Naked Raygun Alkaline Trio and Screeching Weasel in Three Historic Nights

Eric Alper
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Riot Fest 20th Anniversary Returns to Metro with Naked Raygun Alkaline Trio and Screeching Weasel in Three Historic Nights

In three consecutive nights, Riot Fest returns to the club where it all started. With three of the most important bands to the festival’s history – Naked Raygun, Alkaline Trio, and Screeching Weasel.

Riot Mike chose Metro for the 20th anniversary shows because of the long history between him and Joe Shanahan, who Mike considers one of his biggest mentors. There would be no better way to cap off Riot Fest’s 20th anniversary than with a Naked Raygun show at the Metro, because Joe and Mike’s love for the band is matched by few others. Their joint history criss-crosses the years before the fest moved outdoors, when it was staged in Chicago clubs, and each man has been involved with the band in myriad ways over the years.

Naked Raygun will perform a limited smattering of songs proving their truly legendary status. “We will be playing a short set of limited songs. It will be a curated compendium of scant canticles, a smattering of sing-alongs, a fleeting few of your favorite feats……about as long as Jeff’s attention span. Seriously – go pee before we go on stage or you’ll miss the whole thing,” teased drummer Eric Spicer.

While Screeching Weasel are joined by The Effigies on Friday, 9/19 (Riot Fest reunited Screeching Weasel in 2009, and The Effigies played the first year). Militarie Gun will support Alkaline Trio (who played the 5th fest) on Saturday, 9/20. Capping off the festival Sunday, 9/21, Naked Raygun and Marky Ramone and Buzzcocks will perform. This will be an extremely rare appearance of Naked Raygun, the first in 6 years.

The band are also launching a Dark Matter Coffee collaboration (available at the festival and stores) and plans are underway to re-issue all their albums on remastered color vinyl via Touch & Go Records on October 24th.
They are currently working on a book, tentatively titled I Remember: The Story of Naked Raygun (A Chicago Punk Rock Tale) on PM Press in 2027.

Naked Raygun were an extraordinary staple in the Chicago music scene – beginning in the early 80’s and continuing until their quiet demise in the early 90’s. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80’s.

Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, “The Chicago Sound”.

Dave Grohl, of Nirvana and Foo Fighters, has frequently discussed seeing Naked Raygun as his first concert in 1982 (when he was 13) at Chicago’s Cubby Bear. During their October 17, 2014, show at the Cubby Bear, Jeff Pezatti joined the band for a Naked Raygun cover. Naked Raygun themselves later opened for Foo Fighters on select dates during the Sonic Highways World Tour.

Industrial Metal Duo Black Satellite Drop “Kill For You” Video Ahead of New Album ‘Aftermath’ Out September 5

Eric Alper
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Industrial Metal Duo Black Satellite Drop “Kill For You” Video Ahead of New Album ‘Aftermath’ Out September 5

Black Satellite have released a music video for their new track “Kill For You”, which comes from their self-released second full-length album AFTERMATH, due tomorrow, September 5.

Coming off their 2025 U.S. tour as support for Marilyn Manson, NYC-based Black Satellite artfully fuse industrial and metal influences to create a sound that’s dark, edgy, and distinctly their own.

“The song explores the lengths someone will go to for those they love, and at what point that starts to border on obsession,” says Larissa Vale about “Kill For You.” “I like to conquer my fears in my music videos. ‘Kill For You’ was no exception, and in this case it was a bit more literal. The last thing I’d ever want to do is let a tarantula crawl all over my face…so I thought why not just do it?!”

AFTERMATH was self-produced along with Kane Churko (Papa Roach, In This Moment), and with mixes by veteran producer Ben Grosse (Marilyn Manson, Breaking Benjamin, Filter).

“The album explores a lot of darker themes,” says Vale about the new music. “Each song is a snapshot into various personal experiences in my life and my mindset at the time. There’s definitely a good mix of sonic components on the record ranging from heavier songs to more melodic ones as well.”

AFTERMATH is the follow-up to the band’s debut album ENDLESS, hailed by Alternative Press as one of their “12 Bands You Need To Know.” AP cited “provocative sound and captivating alt-rock essence,” while Billboard described the title track noted that “The sound of ‘Endless’ s absolutely huge…Syrupy vocal hooks abound, drizzled over whole mountain ranges of studio-shined guitar tapestries.” The video for the title track has spawned over 196k views on their official YouTube page.

Since their debut, BLACK SATELLITE has toured with the likes of the aforementioned Marilyn Manson, John 5, Nita Strauss, Drowning Pool, Wednesday 13, Cradle of Filth, and Devil Driver. They’ve also made appearances at Metal In The Mountains Fest and Blue Ridge Rock Fest.

Grammy and Oscar Winner Tiara Thomas Returns with “A Hug”

Eric Alper
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Grammy and Oscar Winner Tiara Thomas Returns with “A Hug”

Tiara Thomas, the Grammy and Oscar-winning singer-songwriter, returns with “A Hug,” a raw, emotionally charged R&B track that captures the duality of her artistry. Known for co-writing modern classics like H.E.R.’s “Damage” and “Intimidated,” Tiara continues carving out her own lane with music that is equal parts vulnerable and unapologetically bold.

“A Hug” blends smooth, soulful vocals with sharp, rhythmic flows as Tiara pivots seamlessly between singing and rapping, showcasing the full scope of her talent. A moody counterpoint to the sweetness of her previous single “Kiss Me,” the track channels anger, vulnerability, and emotional exhaustion, offering a darker glimpse into the rollercoaster of feelings that will shape her upcoming album.

“This song came from a real place of frustration,” Tiara says. “It’s about when you’re tired of love being complicated, when all you really want is something as simple as a hug, but the emotions underneath are messy, raw, and sometimes petty. I wanted that duality to come through in both the lyrics and delivery.”

Following her 2023 single “Hit You Right Back” featuring Tone Stith and 2024’s lighthearted “Kiss Me,” “A Hug” signals a striking new chapter in Tiara’s evolution, one where honesty and emotional complexity take center stage.

Bass Music Visionaries Planet Zyha Join Forces with Bass Temple and REN3GADE on “Name of the Game”

Eric Alper
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Bass Music Visionaries Planet Zyha Join Forces with Bass Temple and REN3GADE on “Name of the Game”

Montreal-based audiovisual duo Planet Zyha return with their second single on Grand Alliance Music, “Name of the Game,” a cinematic bass anthem created in collaboration with Denver, CO producer/DJ Bass Temple and Las Vegas, NV conscious lyricist REN3GADE. Out September 5th via next-wave bass music imprint Grand Alliance Music, the track blends space bass, leftfield dubstep, and electrifying verses into a powerful celebration of creativity as a divine force.

The roots of this release trace back years. Planet Zyha first connected with Bass Temple through her track “Power Shift” nearly four years ago, a moment that planted the seed for this collaboration. Meeting REN3GADE at Manafest Festival in Costa Rica later sparked the lyrical fire that completes the track. The result is pure alchemy: cinematic basslines, spiritual energy, and a message that resonates with both festival crowds and seekers of deeper meaning.

Running at 145 BPM, “Name of the Game” is a soaring, inspiring cut described as powerful, uplifting, spiritual, cinematic, and inspiring. Drawing comparisons to CloZee, LSDream, Liquid Stranger, Apashe, and Zen Selekta, the track bridges genres while standing firmly in its own lane.

Lyrics like “Through dark tunnels I see a light / And I find hope when I grip the mic” highlight REN3GADE’s conscious flow, woven seamlessly into Planet Zyha’s interstellar production and Bass Temple’s high-vibrational sound design.

Industrial Electronic Powerhouse Staytus Unleashes “Heart Attack” in a Haunting Storm of Sound and Emotion

Eric Alper
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Industrial Electronic Powerhouse Staytus Unleashes “Heart Attack” in a Haunting Storm of Sound and Emotion

Industrial-electronic artist Staytus unveils her latest single, “Heart Attack,” now available on all major digital streaming platforms. Produced by acclaimed music producer Sean Beavan (Nine Inch Nails, 8mm), “Heart Attack” surges with raw vulnerability and biting defiance, blending bruising industrial textures with haunting melodic layers.

Driven by sharp lyrical imagery—“nothing will heal that gaping hole in my chest” and “goodbye my idol”—the track confronts betrayal, disillusionment, and the painful collapse of once-revered ideals. Staytus delivers an unflinching narrative of loss and severance, wrapped in a cinematic storm of sound.

This release continues Staytus’ signature fusion of industrial, electronic, and nu-metal influences, crafting immersive soundscapes that resonate with themes of personal reckoning and resilience.

Staytus is an emerging force in the industrial-electronic scene, recognized for her emotionally charged compositions and boundary-pushing productions. Working with legendary producers like Sean Beavan and Matt McJunkins, she fuses elements of horror, gaming, and lived experience into powerful soundscapes that resonate with fans of dark, alternative music.

20 Legendary Songs That Another Artist Made Famous

Eric Alper
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20 Legendary Songs That Another Artist Made Famous

A great song can travel: from one legend’s pen to another’s voice, taking on new life. These 20 all-time tracks prove that the right pairing of writer and interpreter can etch a song into history.

“A World Without Love” — Written by Paul McCartney; made iconic by Peter & Gordon.
A Beatles tune handed off, it became a British Invasion #1 for the duo.

“All Along the Watchtower” — Written by Bob Dylan; made iconic by Jimi Hendrix.
Dylan’s stark ballad turned into a psychedelic storm with Hendrix at the helm.

“All the Young Dudes” — Written by David Bowie; made iconic by Mott the Hoople.
Bowie gifted them a glam-rock anthem that saved the band from breakup.

“Because the Night” — Written by Bruce Springsteen; made iconic by Patti Smith.
Springsteen’s unfinished draft became a blazing love song through Smith’s rewrite.

“Black Magic Woman” — Written by Peter Green; made iconic by Santana.
Fleetwood Mac’s blues roots became Latin-rock fire in Santana’s hands.

“Both Sides Now” — Written by Joni Mitchell; made iconic by Judy Collins.
Collins gave Mitchell’s reflection on clouds and life its first hit wings.

“City of New Orleans” — Written by Steve Goodman; made iconic by Arlo Guthrie.
Goodman’s rail ode became a folk classic in Guthrie’s warm delivery.

“Crazy” — Written by Willie Nelson; made iconic by Patsy Cline.
Heartbreak immortalized in Cline’s velvet phrasing.

“Girls Just Want to Have Fun” — Written by Robert Hazard; made iconic by Cyndi Lauper.
Hazard’s rough demo became Lauper’s neon-bright feminist anthem.

“Hallelujah” — Written by Leonard Cohen; made iconic by Jeff Buckley.
Cohen’s hymn of doubt soared into eternity with Buckley’s fragile voice.

“I Will Always Love You” — Written by Dolly Parton; made iconic by Whitney Houston.
Parton’s tender farewell became Houston’s blockbuster torch song.

“I’m a Believer” — Written by Neil Diamond; made iconic by The Monkees.
Diamond’s knack for melody exploded into Monkeemania.

“Killing Me Softly with His Song” — Written by Charles Fox & Norman Gimbel; made iconic by Roberta Flack.
A delicate ballad reborn with Flack’s soulful intimacy.

“Mama Told Me Not to Come” — Written by Randy Newman; made iconic by Three Dog Night.
Newman’s wry party satire became a funky hit machine.

“Me and Bobby McGee” — Written by Kris Kristofferson; made iconic by Janis Joplin.
Kristofferson’s road ballad became Joplin’s posthumous anthem.

“Nothing Compares 2 U” — Written by Prince; made iconic by Sinéad O’Connor.
Prince’s words of loss reached raw perfection through O’Connor’s delivery.

“Respect” — Written by Otis Redding; made iconic by Aretha Franklin.
Aretha turned a plea into a demand and an anthem of empowerment.

“Take It Easy” — Written by Jackson Browne & Glenn Frey; made iconic by Eagles.
A breezy collaboration that opened the Eagles’ career and defined SoCal rock.

“The First Cut Is the Deepest” — Written by Cat Stevens; made iconic by Rod Stewart.
Stevens’ melancholy melody became Stewart’s soulful lament.

“Without You” — Written by Pete Ham & Tom Evans (Badfinger); made iconic by Harry Nilsson.
A power ballad perfected with Nilsson’s aching vocal.

Balancing Art and Business: Lessons in Music Management

Eric Alper
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0
Balancing Art and Business: Lessons in Music Management

Every artist faces the tension between creative vision and business realities. Managers who’ve worked across genres agree: the artists who last are the ones who protect their art while still playing the long game. Here are five lessons drawn from those conversations and experiences.

1. Protect the Core Vision

Managers often stress that an artist’s identity is non-negotiable. Labels, agents, and even fans may push for changes, but a career is built on authenticity. Protecting the vision first ensures everything else falls into place.

2. Translate Creativity Into Strategy

A brilliant demo means little if no one hears it. Good managers find the right producer, time the rollout, and create opportunities like sync placements to amplify the vision. Creativity drives the work, but strategy gets it heard.

3. Build Momentum Without Oversaturation

The industry loves quick returns, but constant releases can dilute impact. Managers often recommend pacing: tour smartly, drop EPs between albums, and give songs room to breathe. Careers built slowly tend to last longest.

4. Use Data, But Trust Instinct

Streams, likes, and algorithmic trends provide useful signals, but they aren’t the whole story. Some of the biggest hits ignored conventional wisdom. Managers remind artists that instinct, not spreadsheets, often produces timeless work.

5. Let Business Serve the Art

When money and exposure come with strings attached, authenticity can get lost. The best managers know when to say no — declining deals that compromise lyrics, image, or values. Fans connect with honesty more than sponsorships.

The message from veteran managers is clear: art comes first, but business matters too. The real craft lies in keeping them balanced, so that vision leads the way and strategy builds a career that lasts.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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