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5 Surprising Facts About AC/DC’s ‘Highway To Hell’

By the summer of 1979, AC/DC were road warriors living life at jet speed, blasting their blues-soaked hard rock through endless tours. Highway to Hell became the album that carried them into global superstardom, sharpening their sound while keeping the grit intact. Beneath the riffs and the swagger, the record hides some surprising stories.

1. The Producer Switch That Changed Everything

Atlantic Records wanted radio-friendly polish, which meant moving on from George Young and Harry Vanda. The band resisted at first, but after a disastrous attempt with Eddie Kramer, they sent a secret tape of six songs to Robert John “Mutt” Lange. He said yes—and history turned a corner.

2. Marathon Studio Sessions

Recording at London’s Roundhouse pushed AC/DC harder than ever before. Lange kept the band grinding for three months, sometimes fifteen hours a day. The endless repetition honed the riffs into weapons, teaching the band a new discipline that matched their ferocity.

3. Bon Scott’s Breathing Lesson

During the recording of “If You Want Blood,” Lange suggested Bon Scott control his breathing. Bon fired back, daring Lange to do it himself. Lange nailed it on the spot, shocking the room. Bon laughed, listened, and used the technique to unleash even more power on the mic.

4. The Cassette That Almost Got Away

The seed of “Highway to Hell” came from a riff and beat Malcolm and Angus laid down on a cassette in Miami. That tape was borrowed by someone in the studio, handed to a kid, and promptly unraveled. Bon Scott repaired it, rescuing the blueprint for one of rock’s immortal songs.

5. A Title Born on the Road

“Highway to Hell” wasn’t dreamed up in a boardroom. It came straight from Angus Young’s description of the band’s brutal touring schedule—city after city, night after night. The title captured the grind, the danger, and the thrill of living loud on the endless road.

Highway to Hell roared out of the speakers with riffs as tough as steel and hooks sharp enough to cut glass. It marked the last ride with Bon Scott and the first time AC/DC’s sound was sharpened for the world stage. Forty-six years later, the album still rolls like thunder down the endless blacktop.

5 Surprising Facts About Rod Stewart’s ‘Every Picture Tells A Story’

Released in May 1971, Every Picture Tells a Story radiates a mix of rock, folk, and blues that feels both raw and timeless. With chart-topping singles and unexpected studio quirks, the album holds a treasure chest of details that make it shine even brighter.

1. A B-side That Took Over the Airwaves

“Reason to Believe” was released as the lead single, with “Maggie May” tucked on the flip side. Radio DJs chose the latter, and suddenly Stewart’s tale of youthful romance and rebellion was blasting from speakers across the world.

2. Cymbals Arrived After the Session

During the recording of “Maggie May,” drummer Micky Waller discovered there were no cymbals in the studio. The track was captured without them, and the shimmering crashes were later added as overdubs, giving the song its unusual rhythm feel.

3. The Forgotten Mandolin Credit

The album sleeve mentions “the mandolin player in Lindisfarne,” because Rod Stewart had forgotten Ray Jackson’s name. Jackson’s spirited playing became a signature sound on “Maggie May,” adding a sparkle that listeners still recognize instantly.

4. Faces Hidden in Plain Sight

Every member of the Faces contributed to the record, including Ronnie Wood and Ian McLagan. Due to contractual wording, the credits downplayed their involvement, but tracks like “(I Know) I’m Losing You” carried the full firepower of the band.

5. Two Takes Made History

“Maggie May” came together in only two takes. That lightning-fast recording session captured an energy that required little polishing, and the performance rolled straight into rock history.

Every Picture Tells a Story reached #1 in both the UK and US, all while “Maggie May” topped singles charts at the same time. Its blend of folk melodies, rock grit, and heartfelt storytelling secured Stewart’s place as one of the defining voices of the 1970s.

Just One Guy?! 10 Solo Acts Hiding Behind Band-Sounding Names

Music has a funny way of playing dress-up. Sometimes, one person shows up in the studio, but the name on the marquee makes you expect a whole marching band to tumble out of a van. Here are 10 of the best “solo-but-sounds-like-a-band” names—served with a wink.

Tame Impala
It sounds like a trippy psychedelic collective, right? Wrong—it’s Kevin Parker in his bedroom with a million pedals, layering grooves that do feel like an entire band in orbit.

Iron & Wine
Not a duo, not a rustic folk tavern—just Sam Beam and his soft voice, quietly crushing hearts with an acoustic guitar and a beard so lush it could be its own rhythm section.

Owl City
Spoiler: it’s not a bustling metropolis of owls running nightclubs and traffic lights. It’s Adam Young, who stayed up late tinkering on synths until “Fireflies” lit up the world.

Aphex Twin
The word “twin” really sells the illusion of at least two people—but nope, it’s Richard D. James, the ambient/techno genius who can out-weird an entire band on his own.

City and Colour
Sounds like a duo, maybe even an art-rock collective. In reality, it’s Dallas Green (get it? Dallas = City, Green = Colour). Once you know, you can’t un-know.

Nine Inch Nails
Plural! Industrial! Surely an army of musicians in black combat boots? Actually, it’s Trent Reznor (and now Atticus Ross), building universes of noise basically by himself.

The Weeknd
It really feels like a group name, doesn’t it? A Canadian boy band, maybe? Nope—just Abel Tesfaye, crooning and breaking streaming records all alone.

Five for Fighting
Sounds like a scrappy hockey team lineup. In reality, it’s John Ondrasik, sitting at a piano, writing heartfelt ballads that punch you in the gut with feeling.

Ghost
A stage full of masked “Nameless Ghouls” looks like a band—but behind the curtain, it’s Tobias Forge pulling the strings, writing the songs, and directing the spectacle.

Passenger
You’d expect a full bus of folks with guitars, but Passenger is just Mike Rosenberg. One man, one acoustic, and a knack for making stadiums sing along like it’s a campfire

The Truth About Playing to Five People And How to Make It Count

There’s a famous story about The Beatles playing to only 18 people at the Aldershot Club on December 9, 1961. Picture it: the soon-to-be biggest band in the world hauling their amps into a venue that looked more like a high school gym than a cultural touchstone, blasting through their set to a few dozen bewildered souls. Within a year, Beatlemania would be in full swing. The moral? A tiny crowd doesn’t mean a wasted night. It might mean you’re just one step away from everything changing.

Those “five people shows” (or the bartender and the dog) matter. Maybe even more than the packed ones. Let’s break it down.

The Booking Agent’s View: Every Show Is an Audition

From a booking perspective, a five-person crowd isn’t an embarrassment—it’s an opportunity. Venue owners and promoters are watching how you handle it. Do you pout through your set, or do you play like the room’s full? The pros know that consistency wins repeat bookings. Every small room is a stepping stone to the bigger ones.

The Manager’s Perspective: Superfans Start Small

A manager sees those five attendees not as a low turnout, but as five potential superfans. Careers aren’t built on millions of casual listeners; they’re built on a few hundred diehards who show up, buy the vinyl, and evangelize you to their friends. If you can convert a small crowd into lifelong supporters, you’re playing the long game exactly right.

The Publicist’s Angle: A Story in Disguise

From a PR standpoint, a tiny audience can be spun into a tale of grit and resilience. Journalists love an underdog narrative. “They played like it was Madison Square Garden, even though it was just a half-dozen fans and the bartender.” That’s character. That’s authenticity. And those are the kinds of stories that set you apart in a crowded field.

The Social Media Strategist’s Secret: Small = Shareable

And here’s the real trick—small shows create gold for social media. You can capture behind-the-scenes clips, film crowd singalongs (even if it’s just two voices), or grab a quirky TikTok of you dedicating a song to everyone by name. Authenticity beats polish, and nothing says authentic like laughing with five fans after the set and turning it into content that makes a thousand more wish they were there.

Five Ways to Turn a Five-Person Show Into Pure Gold

  1. Tap the show for social content.
    Record short clips of the set, backstage banter, or even a candid moment with fans. These human touches play beautifully online.
  2. Engage personally with every attendee.
    Shake hands, share stories, sign merch, take selfies. Those five fans will talk about you for weeks.
  3. Test new material.
    Want to try out a half-finished verse or rearrange a song? This is the room to do it—low stakes, high reward.
  4. Network with the venue staff.
    Bartenders, sound engineers, and promoters are often the gatekeepers. Treat them like VIPs—they’ll remember.
  5. Follow up with attendees.
    Collect emails, DM them later, thank them for coming. That personal touch turns strangers into repeat ticket buyers.

Here’s the truth: if you can make five people feel like the most important crowd in the world, you can make 5,000 feel it too. Every career in music starts in tiny rooms with awkward silences and echoing claps. What matters is what you do with those nights—how you perform, how you connect, and how you carry yourself.

Remember, The Beatles once looked out over a nearly empty club. Years later, they looked out over Shea Stadium. The gap between those two nights? Persistence, passion, and the ability to play every show like it matters. Because it does.

That’s the truth about playing to five people: sometimes, it’s the best gig you’ll ever have.

KATSEYE Shine on Teen Vogue Cover and Set to Appear at Teen Vogue Summit 2025

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Today, Teen Vogue published their latest cover featuring global music superstars KATSEYE, and announced that the girl group will appear at the  annual Teen Vogue Summit taking place on September 20 in Los Angeles. 

Tickets to the full-day experience featuring today’s most influential cultural icons and change-makers are on sale now at https://events.teenvogue.com/.  Additional details will be announced in the coming months.

Highlights of KATSEYE’s cover story can be found below.

On their polarizing song “Gnarly”:

“It’s sort of good when people so strongly dislike something,” Lara Raj tells Teen Vogue. “Because I think it just shows that it makes people feel something strong, whether that’s dislike or they really like it.” Sophia Laforteza reveals that the group was similarly hesitant when they listened to the demo. “We screamed,” Yoonchae Jeung says, but they knew they would make it their own.

On combating negative feedback and social media haters:

“We learned that’s going to be a part of the position that we’re in,” Sophia says. “We’re always told by our team [that] if you’re a trendsetter or if you have this influence, a lot of the things that you’re going to bring into the world, people aren’t going to understand from the beginning.”

On maintaining their individuality through visual presentation:

“What resonated with the people so much about our visuals is how much we choose to enhance it and stay true to ourselves,” Sophia says. “As much as we love to try new things, every single one of us is true to ourselves, and we always make sure that we’re confident and we feel good. I think that’s what makes whatever you put on make others feel like they’re going to feel the impact and the intention.”

Leader Sophia Laforteza on celebrating her Filipino heritage:

“I want to be somebody who will never hide the fact that I’m Filipino,” she says. “I want to be loud about it … It means a lot when somebody embraces their culture, especially their Philippine culture and their heritage.”

Manon Bannerman on building up her confidence:

“Growing up in Switzerland, I always looked very different,” Manon, who has Ghanaian, Swiss, and Italian heritage, says. “Mostly all my life, I was the only Black girl in class and one of the only Black girls in the school. It was a struggle for me to embrace that [identity], and I got a lot of mean comments, especially in elementary school, about my hair. So I would only wear it in a bun, and I didn’t really know how to take care of it that well.”

“I started to braid my own hair because getting it braided in Switzerland is really expensive, and I couldn’t afford that,” she says, noting that she learned how on YouTube. “I would just braid my hair and try out different things. And in the beginning, I would literally sit in front of the mirror for like 14 hours braiding my hair. It looked really bad back then, but now I can braid my own hair.”

She also loves the interest in another cultural look she sports, her waist beads that she picked up while visiting a flea market at one of her father’s favorite spots in Ghana six years ago. “I was standing there for so long and looking at all of them, and I just fell in love.”

“It makes people curious, and I feel like it’s always a great conversation starter too,” she says, adding that she loves to educate people on the rich history of the country. The beads connect Manon to her roots, but she’s adopted a modern twist, too: “Old-school women in Ghana would not show [their waist beads]; only their husbands could see them,” she says. “But I’m a very modern girl, so it’s more about embracing it, and I think it looks cute. A cute part of my culture that I like to share.”

Daniela Avanzini on leaning into her Latin roots:

“I would speak Spanish all the time [growing up in Atlanta], and I grew up in that culture at home,” she says. As she began to embrace her heritage while campaigning for The Debut: Dream Academy, some commenters would debate over whether she’s truly a Latina since she was born in Georgia, not Latin America. “My mom’s entire side is all Cuban. I’ve been to Cuba many, many, many times, and I’m just so deep into the culture and know so, so much. It’s in my blood, and it is just a big, big part of who I am. I’m not going to let anybody take that away from me because that’s just how I grew up. Without that, I don’t know what I would be.”

Lara Raj on being unapologetic about representing her Indian culture onstage:

“Growing up in America, being brown is really not easy at all,” Raj says, explaining why she now unapologetically represents her Indian culture onstage. “And the jokes, the stereotypes, it was always such a thing. I feel like this has probably been the most important thing to me forever because this was also a big reason why I wanted to be an artist and be a pop star.”

Raj on how her queer identity informs her style:

“I always knew that I like girls, always. But I feel like I’m so straight-looking in a way, and I wanted to look more gay because I wanted girls to know that I like girls,” Lara says, struggling with an age-old femme problem. “It was so hard for me to pull girls because they just wouldn’t know.”

Now, Lara is getting “a little bit more comfortable” expressing some masculinity through her style, and she’s finding joy in the experimentation. “Some days I love to be super feminine and I love to show a bunch of skin and really be super girly,” she says. “And then some days I love to be more masculine, baggy clothes, and really have my tattoos out.”

Megan Skiendiel on growing up in the public eye and going through a phase of experimentation:

 “I don’t even really truly know who I am yet,” Megan says. “That’s a big reason why I’m still experimenting with everything, like my style, my hair, my makeup. It’s fun, but at the same time, it is scary just knowing that everyone’s watching. And especially me, I struggle with anxiety, so I’m like, ‘Oh, I wonder if people like this or not.’”

Yoonchae Jeung on what the other members have taught her:

“When I was living in Korea, I didn’t really know about things outside of Korea, outside of my life. After I came here, I started to know about so many cultures and so many thoughts because [the members] also came from different cultures. I’ve been learning English more from living together, and being confident,” she adds. “They always hype me up.”

On their dynamic as a group:

“You can clearly see that each of us has a different vibe going on, a different aesthetic,” Sophia says. “Yet, when you see us all collectively together, it makes sense. There’s that beautiful blend of it, and that’s why it’s so hard to put into words what it is. But when you see all of it together, it’s just like, ‘That’s KATSEYE!’”

On their current era:

Daniela says. “I think that we all have an idea of what we want us to go for, but the point is that it’s always changing and it’s this big mess, and with each era it changes and it develops. Definitely for this era, it’s edgy and it’s colorful and shows our grit and even more masculinity, because SIS was so feminine. So for right now, that’s what our vibe is.”

The Bacon Brothers Gear Up for Summer Tour With ‘Forosoco’ Sound and New Momentum

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The Bacon Brothers look forward to taking their show on the road this Summer. The 5-piece outfit is rehearsed and raring to go and looks forward to playing at sold-out houses of enthusiastic fans along the way. Kevin declares, “Connecting with people through music is a joy!”

The Bacon Brothers, featuring Michael & Kevin Bacon, have spent over three decades creating their own mix of folk, rock, soul, and country music. They call that diverse sound “Forosoco,” it’s taken them worldwide, from headlining gigs in Japan to American performances at iconic venues like Carnegie Hall, the Grand Ole Opry, and Gruene Hall. They’ve been featured by the BBC, Associated Press, SiriusXM, Billboard, and Paste Magazine and have appeared on The Tonight Show with Jimmy Fallon and Carpool Karaoke, just to name a few.

They’ve released twelve records, the most recent being the 2024 release, Ballad Of The Brothers. It’s a record that highlights the similarities between Kevin Bacon (known worldwide as an A-list Hollywood actor) and Michael Bacon (celebrated as an Emmy-winning composer) and the differences, too.

The critics have embraced The Bacon Brothers with The Alternate Root declaring, “Ballad of the Brothers offers the kind of competence and credibility that most bands would be delighted to enjoy. The Bacons are sizzling yet again.” Taste of Country stated simply that the pair made “Breezy, anthemic country rock,” and Ink 19 effused “The Bacon Brothers have come full circle, creating their own soundtrack that resonates with authenticity and innovation.”

In April, Kevin and Jennifer Nettles released an album inspired by the television show The Bondsman, which premiered on Amazon Prime. Several of the songs written and performed by Bacon and Nettles are included in the series, and some of the songs are included in their album, with a video created for “Hell And Back”. Rounding out the collection is “Digging”, a track co-written with Michael Bacon.

TOUR DATES
8/30 Orkney Springs, VA Shenandoah Music Festival
8/31 Annapolis, MD Maryland Hall
9/4 Erie, PA Mary D’Angelo Performing Arts Center
9/5 + 9/6 Clayton, NY Clayton Opera House
9/11 Plymouth, NH The Flying Monkey
9/12 Derry, NH Tupelo Music Hall
9/13 Uncasville, CT The Cabaret Theatre
9/14 Huntington, NY The Paramount
10/24 Coppell, TX The Coppell Arts Center
10/25 Salina, KS The Stiefel Theatre

Whitechapel Announce ‘Rituals Of Hate’ Tour, Set to Perform ‘Hymns In Dissonance’ in Full

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Whitechapel will hit the road this fall for their Rituals Of Hate headlining run across the U.S., where they’ll be performing their entire new album Hymns In Dissonance live. The trek kicks off November 12 and wraps December 14, covering over two dozen dates.

Joining them on the bill are Bodysnatcher, Angelmaker, and Disembodied Tyrant.

11/12 Norfolk, VA @ The Norva  
11/14 Harrisburg, PA @ Reverb  
11/15 New York, NY @ Irving Plaza  
11/16 New Haven, CT @ Toad’s  
11/17 Albany, NY @ Empire  
11/19 Rochester, NY @ Anthology  
11/20 Pittsburgh, PA @ Mr. Smalls Theatre  
11/21 Cleveland, OH @ Globe Iron  
11/22 Indianapolis, IN @ The Vogue Theatre  
11/23 Grand Rapids, MI @ The Intersection  
11/25 Milwaukee, WI @ The Rave  
11/26 Des Moines, IA @ Wooly’s  
11/28 St. Louis, MO @ Delmar Hall  
11/29 Kansas City, MO @ The Truman  
11/30 Oklahoma City, OK @ Diamond Ballroom  
12/02 Little Rock, AR @ The Hall  
12/03 Birmingham, AL @ Iron City  
12/04 Pensacola, FL @ Vinyl Music Hall  
12/05 Jacksonville, FL @ FIVE  
12/06 Orlando, FL @ House Of Blues  
12/08 Richmond, VA @ The National  
12/09 Nashville, TN @ Brooklyn Bowl  
12/10 Chattanooga, TN @ The Signal  
12/12 Myrtle Beach, SC @ House Of Blues  
12/13 Asheville, NC @ The Orange Peel  
02/14 Knoxville, TN @ Mill & Mine  

Psycroptic Sign With Metal Blade Records, Drop Crushing New Single ‘Architects of Extinction’

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Australian technical death metal band Psycroptic announced today that they have signed with Metal Blade Records and are finishing up recording their ninth studio album. The band also shared the first single from the upcoming release, “Architects of Extinction,” along with a music video directed by Robert Brens.

The World Is a Beautiful Place & I Am No Longer Afraid to Die Return With Heavy New Single ‘Beware the Centrist’

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The World Is a Beautiful Place & I Am No Longer Afraid to Die, the Connecticut 4th wave emo band, is back with a new single, “Beware the Centrist,” which showcases a heavier direction for the group. In the band’s Instagram story, they noted the track was actually cut short “due to [a] guitar head breaking off randomly.

Metallica Celebrate Milestone RIAA Certifications for ‘The Black Album’ and ‘Master of Puppets’

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Legendary metal band Metallica have announced that two of their landmark albums have now attained new RIAA (Recording Industry Association of America) certifications.

Metallica’s self-titled fifth album (aka The Black Album) has been certified 20x platinum for sales in excess of 20 million copies, while the band’s third full length, Master of Puppets, has been certified 8x platinum having crossed the eight million mark.

The Black Album‘s 1991 release not only gave Metallica its first No. 1 album in no fewer than 10 countries, including a 4-week run at No. 1 in the U.S., its series of singles — “Enter Sandman,” “The Unforgiven,” “Nothing Else Matters,” “Wherever I May Roam,” and “Sad But True” — propelled the band to household name status and made them stadium headliners. The album remains the best-selling album of the Luminate era, outselling every release in every genre over the past three decades.

Meanwhile, Metallica’s 1986 breakthrough third LP Master of Puppets has attained 8x platinum status, having sold more than eight million albums. The heaviest album ever to be selected by the Library of Congress for preservation in the National Recording Registry for being “culturally, historically, or aesthetically significant,” Master of Puppets has long been regarded as a watershed moment in the history of rock music. Its title track recently joined “Enter Sandman” and “Nothing Else Matters” in the billion streams club, and is now the second longest song to achieve said status (behind Led Zeppelin’s “Stairway to Heaven”).

Metallica is currently in the midst of the third year of its “M72 World Tour,” which has seen the band play to more than three million fans across the globe.