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5 Surprising Facts About Peter Frampton’s ‘Frampton Comes Alive!’

Eric Alper
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5 Surprising Facts About Peter Frampton’s ‘Frampton Comes Alive!’

Imagine an artist with four studio albums under his belt, decent respect from his peers, but zero traction on the charts. By 1975, Peter Frampton was a “musician’s musician” staring at a plateau. Then came the Winterland Ballroom in San Francisco. Peter captured a series of performances that crackled with an energy his studio recordings never quite pinned down. Originally planned as a modest single disc, A&M Records saw the potential for something much larger and pushed for a double-record set.

‘Frampton Comes Alive!’ didn’t just sell; it became a cultural phenomenon. Released in January 1976, it vaulted from the bottom of the charts to the number one spot, staying there for ten weeks and becoming the best-selling album of the year. It turned a black 1954 Gibson Les Paul and a plastic tube called a talk box into the most recognizable sounds in rock. This was the moment the live album stopped being a stop-gap release and became the ultimate career-making tool.

1. The “Automatic Sequence” Layout

When fans bought the original vinyl, they noticed something odd: Side 1 was backed with Side 4, and Side 2 was backed with Side 3. This wasn’t a printing error. It was designed for automatic record changers—the popular turntables of the era that let you stack two records. After Side 1 and 2 finished, you’d simply flip the whole stack to hear Side 3 and 4 in perfect order.

2. The Bargain of the Century

In a brilliant marketing move, A&M Records released this double-live masterpiece for just $7.98. At the time, a standard single-disc album cost $6.98. For only one dollar more, fans got twice the music and a massive gatefold photo. This loss leader pricing helped the album explode out of record crates and into eight million American homes.

3. The Talk Box “Technical Difficulty”

While the album is famously authentic, Frampton admits a few studio fixes were necessary. On “Show Me the Way,” the engineer forgot to move the microphone when Peter brought out the talk box, meaning the original live guitar track was unusable. He had to overdub the electric rhythm guitar in the studio to save the song that would become his signature hit.

4. The 90-Degree Kick Drum

During the high-stakes recording at the Winterland, a roadie or band member accidentally snagged a cable and pulled the kick drum microphone away from the drumhead. It ended up facing 90 degrees in the wrong direction. The mixing engineers had a nightmare trying to salvage the low-end punch, but the mistake contributed to the unique, airy drum sound that defines the record.

5. Breaking the “Hey Jude” Record

When “Do You Feel Like We Do” was released as a single, it had to be hacked down from its sprawling 14-minute album length. Even after the edit, the song clocked in at 7 minutes and 19 seconds. This officially made it one of the longest singles to ever hit the Top 40, narrowly beating out the 7-minute and 11-second runtime of The Beatles’ “Hey Jude.”

5 Surprising Facts About David Bowie’s ‘Young Americans’

Eric Alper
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5 Surprising Facts About David Bowie’s ‘Young Americans’

In the summer of 1974, David Bowie did the unthinkable: he killed off the diamond-studded theatricality of glam rock to become a “Gouster.” Exhausted by the massive sets of the ‘Diamond Dogs’ tour, Bowie rolled into Philadelphia’s Sigma Sound Studios—the holy ground of Philly Soul—to reinvent himself as an R&B crooner. He called the result “plastic soul,” a self-deprecating nod to a white Englishman’s take on black American musical tradition, but the world saw it as a masterful pivot.

‘Young Americans’ wasn’t just a change in wardrobe; it was a total sonic overhaul. Bowie ditched his usual British recording tricks for a live studio feel, surrounding himself with a powerhouse band that included a then-unknown Luther Vandross and guitarist Carlos Alomar. The album became his massive US breakthrough, fueled by milk, peppers, and a dangerous amount of cocaine, resulting in a record that was slick, soulful, and deeply paranoid all at once.

1. The “Sigma Kids” Lock-In

During the recording in Philadelphia, a dedicated group of fans known as the “Sigma Kids” camped outside the studio every single day. On the very last night of tracking, Bowie rewarded their loyalty by inviting them all into the studio. He fed them pizza and played them the raw, unmixed tracks of the album—an unheard-of gesture of fan intimacy at the time.

2. Luther Vandross: The Secret Weapon

Before he was a solo superstar, Luther Vandross was just a backing singer brought in by Carlos Alomar. Bowie was so impressed by Vandross’s vocal ideas that he had him arrange the complex gospel-style harmonies for the entire album. The track “Fascination” actually evolved out of a song Vandross had written himself called “Funky Music (Is a Part of Me).”

3. The Beatle and the “Fame” Riff

“Fame” was a last-minute addition born from a jam session with John Lennon at Electric Lady Studios. The iconic, funky guitar riff was originally Carlos Alomar’s attempt to play a cover of “Footstompin’” by the Flares. Lennon began singing the word “aim” over the riff, which Bowie quickly flipped to “Fame,” writing the lyrics as a stinging rebuke to his former management.

4. The “Plastic Soul” Vocal Struggle

Bowie’s heavy drug use during the sessions significantly altered his physical voice. He developed a raspy quality that made it impossible for him to hit his usual high notes comfortably. Paradoxically, he believed ‘Young Americans’ contained some of the highest notes he ever attempted on record, pushed out through sheer willpower and studio adrenaline.

5. The Lost ‘Gouster’ Acetate

The album was originally titled ‘The Gouster’ and had a much more traditional soul vibe. It featured tracks like “Who Can I Be Now?” and “It’s Gonna Be Me”—deeply personal songs that were eventually cut to make room for the John Lennon collaborations. Producer Tony Visconti was reportedly heartbroken when Bowie decided to drop those soulful gems in favor of the more commercial “Fame.”

5 Surprising Facts About Aerosmith’s ‘Toys In The Attic’

Eric Alper
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5 Surprising Facts About Aerosmith’s ‘Toys In The Attic’

Forget everything you thought you knew about 1970s arena rock—this was the moment the training wheels came off. By the time 1975 rolled around, Aerosmith was no longer just a local club act with a dream; they were a road-hardened machine that had spent a year sharpening their claws on the touring circuit. When they walked into the Record Plant to cut ‘Toys in the Attic’, they brought a new level of sophistication and a “sixth member” in producer Jack Douglas who pushed them to write on a deadline for the first time.

The result was a nine-million-selling monster that bridged the gap between New Orleans funk and hard-rock grit. This record gave the world “Walk This Way” and “Sweet Emotion,” two tracks so massive they eventually landed in the Rock and Roll Hall of Fame. It was a statement of pure, psychosensational longevity that proved Steven Tyler and Joe Perry were more than just a flash in the pan—they were architects of a new American sound.

1. The “Young Frankenstein” Connection

The title and hook for “Walk This Way” came from a trip to the movies. While stuck for lyrics, the band went to see Mel Brooks’ Young Frankenstein. They were so amused by Marty Feldman’s character, Igor, telling Gene Wilder to “walk this way” while limping, that they decided to use the phrase as the title for their funkiest new track.

2. The Graffiti Lyrics

Steven Tyler famously wrote the lyrics to “Walk This Way” twice. After leaving his first draft in a taxi, a panicked Tyler disappeared into the studio stairwell with a cassette of the instrumental and some pencils. Having forgotten paper, he scrawled the now-legendary lyrics about a teenage boy losing his virginity directly onto the stairwell walls of the Record Plant.

3. Sugar Packet Percussion

The iconic “Sweet Emotion” is full of studio MacGyvering. During the intro, Tyler couldn’t find any maracas, so he grabbed a packet of sugar and shook it near the microphone to create that signature rhythmic rustle. You can also hear a “Vibraslap” (a percussion instrument) that Tyler hit so hard it actually broke on the third take—that broken instrument is what remains on the final hit record.

4. The “Rice Pudding” Inspiration

Bassist Tom Hamilton wrote the famous “Sweet Emotion” bass line years before the album, while he was still in high school. He was partially inspired by the Jeff Beck track “Rice Pudding.” He was so nervous about showing it to the band that he waited until jam day at the very end of the sessions to finally reveal the riff that would become their first Top 40 hit.

5. A Case of Musical Amnesia

The closing ballad “You See Me Crying” is so complex and heavily orchestrated that the band rarely played it live. Years later, during the 1980s, a heavily drugged Steven Tyler heard the song on the radio and told Joe Perry he thought the band should cover it. Perry had to remind him: “It’s us, fuckhead.”

5 Surprising Facts About Supertramp’s ‘Crime Of The Century’

Eric Alper
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5 Surprising Facts About Supertramp’s ‘Crime Of The Century’

In 1974, Supertramp stood at the edge of a cliff. Their first two records had failed to find an audience, and the original lineup had splintered. But Rick Davies and Roger Hodgson refused to let the dream die. They recruited Bob Siebenberg, John Helliwell, and Dougie Thomson, creating the definitive Supertramp lineup. Their label, A&M, gave them a final chance by sending them to a seventeenth-century farm in Dorset to simply breathe and live the music.

‘Crime of the Century’ is the result of that isolation. It is a sonic masterpiece that brought the sophisticated arrangements of progressive rock into a clear pop context. While it deals with heavy themes of mental stability, loneliness, and the failings of the education system, the music remains incredibly accessible. It became a massive commercial breakthrough, reaching the Top 5 in the UK, Canada, and Germany, and established the band as a force on FM radio across North America. Let’s dive into some amazing facts about the classic record with the songs still heard on the radio.

1. The Cardboard Box Percussion

The hit “Dreamer” was originally composed by a 19-year-old Roger Hodgson at his mother’s house. On his original demo, he used a Wurlitzer piano and banged on cardboard boxes to create the percussion. When the band went to record the professional version for the album, they found the demo so magical that they actually played along to the original tape to capture that same energy.

2. A Million-Dollar Thank You

The album’s dedication “To Sam” is a tribute to Stanley August Miesegaes. He was a Dutch millionaire who acted as the band’s benefactor during their early, struggling years from 1969 to 1972. Without his financial support, the band likely would have folded long before they ever reached the ‘Crime of the Century’ sessions.

3. The Station Master’s Soundtrack

For the sprawling track “Rudy,” the band sought total authenticity for the song’s atmosphere. The train sounds you hear were recorded on location at London Paddington station. To capture the vibe of a bustling city, they also went to Leicester Square to record real crowd noises to weave into the mix.

4. A Family Affair for the Cover Art

The haunting cover—clutched hands pressed against bars in a starscape—was the first-ever album commission for photographer Paul Wakefield. The hands belonging to the “prisoner” are actually those of Wakefield’s twin brother. To get the look just right, his brother’s hands were whitened with stage make-up while he gripped a set of polished aluminum bars.

5. The 42-Song Cull

Davies and Hodgson were incredibly prolific during this period, entering the studio with approximately 42 demo songs. Despite the wealth of material, they were ruthless with the tracklist, selecting only 8 songs to ensure the album was a perfect, concise statement. Several of the rejected tracks were so strong they ended up as highlights on later albums like ‘Crisis? What Crisis?’ and ‘…Famous Last Words…’.

5 Surprising Facts About Steely Dan’s ‘Pretzel Logic’

Eric Alper
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5 Surprising Facts About Steely Dan’s ‘Pretzel Logic’

It’s 1974. Steely Dan—at this point still technically a band in the traditional sense—is at a crossroads. They’d done the road. They’d seen the inside of enough dingy clubs and felt the friction of the traveling circus. Walter Becker and Donald Fagen, the cynical, jazz-obsessed architects behind the curtain, were starting to realize that the five-piece rock group they’d assembled was… well, a limitation.

‘Pretzel Logic’ is the pivot point. It’s the record where the band starts to dissolve into a revolving door of the world’s most elite session players. It’s the album where the songs got tighter, the hooks got sharper, and the jazz influences moved from the background to the driver’s seat. It was a massive commercial success, but it was also the beginning of the end for Steely Dan as a live entity for nearly two decades. This wasn’t just pop; it was high-concept musical engineering disguised as radio-friendly gold.

1. The Ghost of Horace Silver

You know that iconic, syncopated piano line that kicks off “Rikki Don’t Lose That Number”? It didn’t just fall out of the sky. It is an almost direct appropriation of the intro to jazz legend Horace Silver’s 1965 track, “Song for My Father.” It’s the ultimate example of Fagen and Becker’s “bop phrasing” leaking into the pop charts.

2. The Mystery of the “Squonk”

On “Any Major Dude Will Tell You,” Fagen sings about a squonk’s tears. During the recording sessions, the studio musicians were actually too intimidated to ask what a squonk was, fearing they’d look out of the loop. It turns out it’s a mythical creature from Pennsylvania folklore that is so ugly it spends its life crying and can dissolve into a puddle of tears when cornered.

3. The Last Stand of the Quintet

While the album used a small army of L.A. session legends (like Jim Gordon and Jeff Porcaro), ‘Pretzel Logic’ holds a bittersweet distinction: it was the last album to feature the original full quintet lineup of Becker, Fagen, Denny Dias, Jim Hodder, and Jeff “Skunk” Baxter. Shortly after, the touring stopped, and Baxter headed off to join The Doobie Brothers.

4. The Secret Trombone on a Pedal Steel

For the instrumental cover of Duke Ellington’s “East St. Louis Toodle-Oo,” Jeff “Skunk” Baxter didn’t just play guitar. He used his pedal steel to painstakingly recreate the classic “Tricky Sam” Nanton trombone solo from the original 1920s arrangement. To keep the vintage vibe, Walter Becker used a talk box to mimic James “Bubber” Miley’s muted trumpet.

5. The Lost Flapamba Intro

If you bought the original single of “Rikki Don’t Lose That Number” back in ’74, you were missing something. The album version starts with a weird, woody percussion solo played by Victor Feldman on an instrument called a flapamba. ABC Records (and later Geffen) ordered it cut from the radio single to get to the hook faster.

5 Surprising Facts About Stevie Wonder’s ‘Fulfillingness’ First Finale’

Eric Alper
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5 Surprising Facts About Stevie Wonder’s ‘Fulfillingness’ First Finale’

In 1974, Stevie Wonder delivered “Fulfillingness’ First Finale,” a record that deepened his artistic voice at the height of his creative peak. Following “Innervisions,” he moved into a more reflective, personal space, bringing emotion, spirituality, and sharp commentary into tighter, more intimate arrangements. Released on July 22, 1974, the album became his second to top the Billboard charts and won three Grammy Awards, including Album of the Year, confirming its place as one of the defining releases of his classic period.

1. It’s a Grammy-Winning Landmark

“Fulfillingness’ First Finale” earned Stevie Wonder his second consecutive Album of the Year Grammy, along with Best Male Pop Vocal Performance and Best Male Rhythm and Blues Vocal Performance for “Boogie On Reggae Woman,” showing just how strongly the album connected across both pop and R&B audiences.

2. It Balances Introspection with Political Fire

The album moves confidently between introspection and political commentary, highlighted by “You Haven’t Done Nothin’,” a direct and timely protest aimed at President Richard Nixon that became a number-one hit and captured the urgency of the moment.

3. The Sound Is Stripped Back and Intentional

The sound of the album is more restrained and intentional, with songs like “Creepin’” and “They Won’t Go When I Go” leaning into space and mood, creating a somber and focused atmosphere that gives the record its emotional depth.

4. One Track Breaks His Solo Writing Streak

Stevie Wonder wrote nearly every song on the album himself, with “They Won’t Go When I Go” standing as the only co-written track, created with Yvonne Wright, making it a rare collaborative moment on an otherwise deeply personal project.

5. It Moves Seamlessly Across Styles

Across the album, Wonder moves seamlessly through soul, funk, and progressive influences, from the rhythmic drive and synthesizer bass of “Boogie On Reggae Woman” to more spiritual and reflective material, creating a cohesive sound that connected strongly with both pop and soul audiences.

Harajuku-Core Quartet HANABIE. Drop New EP ‘HOT TOPIC’ And Launch First-Ever North American Headline Tour

Eric Alper
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Harajuku-Core Quartet HANABIE. Drop New EP ‘HOT TOPIC’ And Launch First-Ever North American Headline Tour

HANABIE. have been building toward this moment since making history as the first Japanese women to perform on the main stage at Lollapalooza in Chicago in 2024, and now the Tokyo-based Harajuku-core quartet are bringing their heavy, high-energy show to North America on their own terms. New EP ‘HOT TOPIC’ is out now via Sony Music Japan, and the first-ever North American headline run is underway with Nekrogoblikon and Enterprise Earth in support.

‘HOT TOPIC’ delivers five tracks that showcase the full range of what HANABIE. can do. “ICONIC” opens with a punchy, electronic-leaning approach and arrives with a full music video. “Tokimeki about you” marks the band’s first-ever straightforward love song, built around a groovy instrumental section that drummer Chika describes as her personal favorite on the record. “Spicy Queen” and “GIRL’S TALK” round out the familiar side of the catalog, while closer “Theme of hanabienchan.” delivers the wild-card energy that has become an EP tradition for the group.

Formed in 2015 as a high school club activity by Yukina, Matsuri, and Hettsu, with Chika joining on drums in 2023, HANABIE. have grown into one of the most genuinely exciting acts in heavy music. Their hit single “Pardon Me, I Have To Go Now” has surpassed 10 million YouTube views and 5.3 million TikTok views, building an international following that makes this North American headline run a natural next step.

The tour is currently underway, running through April 11 in Los Angeles.

‘HOT TOPIC’ Track Listing:

  1. “ICONIC”
  2. “Spicy Queen”
  3. “Tokimeki about you”
  4. “GIRL’S TALK”
  5. “Theme of hanabienchan.”

HANABIE. 2026 North American Tour Dates:

March 21, Theatre of Living Arts, Philadelphia, PA

March 23, The Ritz, Raleigh, NC

March 24, Buckhead Theatre, Atlanta, GA

March 25, House of Blues, Orlando, FL

March 27, House of Blues, Cleveland, OH

March 29, Saint Andrew’s Hall, Detroit, MI

March 30, House of Blues, Chicago, IL

April 1, The Fillmore Minneapolis, Minneapolis, MN

April 3, House of Blues, Dallas, TX

April 4, House of Blues, Houston, TX

April 6, Emo’s Austin, Austin, TX

April 7, The Van Buren, Phoenix, AZ

April 9, House of Blues, San Diego, CA

April 10, August Hall, San Francisco, CA

April 11, The Belasco, Los Angeles, CA

Edmonton Alt-Metal Newcomers Famous Strangers Unleash The Cinematic Video For Debut Single “Deepstar”

Eric Alper
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Edmonton Alt-Metal Newcomers Famous Strangers Unleash The Cinematic Video For Debut Single “Deepstar”

Famous Strangers have been sitting on this video for two years, and the wait made the release hit harder. The Edmonton alt-metal outfit have unveiled the long-anticipated music video for “Deepstar,” their debut 2024 single and the first song the band ever released, a cinematic visual that brings the track’s cosmic narrative fully to life and closes the loop on the earliest chapter of their story.

The song itself was mixed by Juno-winner Phil Anderson and mastered by world-renowned engineer Maor Appelbaum, whose credits include Faith No More, Dream Theater, and Dokken. Guitarist Jeff Kittlitz describes how naturally it came together: “While exploring presets on my new Fractal FM9, I landed on a tone that instantly brought to mind classic Deep Purple and Black Sabbath, and the main riff came together almost immediately.” Vocalist Amanda Kiernan’s lyrics draw from something equally personal, a tribute to a friend whose presence felt genuinely cosmic, with the friend herself appearing in the video.

Since forming in 2023, Famous Strangers have released four singles and performed at Armstrong MetalFest and Loud As Hell Open Air Festival, sharing stages with Revocation, Danko Jones, Three Inches of Blood, and Riot City. Their atmospheric, emotionally driven approach to heavy music has positioned them as one of Canada’s most intriguing emerging acts in the genre.

A full-length album is in the works for 2026, promising to push their sound darker and deeper than anything they have released so far. Fans of Halestorm, Nothing More, and Bad Omens should be paying close attention.

Nashville’s Guitar Hero Grace Bowers Honored Chaka Khan At The 2026 Resonator Awards

Eric Alper
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Nashville’s Guitar Hero Grace Bowers Honored Chaka Khan At The 2026 Resonator Awards

Grace Bowers performed at the 2026 Resonator Awards presented by We Are Moving The Needle in Los Angeles, honoring Chaka Khan in a moment that put one of Nashville’s most exciting young guitarists on the same stage as one of soul music’s most enduring legends. At 19 years old, Bowers is already operating at a level that most artists spend entire careers working toward.

Her debut album ‘Wine On Venus’, produced by John Osborne of Brothers Osborne and released independently, earned widespread critical acclaim, with Forbes calling it “an infectious, joyous party” and Rolling Stone declaring Bowers “Nashville’s new guitar hero.” That kind of recognition does not arrive by accident. Bowers built her foundation in dive bars, drawing from the blues of B.B. King and the soulful funk of Sly and the Family Stone, before pandemic-era social media videos launched her into a much wider spotlight.

The milestones have stacked up quickly. A performance at the 67th Annual Grammy Awards alongside Chris Martin, an appearance at Love Rocks NYC with Peter Frampton and Trey Anastasio, a late-night debut on Jimmy Kimmel Live, tours with The Red Clay Strays, Gary Clark Jr., Slash, and The Roots, sold-out headline shows in Japan, New York, and Los Angeles, and Instrumentalist of the Year at the 2024 Americana Music Association Honors & Awards. She made her Grand Ole Opry debut on her eighteenth birthday and was named a US Global Music Ambassador by the US Department of State.

With more music and more stages ahead, Grace Bowers is not slowing down.

Grammy-Nominated Blues Rock Powerhouse Beth Hart Brings The “You Still Got Me” Tour To Five UK Cities This May

Eric Alper
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Grammy-Nominated Blues Rock Powerhouse Beth Hart Brings The “You Still Got Me” Tour To Five UK Cities This May

Beth Hart has one of the most visceral connections with her audience in music, and the “You Still Got Me” UK Tour brings that relationship back to five cities this May. Wille & The Bandits performing as an acoustic duo join as special guests across all dates, which include Bristol Beacon on May 15, Edinburgh Usher Hall on May 16, Nottingham Royal Concert Hall on May 18, the Glasshouse International Centre for Music in Gateshead on May 20, and Oxford New Theatre on May 22. Low ticket warning already in effect for Bristol.

The tour supports Hart’s eleventh studio album ‘You Still Got Me’, released via Provogue/Mascot Label Group and produced by Kevin Shirley at Ocean Way Studios in Nashville. The record is among her most personal, opening with the Slash-featuring rocker “Savior With A Razor” and moving through groove-laden funk with Eric Gales on “Suga N My Bowl,” the tender piano ballad “Wonderful World,” and the raw socio-political statement “Don’t Call The Police.” Shirley calls Hart “a diamond, a living contradiction,” and the album earns every word of that description.

Six Billboard Blues chart toppers, double platinum certifications, a string of European Top 10 albums, and over 600 million streams form the backdrop to an artist who has spent nearly three decades doing things entirely on her own terms. Her most recent albums ‘A Tribute To Led Zeppelin’ and ‘War In My Mind’ became her highest charting UK and US releases to date.

Hart’s live shows are the full measure of everything she puts into her recordings, and these five UK nights will be no different.

Beth Hart “You Still Got Me” UK Tour Dates:

May 15, Bristol Beacon, Bristol

May 16, Edinburgh Usher Hall, Edinburgh

May 18, Nottingham Royal Concert Hall, Nottingham

May 20, Glasshouse International Centre for Music, Gateshead

May 22, Oxford New Theatre, Oxford

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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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