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5 Surprising Facts About The Doors’ ‘Morrison Hotel’

Eric Alper
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5 Surprising Facts About The Doors’ ‘Morrison Hotel’

The Doors’ ‘Morrison Hotel’ stands as a pivotal album in the band’s catalog and a defining moment in rock history. Released on February 9, 1970, by Elektra Records, the album marked a deliberate return to the band’s blues rock roots after the heavily orchestrated ‘The Soft Parade’ in 1969. Divided into two separately titled sides, “Hard Rock Café” and “Morrison Hotel,” the record reached number 4 on the Billboard 200 and became the group’s highest-charting studio album in the United Kingdom, where it peaked at number 12. Despite containing no major hit singles, it features some of the band’s most popular songs, including “Roadhouse Blues” and “Peace Frog,” which became staples of classic rock radio and helped the band regain momentum after a turbulent period.

The Album Was A Response To Financial And Critical Disasters

‘Morrison Hotel’ stemmed from the group’s dismay over the protracted sessions for ‘The Soft Parade’, which took nine months to record and cost $86,000, far more expensive than any previous Doors record. The band had been stung by the critical reception to that album and wanted to return to basics. The back-to-basics approach represented not just an artistic choice but a practical necessity after twenty-five dates on their next tour were cancelled and their records were blacklisted from radio airplay following Jim Morrison’s March 1, 1969 performance at the Dinner Key Auditorium in Coconut Grove, Florida, where he was charged with indecent exposure.

The Iconic Cover Photo Was Taken Without Permission

The cover photo was taken by Henry Diltz at the Morrison Hotel on South Hope Street in Downtown Los Angeles without permission. The band were not given authorization to photograph, so they did it while the clerk was called away from the desk, jumping right behind the windows and hitting their places without shuffling as Diltz took the shot. The rear cover features a photograph of the Hard Rock Café at nearby 300 East 5th Street, and in early 1983, thirteen years after the album’s release, parts of Michael Jackson’s music video for “Beat It” were filmed inside the former Hard Rock Café on 5th Street.

“Roadhouse Blues” Featured A Drunk Morrison And Emergency Session Musicians

“Roadhouse Blues” took two days to record, from November 4 to 5, 1969, with producer Paul Rothchild striving for perfection. Jim Morrison, apparently intoxicated during the sessions, flubbed several lyrics and kept repeating the phrase “Money beats soul every time.” The sessions only took off on the second day when distinguished blues guitarist Lonnie Mack, then employed as an Elektra Records representative, joined in on bass because Ray Neapolitan, the regular bassist during the sessions, was stuck in traffic. Former Lovin’ Spoonful frontman John Sebastian joined in on harmonica, appearing under the pseudonym G. Puglese due to the constraint of his Reprise Records recording contract.

“Peace Frog” Combined Three Morrison Poems And Was Recorded Backwards

The group recorded the music of “Peace Frog” first without lyrics because Morrison wasn’t around, then Morrison overdubbed his vocals later. Guitarist Robby Krieger recalled: “I had written the music, we rehearsed it up, and it was really happening, but we didn’t have any lyrics and Jim wasn’t around. We just said, ‘Fuck it, let’s record it. He’ll come up with something.’ And he did. He took out his poetry book and found a poem that fit.” The lyrics were derived from three poems Morrison wrote earlier, titled “Abortion Stories”, “Dawn’s Highway” and “Newborn Awakening,” with the title originally being “Abortion Stories” until producer Paul Rothchild requested Morrison change it to “Peace Frog” as he was afraid the initial title would create controversy.

“Waiting For The Sun” Was Actually Written Two Years Earlier For A Different Album

“Waiting for the Sun” was first written during the ‘Waiting for the Sun’ sessions and was originally meant to serve as the title track for their third studio album in 1968. However, the band realized they needed to continue working on the song longer but kept the album’s title due to their fondness for it. After the poor reception of ‘The Soft Parade’, the band brought back the song as a way to return to their early beginnings, though the song’s psychedelic instrumentation contrasted with the much more blues-oriented sound they had adopted at this point in their discography.

5 Surprising Facts About Paul McCartney’s Self-Titled Debut Album

Eric Alper
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5 Surprising Facts About Paul McCartney’s Self-Titled Debut Album

Paul McCartney’s self-titled debut album stands as one of the most historically significant solo records in rock history. Released on April 17, 1970, just days before the official announcement of the Beatles’ break-up, the album captured McCartney at his most vulnerable and isolated. Recorded mostly in secrecy at his home in St John’s Wood using basic four-track equipment, the lo-fi record eschewed the polish of Beatles productions in favor of raw, intimate performances. Despite receiving mostly unfavorable reviews upon release and McCartney being vilified for seemingly ending the Beatles, the album held the number 1 position for three weeks on the US Billboard Top LPs and has since been credited for influencing DIY musicians and lo-fi music styles for generations.

The Album Was Created During A Severe Depression And Near Nervous Breakdown

McCartney recorded his debut solo album during a period of severe depression following John Lennon’s private departure from the Beatles in September 1969. He withdrew to his farm in Campbeltown, Scotland, where author Howard Sounes writes that McCartney was “depressed and drunk” while Linda had “a seven-year-old and a baby to look after,” making it “one of the most difficult times in her life.” McCartney later reflected that he might have become a rock and roll casualty at this point in his career, admitting “I nearly had a breakdown. I suppose the hurt of it all, and the disappointment, and the sorrow of losing this great band, these great friends, I was going crazy.”

McCartney Used The Pseudonym “Billy Martin” To Keep The Album Secret

To maintain the project’s secrecy, McCartney worked at Morgan Studios under the pseudonym “Billy Martin” when he transferred his home recordings from four-track to eight-track tape in February 1970. Engineer Robin Black was among the few people who knew McCartney was making a solo album. McCartney described his home-recording setup as “Studer, one mic, and nerve,” recording without a mixing desk and therefore without VU displays as a guide for recording levels, creating what he called a “very analogue, very direct” sound.

“The Lovely Linda” Was Only A Test Recording That Made The Final Album

The opening track “The Lovely Linda” was McCartney’s first recording for the album, a 45-second portion of a song he wrote in Campbeltown to test his new Studer four-track recorder. The performance was only intended as a test of the new equipment, but it was included on the official release as the opening track, complete with the sound of McCartney giggling at the end. McCartney stated upon release that “The Lovely Linda” was a “trailer to the full song which will be recorded in the future,” but he has yet to release a more complete version.

The Self-Interview Press Release Actually Announced The Beatles’ Break-Up

On April 9, 1970, McCartney released a Q&A package to the British press compiled with the help of Apple executives Derek Taylor and Peter Brown. Although McCartney later recalled that he was responding to questions put to him, both Brown and Taylor said that McCartney wrote all the questions himself. While stopping short of saying the band was finished, McCartney stated he did not know whether his “break with the Beatles” would be temporary or permanent. The Daily Mirror ran the first reaction from the press on April 10 with the headline “PAUL IS QUITTING THE BEATLES,” and newspaper headlines around the world reduced the story to screaming variations of “PAUL BREAKS UP THE BEATLES.”

“Maybe I’m Amazed” Received Massive Airplay Despite Never Being Released As A Single

McCartney refused to issue “Maybe I’m Amazed” or any other song from the album as a single despite the piano-based ballad dedicated to Linda receiving considerable airplay on US radio. Recorded entirely in EMI’s Number Two studio at Abbey Road on February 15, 1970, McCartney played all the instruments including guitars, bass, piano, organ and drums. A promotional film was made comprising still photographs of McCartney, his wife Linda, and daughters Heather and Mary, which aired in the UK on April 19, 1970 on ITV and later as part of an episode of CBS’s The Ed Sullivan Show. Rolling Stone magazine ranked “Maybe I’m Amazed” number 347 on its 500 Greatest Songs of All Time list in 2011, and in 2024 the magazine ranked it number 1 of all the former Beatles’ solo songs.

5 Surprising Facts About Cat Stevens’ ‘Tea for the Tillerman’

Eric Alper
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5 Surprising Facts About Cat Stevens’ ‘Tea for the Tillerman’

Five Unknown Facts About Cat Stevens’ ‘Tea for the Tillerman’ That Will Change How You Hear This Classic

‘Tea for the Tillerman’ stands as one of the defining singer-songwriter albums of the early 1970s. Released in November 1970, the record became a cornerstone of the folk-rock movement and launched Cat Stevens into international stardom. Songs like “Wild World,” “Father and Son,” and “Where Do the Children Play?” became fixtures on FM radio and helped establish Stevens as a voice of his generation. The album’s intimate production, profound lyrics, and beautiful melodies connected with millions of listeners worldwide, and its influence continues to resonate more than five decades later.

The Album Was Born From A Near-Death Experience

‘Tea for the Tillerman’ emerged directly from Stevens’ battle with tuberculosis in 1969, when he was close to death at the King Edward VII Hospital in Midhurst, West Sussex. After a year-long period of convalescence and a collapsed lung, Stevens dove deep into Buddhist philosophy through a book given to him by his friend Paul Ryan. This brush with mortality and spiritual awakening transformed his songwriting, leading to the profound introspection that defines the album. As Stevens later recalled, being on the doorstep of death was enough to get him thinking, and that moment was when he really blossomed musically.

“Father and Son” Was Originally Written For A Russian Revolution Musical

Stevens originally wrote “Father and Son” as part of a proposed musical project called Revolussia, set during the Russian Revolution and starring Nigel Hawthorne, which could also have become a film. The song depicted a boy who wanted to join the revolution against the wishes of his conservative farmer father. When Stevens contracted tuberculosis, the musical project was shelved, but “Father and Son” remained, now in a broader context that reflected societal conflict and captured the impulses of older and younger generations in general.

Stevens Created The Original Album Artwork Himself

As a former art student, Stevens created the artwork featured on the record’s cover, painting the daytime scene with the sun creating a hot, hazy day. Fifty years later, for ‘Tea for the Tillerman2’, he painted a new cover showing the coolness of night with a pristine white moon, depicting children playing separately on their phones while the Tillerman wears a spacesuit. Stevens explained this darker version reflects environmental concerns and how things are getting worse, suggesting we may all be walking around in spacesuits very soon.

“Wild World” Used A Spanish Music Chord Sequence

Stevens turned a chord sequence common in Spanish music around and came up with the theme for “Wild World,” which became a recurring motif in his work about leaving, the sadness of leaving, and the anticipation of what lies beyond. The song was written about actress Patti D’Arbanville during their roughly two-year relationship. Island Records’ Chris Blackwell called ‘Tea for the Tillerman’ “the best album we’ve ever released,” and “Wild World” has been credited as the song that gave the album enough kick to get played on FM radio.

Stevens Sang Both Parts Of “Father and Son” In Different Registers

Stevens sings in a deeper register for the father’s lines in “Father and Son,” while using a higher one for those of the son, with backing vocals provided by his guitarist and friend Alun Davies beginning mid-song. In 2020, Stevens released a re-recorded version featuring the original recording of his 22-year-old vocals alongside his 72-year-old present-day voice, lifted from a 1970 Troubadour recording.

Zach Bryan Releases Acoustic Version Of ‘With Heaven On Top’ With 49 Total Tracks

Eric Alper
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Zach Bryan Releases Acoustic Version Of ‘With Heaven On Top’ With 49 Total Tracks

Just days after releasing his new album ‘With Heaven On Top’, Zach Bryan delivers a stripped-down version titled ‘With Heaven On Top Acoustic’, featuring 24 tracks with just vocals and guitar along with alternative cover art. The digital set breaks down into two parts with the acoustic version as Disc 1 and the original 25-track album as Disc 2, totaling 49 tracks in all. The Grammy Award-winning singer-songwriter’s album was written, recorded and produced by Bryan over the last several months in Tulsa, Oklahoma, with physical release dates for vinyl and CD to be confirmed shortly.

‘With Heaven On Top’ marked Bryan’s album release on January 9 via Warner Records. The complete set of songs showcases Bryan’s songwriting and production work across its expansive tracklist. Tickets for Bryan’s 2026 With Heaven On Tour are on sale now, with the run kicking off March 7 at The Dome at America’s Center in St. Louis and continuing through stadiums across North America and Europe.

Disc 1:

  1. Runny Eggs
  2. Appetite
  3. DeAnn’s Denim
  4. Say Why
  5. Drowning
  6. Santa Fe
  7. Skin
  8. Dry Deserts
  9. Bad News
  10. South and Pine
  11. Cannonball
  12. Slicked Back
  13. Anyways
  14. If They Come Lookin’
  15. Rivers and Creeks
  16. Plastic Cigarette
  17. You Can Still Come Home
  18. Aeroplane
  19. Always Willin’
  20. Miles
  21. All Good Things Past
  22. Camper
  23. Sundown Girls
  24. With Heaven On Top

Disc 2: (original album)

  1. Down, Down, Stream
  2. Runny Eggs
  3. Appetite
  4. DeAnn’s Denim
  5. Say Why
  6. Drowning
  7. Santa Fe
  8. Skin
  9. Dry Deserts
  10. Bad News
  11. South and Pine
  12. Cannonball
  13. Slicked Back
  14. Anyways
  15. If They Come Lookin’
  16. Rivers and Creeks
  17. Plastic Cigarette
  18. You Can Still Come Home
  19. Aeroplane
  20. Always Willin’
  21. Miles
  22. All Good Things Past
  23. Camper
  24. Sundown Girls
  25. With Heaven On Top

With Heaven On Tour 2026:

March:

3/07 St. Louis, MO @The Dome at America’s Center 

3/14 Tampa, FL @Raymond James Stadium 

3/21 San Antonio, TX @ Alamodome 

3/28 Baton Rouge, LA @ Tiger Stadium 

April:

4/3 Tulsa, OK @ H.A. Chapman Stadium

4/4 Tulsa, OK  @ H.A. Chapman Stadium

4/11 Louisville, KY @ Federal Credit Union Stadium 

4/17 Charlotte, NC @ Bank of America Stadium 

4/18 Charlotte, NC @ Bank of America Stadium

4/25 Lincoln, NE @ Memorial Stadium 

May:

5/02 Oxford, MS @ Vaught-Hemingway Stadium 

5/09 Cleveland, OH  @ Huntington Bank Field 

5/27 San Sebastian, Spain @ Donostia Arena 

5/31 Berlin, Germany @ Waldbuhne

June:

6/3 Oslo, Norway @ Unity 

6/6 Copenhagen, Denmark @ Parken Stadium 

6/9 Eindhoven, Netherlands @ Phillips Stadium

6/12 Liverpool, UK @ Anfield Stadium 

6/14 Edinburgh, UK @ Murrayfield Stadium 

6/16 London, UK @ Tottenham Stadium 

6/17 London, UK @ Tottenham Stadium 

6/20 Cork, Ireland @ Parc Ui Chaoimh 

6/21 Cork, Ireland @ Parc Ui Chaoimh 

6/23 Belfast, Northern Ireland @ Boucher Road 

6/24 Belfast, Northern Ireland @ Boucher Road 

July:

7/25 Eugene, OR  @ Autzen Stadium 

7/31 San Diego, CA @ Snapdragon Stadium  

August:

8/01 San Diego, CA @ Snapdragon Stadium 

8/07 Salt Lake City, UT @ Rice-Eccles Stadium 

8/13 Denver, CO @ Empower Field at Mile High 

8/14 Denver, CO @ Empower Field at Mile High 

8/22 Arlington, TX @ AT&T Stadium 

8/23 Arlington, TX @ AT&T Stadium 

September:

9/05 Glendale, AZ @ State Farm Stadium 

9/18 Dover, DE @The Woodlands 

9/19 Dover, DE @ The Woodlands 

9/21 Toronto, ON  @ Rogers Centre

9/22 Toronto, ON @ Rogers Centre

October:

10/01 Foxboro, MA @ Gillette Stadium 

10/02 Foxboro, MA @ Gillette Stadium 

10/03 Foxboro, MA @ Gillette Stadium

Click HERE for ticket and tour info.

AB InBev Becomes Exclusive Beer And Cider Partner For Live Nation UK Events

Eric Alper
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AB InBev Becomes Exclusive Beer And Cider Partner For Live Nation UK Events

AB InBev and Live Nation today announced AB InBev as the exclusive beer and cider partner for Live Nation in the United Kingdom, spanning festivals, venues, and outdoor shows. The unprecedented scale of the partnership connects brands, including Budweiser, Corona, San Miguel, Stella Artois and more, to millions of music fans of a legal drinking age.

AB InBeventre stage at marquee moments like the legendary Pepsi MAX presents Reading & Leeds Festival, Scotland’s biggest music event, Pepsi MAX presents TRNSMT, as well as unmissable lineups at outdoor shows like Glasgow Summer Sessions and TK Maxx presents Lytham Festival. In addition to more than 20 festivals, AB InBev will activate across all Academy Music Group venues, includin O2 Academy Brixton and O2 Shepherd’s Bush Empire, two of London’s most renowned live music destinations.

“Music is a universal passion point for our consumers, and our brands have been part of music culture for decades,” said Marcel Marcondes, Global Chief Marketing Officer of AB InBev. “Beer is the perfect choice for live music experiences because it’s the beverage of moderation and socialization. With this new chapter in our long-standing partnership with Live Nation, our brands will have even more occasions to create unforgettable experiences for music fans.”

For decades AB InBev and Live Nation have activated globally, reaching millions of fans at music experiences across North America, Europe, Latin America and Asia. Building on this long history of collaboration between the world’s leading brewer and the world’s leading live entertainment company, this partnership creates more opportunities for fans of legal drinking age to celebrate together.

“AB InBev has been an incredible partner to music fans around the world across many Live Nation venues and festivals,” said Russell Wallach, Live Nation’s Global President of Media & Sponsorship. “The UK has some of the world’s most passionate live music fans and legendary festivals. Live music culture runs deep here, and together, we’re committed to making those experiences even better for fans.”

Together, the companies will collaborate across strategy, creative and fan engagement to make great beer and cider an authentic part of the live music experience, with Budweiser at the forefront, drawing on its global legacy in live music. In addition to curated beverage lineups, brands across AB InBev’s portfolio will bring fans of legal drinking age closer to the music through immersive experiences, on-trade activations, and digital integrations.

While exclusive to the UK, this partnership strengthens a global relationship between AB InBev and Live Nation that will continue to deliver memorable experiences for music fans around the world.

Bowling For Soup And Able Machines Release Elastica “Connection” Cover With Retro Sci-Fi Video

Eric Alper
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Bowling For Soup And Able Machines Release Elastica “Connection” Cover With Retro Sci-Fi Video

Bowling For Soup team up with Los Angeles-based electro-pop duo able machines, singer-songwriter Tay Coliee and producer Linus Dotson, to release a magnetic cover of Elastica’s Brit-Pop anthem “Connection.” The track arrives with a tongue-in-cheek nod to retro sci-fi, filmed in and around Los Angeles including locations where Star Trek and other classics were filmed. Bowling For Soup frontman Jaret Reddick expresses how the song connects to the band’s history: “I have always loved this song. We use to play it in the Van non stop. One day I was listening to a new able machines song and just thought, my best friend, Bowling For Soup’s producer, Linus of Hollywood is in an Electronic band. We should do this ‘Connection’ together. Even the song title is perfect for this collab. Luckily, Linus and Tay liked the idea, and ran with it. I am so stoked for how this turned out. The video is next level.” able machines burst onto the music scene in 2019 with their first single “Secrets and Lies,” coupling dark lyrical imagery with concise pop hooks and melodies over electronic soundscapes. The band started when singer Tay Côliee was perusing Craigslist in search of musical gear and stumbled upon a wanted ad posted by producer Linus Dotson, quickly discovering they had both been floating in the same musical circles.

Linus, professionally known as Linus Of Hollywood, has made a name as a diverse songwriter and producer working with the likes of Charlatans UK, Bowling For Soup, Cheap Trick and Smashing Pumpkins, while also serving as a member of Santa Barbara pop and punk legends Nerf Herder, best known for writing the “Buffy The Vampire Slayer” theme song. Tay got her start acting as a teenager and transitioned into music as a ghost writer for Capitol Records, co-writing hits for other artists including Ariana Grande and Camila Cabello. Away from their new collaboration, Bowling For Soup are following up the success of their career best show at London’s OVO Arena Wembley last December by returning to the UK in 2026. Jaret, Rob and Gary will be back this summer for a huge tour alongside folk punk royalty Frank Turner and the Sleeping Souls. Fresh from announcing an Australian run together, fans immediately began calling for a UK leg and their wishes have been granted.

The Bowl My Bones Tour marks the first time these long-time friends have toured together. One of rock’s most unlikely friendships began years ago, sparked by Jaret Reddick’s admiration for Frank Turner’s music. In more recent years the two became good friends, even hosting a weekly live stream together during the COVID pandemic discussing classic heavy metal and many other things. The tour begins June 25 at Dreamland in Margate and has nine stops across the UK, finishing up at the prestigious Eden Sessions in St. Austell, with other stops at venues quickly becoming known as some of the best outdoor venues across the UK such as Piece Hall in Halifax and Scarborough Open Air Theatre.

Bowling For Soup & Frank Turner and the Sleeping Souls – Bowl My Bones UK Tour 2026:

June 25 – Margate – Dreamland

June 26 – Southampton – Southampton Summer Sessions

June 27 – Lincoln – Live At Lincoln Castle

June 29 – Glasgow – O2 Academy Glasgow

June 30 – Halifax – Live At The Piece Hall

July 2 – Scarborough – Scarborough Open Air Theatre

July 3 – Llangollen – Live At Llangollen Pavillion

July 4 – Cardiff – Cardiff Castle

July 5 – St. Austell – Eden Sessions

Grete Ventures Into Alternative Rock With New Single “PARADE” For Eurovision Pre-Selection

Eric Alper
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Grete Ventures Into Alternative Rock With New Single “PARADE” For Eurovision Pre-Selection

Lithuanian-born, UK-based singer-songwriter Grete reaches territory she has never touched before with “PARADE,” stepping into the world of alternative rock. Led by a wicked riff played on crushing drop-tuned guitars, the instrumental serves as a perfect backdrop for Grete’s powerful vocals, pulling inspiration from Paramore and Bring Me the Horizon stylistically, with vocal influences from Tina Turner and Demi Lovato. Throughout the song, she discusses the current focus on comparison and herd mentality in the modern world, including how it negatively affects her and those around her, accompanied by a music video visualizing the different sides to Grete and further driving home the song’s empowering message. The 24-year-old artist spent years performing jazz and pop covers across Lithuanian TV, including as a finalist on The Voice Lithuania in 2018, before leaving her home to start her career in the UK. As an independent artist, she has released two EPs, and with “PARADE,” Grete will compete in Lithuania’s pre-Eurovision competition to represent the country in the 2026 Eurovision contest.


ZERO 9:36 Shares “Leave It All Behind” Video From New EP ‘They Were Always Here’

Eric Alper
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ZERO 9:36 Shares “Leave It All Behind” Video From New EP ‘They Were Always Here’

ZERO 9:36 unveils his new music video for “Leave It All Behind,” taken from his recently released EP ‘They Were Always Here’. The video follows previously released singles “Holding On,” “Here To Bleed,” “Withdrawals” featuring Ekoh, and “System,” showcasing ZERO 9:36’s signature blend of raw emotion and powerful lyricism. The Philadelphia post-genre sonic insurgent siphons precise raps through distorted guitars and glitchy hues, rhyming with the force and fire of a prizefighter. After grinding under the radar for years and augmenting his signature style with frequent collaborator and producer No Love For The Middle Child, who appears on the new track “Make A Mess,” ZERO was signed as ATCO Records’ flagship act. The ‘You Will Not Be Saved’ EP introduced him while generating 70 million-plus streams, powered by highlights such as “Leave The Light On” and “WWYDF.”

His EP ‘…If You Don’t Save Yourself’ caught on instantly in 2021, with single “Adrenaline” hitting number 1 on Mediabase’s Active Rock airplay chart and standing as the number 2 most played at the format that year. Tracks like “Stuck In My Ways,” “Break” featuring Atreyu, and “I’m Not” brought listeners into his world, with Loudwire raving “‘I’m Not’ is a banger with ZERO 9:36’s nimble lyrical flow playing out over tribal drums and a wall of guitars and electronic backing.” In 2024, ZERO announced a new partnership with distributor OneRPM and released his third EP ‘None Of Us Are Getting Out’, led by heavily-streamed singles “I Felt It All,” “Kill Me,” and “Chasing Shadows” featuring Brandon Saller of Atreyu. The EP represented ZERO’s first release as an independent artist, charting top-twenty on Active Rock charts while he sold out packed clubs on his first headline tour of Europe and opened for Hollywood Undead. After his first tour of Australia, ZERO went back into the studio with No Love For The Middle Child, producer Jonathan Dolese, and others to craft ‘They Were Always Here’, which he describes as “a project that represents what these last few years have been like. Something special I made with my best friends, and with the help of some artists and producers I’m truly inspired by.” ZERO 9:36 has toured alongside Shinedown, Neck Deep, Hollywood Undead, Three Days Grace, Asking Alexandria, Nothing More, Bullet For My Valentine, Wage War, and The Plot In You, with festival appearances at Welcome to Rockville, Louder Than Life, and Inkcarceration, amassing over 50 million streams across platforms.

‘They Were Always Here’ Tracklist:

  1. “Decay”
  2. “System”
  3. “Here to Bleed”
  4. “Until The Day I”
  5. “Holding On”
  6. “Make a Mess” (Feat. No Love For The Middle Child)
  7. “Disgusting”
  8. “Withdrawals” (Feat. Ekoh)
  9. “Leave It All Behind”

Mau5trap Releases ‘We Are Friends Vol. 12’ Disc 1 With The XTTC, Ciauru, And “Strobe” Retake

Eric Alper
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Mau5trap Releases ‘We Are Friends Vol. 12’ Disc 1 With The XTTC, Ciauru, And “Strobe” Retake

Following a strong run of 2025 releases from label leader deadmau5, BlackGummy, Becking, Screamarts, Skellytn, and Lamorn, mau5trap charges into 2026 with the first of two discs for the twelfth installment of its long-running compilation series ‘We Are Friends Vol. 12’. The collection’s focus track “1 of My Kind” comes from The XTTC, an anonymous collaboration between an electronic music producer and DJ and a visual artist with roots in comics and large-scale concert visuals. Built around the fantasy lives of three masked vigilante characters, X, Ruby Knives, and Lil C, who exist to disrupt symbols of power and inject chaos into systems thriving on obedience, the project presents cinematic storytelling soundtracked by driving electro, seductive vocals, and dark-room energy. The XTTC chooses anonymity as resistance in a time when identity gets scraped, tracked, packaged, and fed into algorithms designed to predict and control behavior, creating space for rebellion, contradiction, and freedom to exist without consequence.

The 15-track disc one also features singles “Supersonic Electronic (on acid)” from Italy’s Ciauru, packed with tribal rhythms and precision-engineered bleeps, and the featured remix “Strobe” (&friends, Moeaike Retake). For the sole remix on disc one, mau5trap tapped emerging artists &friends and Moeaike for a fresh retake on the deadmau5 classic. &friends continues to solidify his place as one of the most intentional voices in global electronic music following breakout singles “Temptation” featuring Bipolar Sunshine and “Jackie B,” while Italian duo Moeaike, known for their 2024 breakout hit “Mala Fama,” join a prestigious lineage of artists including Layton Giordani, Dimension, and Lane 8 who have officially remixed “Strobe.” Since 2012, the We Are Friends series has served as a launchpad for emerging talent, introducing the world to artists such as REZZ, i_o, ATTLAS, BlackGummy, and No Mana. Over a decade since its formation, mau5trap has become a bastion for trailblazing, genre-defying artists, with Mixmag readers voting it among the Top 50 Labels of the Decade, placing it in the Top 10.

‘We Are Friends Vol. 12’ (Disc 1) Tracklist:

Ciauru – “Supersonic Electronic (on acid)”

Avis Vox – “Hide!”

The XTTC – “1 of My Kind”

Meyer, imallryt – “Control”

Hreez – “Turn The Place Down”

Micha Mendel – “Ya Aeny”

Quantaloop – “Fractured Mirror”

ELAC – “Sub Terra”

Me & You – “Acid Love”

Liudicrious – “Restless”

robinrabauke – “BLP”

Penultimate – “Listen”

Sysdemes – “KNAVE”

infinikid – “Refracture”

deadmau5, &friends, Moeaike – “Strobe” (&friends, Moeaike Retake)

The Sound of Recovery: Seven Artists Who Found Strength in Sobriety

Eric Alper
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By Mitch Rice

Substance abuse has long been a pervasive issue within the music industry, often leading to tragic outcomes. However, many artists have not only faced their demons but have also emerged stronger, using their experiences to inspire others. Here, we explore the journeys of iconic musicians who have triumphed over addiction, highlighting their struggles, recovery, and empowerment.

Eminem: From Darkness to Light

Eminem, one of the most influential rappers of our time, faced a harrowing battle with substance abuse, culminating in a near-fatal methadone overdose in 2007. Following this life-altering event, he made the pivotal decision to seek help and has been sober since 2008. Eminem credits his recovery to a combination of therapy, medication, and the support of his family. He has often spoken about how sobriety has empowered him, allowing him to reconnect with his passion for music and authenticity. Today, he continues to perform and inspire millions, using his platform to raise awareness about addiction and the importance of seeking support.

Elton John: A Legacy of Sobriety

Sir Elton John has been a beacon of hope in the fight against addiction. After years of battling alcohol and drug dependency, he achieved sobriety over 30 years ago. His journey to recovery included a stint in rehab and a commitment to living a healthier lifestyle. Elton has since dedicated much of his life to advocating for mental health awareness, founding the Elton John AIDS Foundation to support those affected by addiction and HIV/AIDS. He often shares that his recovery has not only saved his life but has also enriched his music, allowing him to create with renewed passion.

Alice Cooper: The Shock Rocker’s Redemption

Alice Cooper, known for his theatrical performances and shock rock persona, faced severe alcohol addiction that nearly derailed his career. In the late 1970s, after hitting rock bottom, he sought help and entered rehab, emerging with a newfound clarity and purpose. Cooper has since embraced sobriety and often speaks about the importance of maintaining a healthy lifestyle. He continues to tour, using his platform to share his story and encourage others to seek help, proving that recovery can lead to a fulfilling and productive life.

Steven Tyler: The Open Book

Steven Tyler, the charismatic frontman of Aerosmith, has been candid about his struggles with substance abuse. After multiple rehabilitation stints, he achieved sobriety and has remained clean for several years. Tyler attributes his recovery to the support of his bandmates and his commitment to living authentically. He has often expressed how overcoming addiction has empowered him to be a better artist and person. Today, he continues to perform, sharing his journey with fans and contributing to mental wellbeing initiatives.

Slash: The Guitar Hero’s Triumph

Slash, the iconic guitarist of Guns N’ Roses, battled heroin addiction for years, which took a significant toll on his career and personal life. After a near-fatal overdose, he sought help and has been sober since 2006. Slash’s recovery journey involved therapy and a strong support system, including his family and friends. He has often shared that sobriety has allowed him to reconnect with his love for music and creativity, leading to a resurgence in his career. He actively speaks about addiction and recovery, encouraging others to find their path to healing.

Anthony Kiedis: The Chronicler of Recovery

Anthony Kiedis, the lead singer of the Red Hot Chili Peppers, has been open about his struggles with heroin addiction, chronicling his journey in his memoir, Scar Tissue. After years of battling addiction, Kiedis found sobriety in 2000, attributing his recovery to therapy, support from his bandmates, and a commitment to a healthier lifestyle. His experiences have empowered him, and he often uses his music to address themes of addiction and recovery. Kiedis remains an active performer, using his platform to raise awareness about the importance of seeking help for substance abuse.

Demi Lovato: A Journey of Self-Discovery

Demi Lovato has been remarkably open about their struggles with drugs, alcohol, and a near-fatal overdose in 2018. Following this life-changing event, Lovato entered rehab and has since embraced sobriety, using their platform to advocate for mental health and support. Lovato’s journey has been one of self-discovery and empowerment, as they continue to create music that resonates with their experiences. They have expressed that recovery has allowed them to live authentically and inspire others facing similar battles.

The journeys of these musical geniuses highlight the resilience and strength that can emerge from the struggle with addiction. Each of them has not only found sobriety but has also used their experiences to inspire and advocate for more drug help services. Their stories serve as powerful reminders that recovery is possible and that seeking help can lead to a fulfilling and creative life. Through their music and advocacy, these artists continue to break the stigma surrounding addiction, encouraging others to embrace their journeys toward healing and empowerment.

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

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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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