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Erroll Starr’s Journey: From Award-Winning Doc “Temple of Love” to Electrifying New Music with TRIBZ

Eric Alper
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Erroll Starr’s Journey: From Award-Winning Doc “Temple of Love” to Electrifying New Music with TRIBZ

Juno Award-winning artist Erroll Starr Francis has long been a force in Canadian music, his voice echoing across decades and genres. Now, his remarkable story is reaching new audiences through the acclaimed short documentary, Temple of Love: The Erroll Starr Story—and through the powerful new sounds of his band, TRIBZ.

Temple of Love— Produced independently by executive producer Aaron T. Francis (Vintage Black Canada) and directed by Kyle Sawyer and Katie Billo of Digital Sabbath — chronicles Starr’s meteoric rise in the 1980s, his quiet retreat from the spotlight, and his triumphant return as the front man of TRIBZ. More than a music doc, the film is a story of erasure, resilience, and reclamation, unpacking the unspoken rules of race, genre, and cultural memory in Canadian media. Featuring commentary from Tony “Master T” Young, Michael Williams, and music executive Mark S. Berry, the film paints a rich portrait of one of Canada’s most dynamic and misunderstood voices.

Festival & Screening Highlights (2024):

  • Winner: Best Canadian Short – Northwest International Documentary Festival (Edmonton)
  • Official Selections: Toronto Black Film Festival, Seattle Black Film Festival, Hamilton International Film Festival
  • Academic & Community Screenings: Wilfrid Laurier University, Princess Cinemas Waterloo
  • Now playing on Air Canada in-flight entertainment (June–Dec 2024)

As the film continues its celebrated festival run and reaches global audiences via Air Canada, Erroll Starr’s musical journey is far from over. With TRIBZ—a genre-defying Indigenous blues-rock collective rooted in Six Nations and Hamilton—Starr electrifies stages with powerful vocals, lived history, and soulful truth. The band’s latest single, “Long Black Cadillac,” is a gritty fusion of Southern soul, Indigenous power, and classic blues-rock, channeling decades of experience and ancestral rhythm into something both timeless and urgent. TRIBZ features Erroll Starr (vocals), Earl Johnson (guitar), Donny Hill (bass), and Dave Davidson (drums). “Long Black Cadillac.”

In tandem with the film, the Temple of Love album has been reissued independently, offering a chance to revisit the tracks that first set a standard for Black excellence in Canadian rock and soul. Stream the reissued album: Temple of Love Album: https://errollstarr.hearnow.com/temple-of-love]

Both the film and the band share a commitment to truth-telling, heritage, and rhythm. Temple of Love offers a look back at Starr’s singular path, while TRIBZ points boldly forward. Together, they capture the full spectrum of what it means to rise, reflect, and reclaim.

Eddie Schwartz Triumphantly Returns with New Single “We Win” and ‘Film School’ EP

Eric Alper
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Eddie Schwartz Triumphantly Returns with New Single “We Win” and ‘Film School’ EP

For decades, Eddie Schwartz has remained one of the most respected figures in the music world—an iconic Canadian songwriter, producer, performer, and rights advocate whose songs have echoed across generations. With his new single “We Win,” Eddie marks a bold and inspiring return to his roots as a solo artist, leading into the release of his new EP Film School, both out now. The project showcases the full spectrum of his brilliance: lyrical poignancy, musical craftsmanship, and the indomitable spirit that has defined his legacy.

A Member of the Order of Canada and the Canadian Songwriters Hall of Fame, Eddie Schwartz is the architect behind enduring hits like “Hit Me With Your Best Shot,” popularized by Pat Benatar, and “All Our Tomorrows,” later covered by Joe Cocker. His catalog spans more than 200 recorded songs and over 65 million physical sales worldwide—long before streaming platforms entered the conversation. With Film School, Eddie adds a powerful new chapter to his discography and creative journey.

The lead single “We Win” pulses with optimism and resolve, themes that mirror the artist’s own return to songwriting after a prolonged pause. “We’ll break down the walls, we’ll tear up the rules / Come out swinging, fighting, not afraid to lose,” Eddie sings in the chorus—his words now layered with personal and cultural meaning. “We get up off our knees / We stand up and believe / No matter how the story ends, we win.” Delivered with trademark sincerity, “We Win” feels as timely as it is timeless.

“These songs didn’t come easily,” Eddie writes in his artist notes. “After stepping away from writing, I wasn’t sure I’d ever return. But with encouragement from my wife Joanne and friends in Nashville and beyond, I found my way back.” His creative rebirth is deeply felt throughout Film School, a collection of mostly new songs that channel reflection, purpose, and an undiminished creative spark.

Born in Toronto in 1949, Eddie Schwartz holds a degree in music and English literature from York University. He first made his mark in the band Icarus alongside industry titans Bob Ezrin and Ben Mink, before launching a solo career that led to multiple hit singles and an enduring role as one of Canada’s great musical exports. “Hit Me With Your Best Shot” may have been dismissed by a publisher early on, but Benatar’s iconic recording turned it into a cultural lightning rod. Eddie, ever gracious, always let the music speak for itself.

His songs have been recorded by an astonishing roster: Paul Carrack, The Doobie Brothers, Carly Simon, America, Donna Summer, Rita Coolidge, Rascal Flatts, and Mountain, among many others. As a producer, his credits include the Doobie Brothers’ Cycles, Carrack’s Groove Approved, and his own albums, all resonating with an unmistakable blend of craftsmanship and soul.

Film School arrives not only as an artistic statement but also as a deeply personal one. “After a number of years doing the Nashville-style co-writing every day—two songs a day, five days a week—I burned out,” Eddie reflects. “The blank page stayed blank for a long time.” His ability to re-engage with songwriting—on his own terms—underscores the quiet power behind “We Win” and the entire EP.

From the cinematic textures of the title track to the soul-stirring honesty of “We Win,” every note on Film School reveals a master returning to form. “I wrote these songs slower than before. But every line, every melody came from a real place,” Eddie notes. “I wanted the music to reflect what I’ve lived through and what I still believe in.”

That belief has extended far beyond music. Eddie’s work as a global music creators’ advocate has earned him deep admiration. As past president of the International Council of Music Creators and the Songwriters Association of Canada, and as president of Music Creators North America, Eddie has shaped policy and fought for the rights of the creative community worldwide.

SOCAN recognized his impact with their Cultural Impact Award, while his induction into the Canadian Songwriters Hall of Fame remains a testament to his artistry and influence. Still, despite the accolades, Film School reminds audiences why Eddie Schwartz is—first and foremost—an artist.

“I wrote ‘We Win’ as a song of hope,” he says. “I hope people hear it and feel the power of standing up again. Because there’s always a reason to try again, to keep moving forward.” With Film School, Eddie Schwartz continues to do just that—creating music that uplifts, empowers, and endures.

Noëlly to Sing “O Canada” at Canadian Women’s Open Kickoff Wearing Tennis Dress of Her Own Design

Eric Alper
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Noëlly to Sing “O Canada” at Canadian Women’s Open Kickoff Wearing Tennis Dress of Her Own Design

Noëlly Nsimba is set to combine her love of tennis and country when she’ll perform “O Canada, her native land’s national anthem, at the start of the 2025 Canadian Women’s Open.  She’ll kick off the National Bank Open presented by Rogers on July 27 at IGA Stadium in Montréal, her hometown.  She’s the daughter of immigrants from Democratic Republic of Congo and is a proud Canadian as well as a former participant on the WTA Tour having played in tournaments across the globe including in Israel, Tunisia, Mexico, Macedonia, Georgia, Congo, Germany, Netherlands, France, and many other countries. She’s now started both a family – she is the mother of Zyon, a 9-month-old boy — and new career in music that launches with the release two digital singles concurrent with her performance at opening the Women’s National Bank Open presented by Rogers.

The singles that will be released via all streaming services are two bilingual versions of “O Canada,” one with rock/electric accompaniment, the other an a cappella performance with vocal harmonies. The other release is “4 De Love: Tennis,” a mirthful song she wrote in celebration of her favorite sport and an instrumental version of the song. Download and streaming proceeds realized from the recording will be channeled to support The Love & Love Tennis Foundation established by Hall of Famer Rosie Casals and dedicated to empowering youth by offering tennis programs, educational support, and specialized clinics.

Noëlly considers herself a true patriot and cites Canada’s inclusive attitude toward immigration that made her parents feel welcome when they first arrived in Montreal from Africa.  She comments, “Canada is a country that makes you feel at home no matter where you were born, what you look like, what you eat, how you dress or the languages you speak. We are one nation made up of many different people who are comfortable sharing with and caring for each other.” 

Speaking of dress, Noëlly will be debuting a new fashion creation of hers when she sings “O Canada”, in both French and English, on the 27th. The dress she’ll be wearing is one of her own creation that she conceptualized a few years ago when she was deep in training and competing at a tennis academy in Cancun, Mexico. Beyond the discipline of daily practice and the heat of competition, she carried a vision — a vivid dream of one day standing victorious at the Australian Open.  She didn’t just dream of winning. She imagined every detail, including the outfit she would wear at that moment: a green tennis dress with black and white lines, graceful and elegant like a ballerina’s attire. This dress symbolized the athlete she was and the woman she had become— strong, feminine, and determined. Noëlly sketched the design herself — every curve, every contour drawn from her imagination and heart. This vision was shared with a friend who introduced her to Reina, a skilled local tailor.

Together, Noëlly and Reina brought the vision to life. They carefully selected the fabric, discussed every detail, and shaped the dress stitch by stitch. Reina embraced Noëlly’s design with precision and artistry, transforming her dream into a stunning, one-of-a-kind reality. While Noëlly has since moved on from competitive tennis, her spirit of ambition never faded but has been applied to her music so it is fitting, in every sense, that she will be performing the national anthem wearing her green tennis dress for the very first time. That appearance will be her debut as a singer at a major event as well as the debut of her own creation representing a remarkable intersection of her passions for tennis, music and fashion design. For Noëlly, this is more than a performance. It’s a champion moment — an honorable opportunity to represent her country, her evolution, and perhaps, the beginning of a future clothing venture designed to empower others the way this dress has empowered her.

Apart from music, tennis and fashion, Noëlly has quite a few other artistic outlets: she’s an accomplished cake maker as well as a painter; in short Noëlly is a truly creative soul and a proud Canadian. “We are all given gifts that are not only for us but also to share with others,” and is truly living up to that credo.

Celtic Folksters Lo & the High Road Release Enchanting New Single “Lanterns in the Mist”

Eric Alper
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Celtic Folksters Lo & the High Road Release Enchanting New Single “Lanterns in the Mist”

Folk group Lo & the High Road invite listeners into a twilight world of myth, music, and magical ambiguity with their new single “Lanterns in the Mist,” out now. Weaving together Celtic instrumentation and modern folk storytelling, the track continues the ensemble’s tradition of grounding fantasy in emotional truth, set to a soundscape of bouzouki, bodhrán, fiddle, and harmonized vocals that feel like they’ve wandered out of the fog between dreams and daybreak.

Led by Lauren Halász (vocals, bass, bodhrán, whistle) and Colin McMahon (guitar, mandolin, bouzouki, production), the Cobourg-based project draws inspiration from folklore, fairy tales, and the living tradition of Celtic music. “This song is from the perspective of a child who is being stolen away by fairies,” explains Lauren. “It’s a theme in stories from cultures all over the world. Sometimes they’re taken for sinister reasons, sometimes to be saved. We wanted to leave that question open”.

Musically, the song plays in that same liminal space—balancing ethereal beauty with unease. “When Lo brought me the lyrics, I was struck by the darkness,” says Colin. “But what I heard was something energetic, almost danceable. So we settled into that tension—between wonder and danger, between the comforting past and the unknown world ahead”.

The lyrics are poetry in motion: “Listen, they are calling me away / to a land in between the night and day / with voices that are clearer than the church bells…”. It’s a sonic invitation to follow the fairies through oak and ash, to leave behind kings and crowns, and wander into a world where dew tastes like honey and violins shimmer with gold. The fairies—sung in wispy three-part harmony—are at once alluring and untrustworthy, leaving the listener suspended in longing.

Lo & the High Road has developed a devoted international following of over 200,000 fans online, many of whom use their music as soundtracks for Dungeons & Dragons campaigns, woodland weddings, and even Renaissance Faires. Their first album Jackalope Tales (& other stories) reached over a million streams and established the band as an emerging voice in Canada’s modern folk scene.

“Lanterns in the Mist” is the band’s latest exploration of myth, music, and meaning—a song that resonates with anyone looking for escape, imagination, or even healing. “I think I wrote this song as a coping mechanism,” says Lauren. “Sometimes we all need a space between worlds to rest. A place where the land is healthy and we are safe. A place to keep our lanterns lit”.

Following the release of the single, Lo & the High Road will bring their haunting harmonies and rich arrangements to Ontario stages throughout the summer:

Lo & the High Road – 2025 Tour Dates:

  • August 10 – Summer Music in the Garden – Toronto, ON
  • September 12 – Victoria Hall – Cobourg, ON

Fans of Celtic traditions, fantasy storytelling, and indie folk revival will find themselves at home in the mossy, melodic world Lo & the High Road continues to build. “We’re not trying to escape reality,” says Colin. “We’re trying to build bridges between the old stories and the ones we’re still writing.”

HERDD & Overwork Unleash Cathartic Club Banger “Pick You Up (Overwork Remix)”

Eric Alper
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HERDD & Overwork Unleash Cathartic Club Banger “Pick You Up (Overwork Remix)”

When you’ve had enough of being someone’s emotional lifeline, you write a song like this. HERDD, the Montreal-born, Sudbury-based pop provocateur, teams up with U.K. remix artist Overwork (aka Matthew Smith) for a revamped take on his breakup anthem “Pick You Up.” The Overwork Remix lands with electrifying flair, dripping with catharsis, and booming with bass lines built for healing.

Set to a pounding pop/dance beat, the track lets HERDD (a.k.a. François Côté) drop the mask and reclaim his time. “It’s not my job / to pick you up,” he declares in the infectious hook, before driving it home with a cheeky mic-drop: “Seriously, go find a man / and if you don’t know how, there’s an app for that.”

But there’s depth behind the sass. “‘Pick You Up’ started out bitter,” HERDD explains. “It was about a very specific kind of person—someone who asks how you are just to pivot back to themselves. But over time, I began to feel more powerful than resentful. That inspired me to work on a new version that celebrated the empowerment hiding in the original track.” The result? A dancefloor confessional where boundaries are sacred, recovery is righteous, and queerness is a badge of pride.

HERDD and Overwork’s friendship spans school days spent binging Murder She Wrote (yes, all 12 seasons plus the movies) and awkward teenage jam sessions in Overwork’s childhood home. “Matt was the first person I came out to,” HERDD says. “He just said ‘Cool!’ and we moved on. I’ll never forget how easy he made it for me to just be myself.”

Originally featured on HERDD’s 2024 debut album Afterlife, the track chronicles the messy aftermath of a one-sided relationship, set against the backdrop of HERDD’s post-pandemic self-reckoning. Now, with newly recorded vocals and an elevated soundscape, the Overwork Remix brings that story full circle—bitter turned bold, heartbreak transformed into clarity.

HERDD has long used music to explore identity, mental health, and resilience. “I was raised in a religious household that saw queerness as something to repent. I’ve carried a lot of that shame. But when I stopped trying to be ‘nice’ and started being real, that’s when I found real love—and real hate too. But that’s life. That’s what this song is about.”

If you’re looking for a track that hits hard on the dancefloor and in your soul, this is it.

On This Day in 1987: Rick Astley Gives the World a Pop Promise and How Rick-Rolling Was Invented

Eric Alper
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On This Day in 1987: Rick Astley Gives the World a Pop Promise and How Rick-Rolling Was Invented

On July 27, 1987, the world first heard a promise it would never forget: Never Gonna Give You Up. Released by RCA Records as the lead single from Rick Astley’s debut album Whenever You Need Somebody, the song introduced a fresh-faced English singer with a rich baritone, courtesy of the powerhouse production trio Stock Aitken Waterman. Few could have predicted just how enduring this cheerful pop anthem would become—nor how it would eventually shape the digital culture of the 21st century.

Crafted at PWL Studios in South London, the song was built on the foundation of tight 1980s synth-pop: Yamaha DX7 basslines, Linn 9000 drum sequencing, and Fairlight-sculpted strings. Mike Stock credits Colonel Abrams’ “Trapped” as a rhythmic influence, while Pete Waterman suggested the title based on Astley’s real-life devotion to his girlfriend. The trio sculpted the song specifically to showcase Astley’s surprisingly mature vocals, creating a track that sounded both familiar and fresh.

Upon release, “Never Gonna Give You Up” raced to the top of the U.K. Singles Chart, staying there for five weeks and ending 1987 as the nation’s best-selling single. It didn’t stop there. The song topped charts in 25 countries, including the U.S., Canada, Australia, and West Germany. Its success marked Stock Aitken Waterman’s most triumphant global moment and positioned Astley as one of the breakout stars of the late ’80s. He would go on to sell over 40 million records worldwide.

The music video, directed by future Con Air filmmaker Simon West, was filmed in and around London’s Harrow Club. With Astley’s clean-cut look, confident dance moves, and that bright blue background, it was a quintessential slice of 1980s pop culture. Today, it stands as one of the most recognizable videos on the internet—with over 1.6 billion views on YouTube.

But it was in 2007, two decades after the single’s release, that “Never Gonna Give You Up” became something else entirely. An anonymous user on 4chan created a bait-and-switch prank: users expecting a trailer for the game Grand Theft Auto IV were instead redirected to Astley’s video. Thus, rickrolling was born. It quickly spread as a playful internet meme, reaching its cultural apex in 2008 when YouTube rickrolled every featured video for April Fools’ Day.

Astley took the meme’s revival in stride. “That’s what’s brilliant about the internet,” he told the Los Angeles Times in 2008. Far from resenting the joke, he embraced it—most memorably by crashing the Macy’s Thanksgiving Day Parade that same year to lip-sync the song live. The internet’s prank had become a nostalgic celebration, introducing the track to an entirely new generation.

In the years since, “Never Gonna Give You Up” has only grown in stature. Billboard ranked it among the 500 best pop songs of all time in 2023. It appeared in films, commercials, viral campaigns, and even on Ted Lasso, where a funeral sing-along left audiences both laughing and crying. Rick Astley continues to perform it—often closing his shows with the track that never leaves us.

“Never Gonna Give You Up” is more than a catchy chorus and a retro video. It’s a pop milestone, a meme, and a reminder that sometimes, the most lasting musical promises come wrapped in synths and sincerity. On this day in 1987, Rick Astley gave us his word—and decades later, he’s still keeping it.

30 Times a Ballad Crushed the Charts

Eric Alper
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30 Times a Ballad Crushed the Charts

Ballads have a secret superpower. They don’t race to the top—they float, they soar, and sometimes they wreck you gently. Across decades and genres, these slow-burn beauties filled stadiums, ruled the charts, and stayed with us long after the last note.

Here are 35 ballads—from pop to rock to R&B—that crushed the charts and captured our hearts.

Adele – “Someone Like You”
Just a piano, a voice, and a heartbreak that felt universal. Adele’s vocal restraint became her ultimate weapon.

Aerosmith – “I Don’t Want to Miss a Thing”
Steven Tyler’s sky-high notes and that Armageddon drama created a rock ballad for the ages.

Alicia Keys – “If I Ain’t Got You”
Soaring soul wrapped in piano chords and longing. A timeless R&B moment.

Barbra Streisand – “The Way We Were”
A sweeping cinematic ballad that captures memory, love, and melancholy in every phrase.

Bee Gees – “How Deep Is Your Love”
Smooth harmonies, soft beats, and an emotional pull that carried across dance floors and bedrooms.

Billie Eilish – “What Was I Made For?”
Delicate and haunting, this Barbie soundtrack moment brought a whisper to the top of the world.

Bonnie Raitt – “I Can’t Make You Love Me”
A gentle confession, wrapped in piano and vulnerability. A late-night anthem of acceptance.

Bonnie Tyler – “Total Eclipse of the Heart”
Epic and thunderous, this power ballad lights up karaoke nights and emotional playlists alike.

Boyz II Men – “End of the Road”
Velvety harmonies and heartbreak blended into one of the longest-running #1s of the ‘90s.

Bruno Mars – “When I Was Your Man”
A throwback to classic piano ballads, filled with regret and raw honesty.

Céline Dion – “My Heart Will Go On”
Titanic-sized emotion, anchored by Céline’s unwavering vocal strength.

Christina Perri – “A Thousand Years”
A wedding staple and eternal love letter that still finds its way onto playlists worldwide.

Elton John – “Your Song”
Tender, simple, and beautifully British. A love note in lyrical form.

Elvis Presley – “Can’t Help Falling in Love”
A gentle declaration with a melody as enduring as love itself.

Foreigner – “I Want to Know What Love Is”
Big vocals, gospel backing, and emotional reach that spans generations.

George Michael – “One More Try”
Slow-burning and soulful, this gospel-tinged ballad showcases George Michael’s vocal control and emotional depth.

John Legend – “All of Me”
Romantic and raw, this ballad became a modern classic for weddings and slow dances.

Katy Perry – “Unconditionally”
A mid-tempo love ballad with a huge chorus and a message of unwavering support.

Lady Gaga – “Shallow”
A dramatic duet from A Star Is Born, blending rock and tenderness into a Grammy-winning anthem.

Leona Lewis – “Bleeding Love”
Epic and vulnerable, this song pairs vocal power with lyrical longing.

Lewis Capaldi – “Someone You Loved”
Soft piano and a fragile vocal carry the weight of loss and love.

Lionel Richie & Diana Ross – “Endless Love”
A duet that defines romance, drenched in smooth ‘80s soul.

Mariah Carey – “Hero”
A ballad of strength and self-belief, lifted by one of pop’s most powerful voices.

Norah Jones – “Don’t Know Why”
A mellow, jazzy ballad that sips its way through heartache and subtle regret.

Phil Collins – “Against All Odds”
A ballad that leans into longing with sweeping emotion and that signature Collins intensity.

Prince – “Purple Rain”
Blues, gospel, and rock collide in this monumental slow jam, ending in a wailing guitar solo that still echoes.

Rihanna – “Stay”
Sparse and emotional, this duet with Mikky Ekko strips it down to raw vulnerability.

Roberta Flack – “The First Time Ever I Saw Your Face”
A slow, breathless build that carries love and awe in every note.

Sam Smith – “Stay With Me”
Modern soul and gospel warmth meet in this stirring, Grammy-winning hit.

Sinead O’Connor – “Nothing Compares 2 U”
Written by Prince, delivered with piercing clarity by Sinead, and etched in pop history.

Toni Braxton – “Un-Break My Heart”
A soaring vocal and dramatic strings elevate this breakup ballad into R&B royalty.

Tracy Chapman – “Baby Can I Hold You”
Simple, direct, and full of yearning—Chapman’s voice says it all.

Whitney Houston – “I Will Always Love You”
Dolly may have written it, but Whitney launched it into the stratosphere with that iconic vocal build.

The Beatles – “Yesterday”
Timeless and wistful, this acoustic ballad still feels fresh more than half a century later.

The Righteous Brothers – “Unchained Melody”
That longing, that crescendo—few ballads tug on the soul quite like this one.

These ballads didn’t need tempo or trend—they brought feeling, storytelling, and voices that reached into the heart of culture. From prom nights to tearful drives, they found their place and stayed there.

10 Tips for Getting Radio Airplay in a Streaming World

Eric Alper
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10 Tips for Getting Radio Airplay in a Streaming World

In a landscape dominated by streaming and social media, radio still holds power—especially for artists looking to build staying power. But landing airplay today means more than mailing out a CD. Here’s what music directors actually look for when considering new tracks.

1. A Clear Artist Story
Music directors want to know who the artist is and why this song matters. When there’s a meaningful backstory or a specific reason for the release, it adds depth and context that helps the song stand out.

2. Clean, Ready-to-Air Audio
Songs should arrive in fully edited, broadcast-ready form. A clean version under 3:30, properly mixed and labeled, makes the process smooth. Anything less slows things down.

3. Local and Format Fit
If the artist has a tie to the station’s city or audience, it’s worth pointing out. Stations often prioritize songs that reflect their listeners’ interests, hometown pride, or genre preferences.

4. Proof of Engagement
Streaming numbers, video views, or sold-out shows show there’s already excitement around the track. Music directors notice when a song is building traction in other corners of the industry.

5. Searchable, Organized Submissions
A clear subject line—Artist – Song – Genre – Airplay Submission—makes a difference. Properly labeled files and emails help stations find tracks quickly when it’s time to build a playlist.

6. Notable Playlist Placements
Inclusion on curated playlists from platforms like Spotify or Apple Music signals credibility. It’s one more indicator that a song has potential to connect with a wider audience.

7. Format Awareness
Knowing a station’s genre, tone, and audience is key. Songs that fit naturally into a station’s sound have a better shot than ones that fall outside the typical rotation.

8. Real Connection Over Promotion
Music directors respond well to genuine outreach. A friendly message, a thoughtful intro, or a real-life interaction builds familiarity over time—and makes an artist easier to support.

9. Visual Assets Add Value
Radio is still an audio-first format, but strong visuals can help a station promote a track on social media or build engagement. A quality video or behind-the-scenes clip can tip the scale.

10. Polite, Strategic Follow-Ups
One follow-up email a week or two later is appreciated, especially if there’s news to share. Frequent or repetitive messages can feel overwhelming. Respect for the station’s process goes a long way.

Music directors pay attention to more than hype. The songs that rise to the top usually come from artists who understand the system, stay professional, and send something worth hearing again and again.

The Temptations’ Isolated Vocals For “My Girl”

Eric Alper
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The Temptations’ Isolated Vocals For “My Girl”

“My Girl” is the 1964 song by The Temptations, written and produced by Smokey Robinson and Ronald White of the Miracles. It became the group’s first U.S. #1 hit and is widely regarded as their signature song. Inspired by Claudette Robinson, the track was later preserved by the Library of Congress for its cultural significance.











Connie Diiamond Gets Raw and Real in Emotional New Single “Letter To My Fans”

Eric Alper
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Connie Diiamond Gets Raw and Real in Emotional New Single “Letter To My Fans”

Rising Bronx spitter Connie Diiamond addresses her audience directly with a poignant and powerful new single entitled “Letter To My Fans” out now via Def Jam Recordings.

The intimacy of the production mirrors the stark honesty of her lyrics. The bass bumps in the distance, emphasizing her bars at the forefront. Traditionally, she always held nothing back, but she cuts even deeper on “Letter To My Fans.” Speaking unapologetically, Connie makes a declaration to the competition as she states, “None of you could compare to me. You see I’m coming from a place where I ain’t had sh*t-where the trauma translates into baggage.” Additionally, she dropped the “Instrumental” and “Slowed Versions” to accompany the track.

About “Letter to My Fans,” she said, “I’ve never dedicated any music to my fans directly before. I was expressing to them how I felt in real-time. It’s one of the most vulnerable records I have. It reflects where I am, where I’ve been, and what I’m feeling today.”

At the end of 2024, she served up Underdog Szn: BRB, which boasted an A-list cohort of guests such as Remy Ma, Cash Cobain, Joe Budden, Don Q, and more. Moreover, “Shoot” graced the soundtrack for NBA 2K24, and BET selected her as its BET Amplified for March. She also performed at the 2024 BET Awards Red Carpet Live Preshow. Among many accomplishments, Connie has notched major co-signs from the likes of NBA superstar LeBron James, who marveled at her viral Ludacris-sampled freestyle in 2023. The rapper then made waves with the release of her debut LP, Underdog SZN, featuring Dame D.O.L.L.A., Don Q, and more.

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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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