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How The Music Industry Is Winning Big With TikTok Spark Ads

Eric Alper
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How The Music Industry Is Winning Big With TikTok Spark Ads

TikTok isn’t just for dances anymore—it’s the modern-day MTV, radio, and magazine cover all rolled into one scroll-happy platform. And with Spark Ads, labels and indie artists alike are finding new ways to boost the signal on their bangers. Here are a dozen fun, serious, and scroll-stopping facts about how the music biz is using TikTok Spark Ads to make the magic happen.

1. Spark Ads Let You Promote Actual Fan Love
Unlike traditional ads, Spark Ads boost real organic posts—so when a fan posts themselves vibing to your track, you can amplify their video. It’s like retweeting with a boost.

2. Labels Are Turning Virality Into Strategy
Labels now scout TikTok comments for posts worth turning into Spark Ads. That 19-year-old who danced to your song in her kitchen? She’s your new campaign centerpiece.

3. Artists Are Releasing ‘Hook First’ to Fuel the Feed
With Spark Ads in mind, artists are now teasing 15-second snippets optimized for TikTok’s algorithm—chorus first, visual pop, and relatable lyrics. The full song can wait; the scroll must be stopped.

4. It’s Cheaper Than a Billboard (And Way More Targeted)
For the price of one badly placed print ad, Spark Ads let you laser-target music lovers based on interests, location, and even the kind of music they already engage with. Your song shows up in exactly the right feed.

5. You Don’t Have To Film New Content
If someone already posted a TikTok using your song, you can Spark Ad their content with their permission. The fans do the dancing, you do the promoting. Win-win.

6. Spark Ads Give Indie Artists a Fighting Chance
Even if you don’t have a major label budget, a well-placed Spark Ad can put your song in front of thousands (or millions) of ears. Bedroom pop can still go platinum.

7. They Extend the Shelf Life of a Trend
Got a viral moment? Spark it. Ads let you stretch a trend past the usual 5-day flame-out and build it into something with staying power. It’s the TikTok version of the encore.

8. You Can Turn One Post Into a Campaign
With Spark Ads, one organic post can become a multi-week campaign. Promote it. Remix it. React to it. Suddenly, one spark becomes a firestorm.

9. Analytics That Actually Matter to Musicians
Instead of vague “reach,” Spark Ads show how many people saved, shared, or used your song. Real actions, real fandom, real playlist adds.

10. Even Heritage Acts Are Getting In On It
Legacy artists are using Spark Ads to reintroduce classic hits to Gen Z. Don’t be shocked when your kid adds a Bee Gees track to their TikTok playlist—because Barry Gibb just went viral again.

11. It’s the Best Way to Launch a Challenge (Without Feeling Cringe)
Forget forcing a dance. Spark Ads let you fuel trends that happen naturally—then back the best ones with dollars to go even further.

12. TikTok + Spark = Streaming Gold
Every 15-second view is one step closer to a Shazam, a Spotify stream, a follow, a fan. Spark Ads don’t just sell—they connect. And in music, that’s everything.

If you’re an artist waiting for lightning to strike, Spark Ads might just be your weather machine. They’re fun, smart, and—when used right—more effective than anything since TRL. Because the truth is simple: If they can’t see you, they can’t stream you.

And if that’s not worth Sparking up, what is?

Matthew Restall Explores How David Sylvian, Mark Hollis, and Kate Bush Transformed Pop in ‘Ghosts – Journeys To Post Pop’

Eric Alper
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Matthew Restall Explores How David Sylvian, Mark Hollis, and Kate Bush Transformed Pop in ‘Ghosts – Journeys To Post Pop’

Three music-obsessed, suburban London teenagers set out to make their own kind of pop music: Kate Bush became an overnight star, while success came to David Sylvian (and Japan), and to Mark Hollis (and Talk Talk) after years of struggle. But when their unique talents brought them international acclaim, they turned their backs on stardom. ‘Just when I think I’m winning,’ sang Sylvian on ‘Ghosts,’ a 1982 Japan hit, ‘when my chance came to be king, the ghosts of my life grew wilder than the wind.’ Haunted by doubt, spooked by fame, shocked by the industry’s classism, sexism, and rapacity, Sylvian, Hollis, and Bush were driven to brave new destinations by multiple factors: creative originality and the inspiration of artists from every genre; the turmoil of personal relationships and inner psychological struggles. Along the way, as sacrifices were made – bands, friendships, marriages, the trappings of stardom – and experiments were pursued with dogged fearlessness, these musicians forged something new, changing how we hear pop music and the role of its creators in modern society. Ghosts uses the Sylvian, Hollis, and Bush journeys to define post-pop for the first time. Weaving together memoir, biography, musicology, cultural criticism, and history, the book shows how the story is both personal – as individual artists struggled with their own ghosts – and contextual, a larger history of pop music, popular culture, and the creative process itself. The post-pop story is about music and fame, ambition and fear, happiness and melancholy. As a journey from noise to silence, the journey to post-pop is ultimately about life itself.

Rock Hall Legend Dion DiMucci Reflects on 60 Years of Music and Influence

Eric Alper
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Rock Hall Legend Dion DiMucci Reflects on 60 Years of Music and Influence

Legendary Rock Hall of Fame innovator shares the most lasting influences on his remarkable life — a life that helped shape the last 60 years of rock and roll history

The book features a prologue by Eric Clapton and a foreword by Paul Simon.

Dion DiMucci’s journey through rock and roll history is as legendary as his hits. As the lead singer of Dion and the Belmonts in the late 1950s, Dion captured the heart of America with chart-toppers like “Runaround Sue”, “The Wanderer”, and “A Teenager in Love.” His later solo success with the profound “Abraham, Martin, and John” in 1968 marked another high, contributing to his twelve gold records. Throughout the 1970s and 1980s, Dion explored folk, blues, and gospel, earning a Grammy nomination in 1985 and an induction into the Rock and Roll Hall of Fame in 1989 alongside icons like the Rolling Stones and Stevie Wonder.

In this compelling collection, Dion shares intimate conversations with close friend Adam Jablin, reflecting on his rise to fame, battles with heroin addiction, a sixty-year marriage, and the influential figures in his music career, including Hank Williams and Bob Dylan.

Featuring over 200 vibrant photos, this book captures not just the life of a music icon but six decades of rock and roll evolution.

Photo Gallery: Keith Urban, Chase Matthew, Alana Springsteen, And Karley Scott Collins At Toronto’s Budweiser Stage June 21, 2025

Eric Alper
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Photo Gallery: Keith Urban, Chase Matthew, Alana Springsteen, And Karley Scott Collins At Toronto’s Budweiser Stage June 21, 2025

All photos by Mini’s Memories. You can contact her through Instagram or X.

Keith Urban
Keith Urban
Keith Urban
Keith Urban
Keith Urban
Keith Urban
Keith Urban
Keith Urban
Keith Urban
Keith Urban
Keith Urban
Keith Urban
Keith Urban
Keith Urban
Keith Urban
Keith Urban
Chase Matthew
Chase Matthew
Chase Matthew
Chase Matthew
Chase Matthew
Alana Springsteen
Alana Springsteen
Alana Springsteen
Alana Springsteen
Karley Scott Collins
Karley Scott Collins
Karley Scott Collins

Ringo Starr Releases First Country Album in 50 Years, ‘Look Up’, With T Bone Burnett

Eric Alper
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Ringo Starr Releases First Country Album in 50 Years, ‘Look Up’, With T Bone Burnett

Ringo Starr released his new country album, Look Up. The album was produced and co-written by T Bone Burnett. It is Starr’s first country album in more than 50 years and his first full-length album since 2019.

Recorded last year in Nashville and Los Angeles, Look Up features 11 songs and nine were written or co-written by Burnett. Starr sang and played drums on all the songs and co-wrote the album’s closer, ‘Thankful’, featuring Alison Krauss. Burnett enlisted some of Nashville’s finest and hottest talent for the record, including Billy Strings, Larkin Poe, Lucius, Molly Tuttle and the aforementioned Krauss. Acclaimed musicians Dennis Crouch, Paul Franklin, Daniel Tashian, Joe Walsh and more also played on the album.

A video for the title track was also released today. It features Starr singing in the sunshine interwoven with images of people from all walks of life gathering in a field and ultimately, as seen in shots from above, forming a human peace sign. Director Wyndham Garnett was inspired by the song’s prescient lyrics and Starr’s dedication to spreading peace and love: “No matter where you place/In the human race/There is mercy/There is grace/Look Up Up above your head/Where the music plays/There’s a light that shines/In the darkest days/Look up//Live to fight another day/Good things are gonna come your way.” The video abounds with positivity and stands as a beacon of hope as we head into this New Year.

Starr’s lifelong love of country music has been apparent and celebrated throughout his illustrious career. He performed and wrote numerous country and country-tinged songs throughout his years with The Beatles (i.e. ‘Act Naturally’, ‘What Goes On’, ‘Don’t Pass Me By’) as well as with the earlier Rory Storm and The Hurricanes, and recorded a country album, Beaucoups of Blues, in 1970 as his second solo album. His love of Country and the Blues led him to try and emigrate from London to Texas while still a teen, after reading that Lightnin’ Hopkins lived in Houston.

The artist’s new album comes after a chance meeting with Burnett at an event in Los Angeles in 2022 (the two had first met in the 1970s), where Starr asked Burnett to write a song for an EP he was recording. Taking the task to heart, Burnett returned with nine songs, all in a country vein, which happily put Starr on a path to record Look Up.

Track List: Look Up (Written by)

1. Breathless (featuring Billy Strings) (T Bone Burnett)
Ringo Starr – Drums, Percussion, Lead Vocal; Billy Strings – Lead Acoustic Guitar, Harmony Vocal;
Dennis Crouch – Bass; Daniel Tashian – Acoustic Guitar, T Bone Burnett – Acoustic Guitar, Electric Guitar

2. Look Up (featuring Molly Tuttle) (Daniel Tashian, T Bone Burnett)
Ringo Starr – Drums, Lead Vocal; Molly Tuttle – Harmony Vocal; Paul Franklin – Pedal Steel Guitar; Dennis Crouch – Bass; Daniel Tashian – Acoustic Guitar, Electric Guitar, Woodblock; T Bone Burnett – 6 String Bass, Electric Guitar

3. Time On My Hands (Paul Kennerly, Daniel Tashian, T Bone Burnett)
Ringo Starr – Drums, Lead Vocal; Paul Franklin – Pedal Steel; Dennis Crouch – Bass; Daniel Tashian – Acoustic Guitar, Electric Guitar, 6 String Bass, Piano; Andy Cata – Piano; T Bone Burnett – 6 String Bass; David Mansfield – String Arrangement

4. Never Let Me Go (featuring Billy Strings) (T Bone Burnett)
Ringo Starr – Drums, Lead Vocal; Billy Strings – Electric Guitar, Guitars, Harmony Vocal; Mickey Raphael – Harmonica; Dennis Crouch – Bass; Daniel Tashian – Electric Guitar; T Bone Burnett – Acoustic Guitar, Electric Guitar

5. I Live For Your Love (featuring Molly Tuttle) (Billy Swan, T Bone Burnett)
Ringo Starr – Drums, Lead Vocal; Molly Tuttle – Acoustic Guitar, Mandolin, Harmony Vocal; Paul Franklin – Pedal Steel; Mike Rojas – Piano; Dennis Crouch – Bass

6. Come Back (featuring Lucius) (T Bone Burnett)
Ringo Starr – Whistling, Lead Vocal; Lucious (Jess Wolfe, Holly Laessig) – Background Vocals; Dennis Crouch – Bass; Colin Linden – Resonator Guitar; Stuart Duncan – Mandolin, Fiddle; Rory Hoffman, T Bone Burnett – Acoustic Guitar

7. Can You Hear Me Call (featuring Molly Tuttle) (T Bone Burnett)
Ringo Starr – Drums, Lead Vocal; Molly Tuttle – Acoustic Guitar, Duet Vocal; Dennis Crouch – Bass; T Bone Burnett – Electric Guitar

8. Rosetta (featuring Billy Strings and Larkin Poe) (T Bone Burnett)
Ringo Starr – Drums, Lead Vocal; Billy Strings – Electric Guitar, Harmony Vocal; Rebecca Lovell – Mandolin, Background Vocals; Megan Lovell – Background Vocals; Joe Walsh – Slide Guitar; Dennis Crouch – Bass; T Bone Burnett – Acoustic Guitar, Electric Guitar

9. You Want Some (Billy Swan)
Ringo Starr – Drums, Lead Vocal; Mike Rojas – Piano; Paul Franklin – Pedal Steel Guitar; Rory Hoffman – Clarinet; Dennis Crouch – Bass; Daniel Tashian, T Bone Burnett – Electric Guitar

10. String Theory (featuring Molly Tuttle) (Daniel Tashian, T Bone Burnett)
Ringo Starr – Drums, Harmony Vocals; Molly Tuttle – 12 String Guitar, Harmony Vocal; Rebecca Lovell, Megan Lovell – Background Vocals; Paul Franklin – Pedal Steel Guitar; Dennis Crouch – Bass; Daniel Tashian – Acoustic Guitar, 12 String Lead Guitar T Bone Burnett – Electric Guitar

11. Thankful (featuring Alison Krauss) (Richard Starkey, Bruce Sugar)*
Ringo Starr – Drums, Lead Vocal; Alison Krauss – Harmony Vocal; Daniel Tashian – Electric Guitar, Harmony Vocal; Paul Franklin – Pedal Steel Guitar; Dennis Crouch – Bass; Greg Leisz – Acoustic Guitar; T Bone Burnett – Electric Guitar

Produced by T Bone Burnett
Co-Produced by Daniel Tashian and Bruce Sugar
* “Thankful” Produced by Ringo Starr and Bruce Sugar with T Bone Burnett

10 Tips for Optimizing Your Artist Profile on Spotify and Apple Music

Eric Alper
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10 Tips for Optimizing Your Artist Profile on Spotify and Apple Music

There’s something about vinyl. The crackle, the warmth, the cover art you can actually hold. But let’s face it: most fans discover your music digitally. So if you’re an artist releasing music today, your Spotify and Apple Music profiles need to shine just as bright as your vinyl does. Whether you’re an indie troubadour or a synth-pop collective, these 10 tips will help make your digital artist profile as unforgettable as a needle dropping on your favorite LP.

  1. Use a high-quality profile image
    Your photo is your first impression. Make sure it’s professional, high-resolution, and reflects your vibe as an artist.
  2. Craft a compelling artist bio
    Keep it short but meaningful. Mention your genre, influences, and what fans can expect from your sound. Update it regularly.
  3. Pin your best releases
    Both Spotify and Apple Music allow you to highlight tracks, albums, or playlists. Pin your latest single or your most streamed hit to stay top of mind.
  4. Update visuals for each release
    Your cover art should be eye-catching and consistent with your brand. Treat each release like a movie poster for your sound.
  5. Link your socials and website
    Make it easy for fans to find you. Add Instagram, TikTok, Twitter/X, YouTube, and your official website.
  6. Keep concert and tour info current
    Use Spotify for Artists and Apple Music for Artists to add tour dates. Fans near a venue will get notifications!
  7. Claim and manage your profile
    If you haven’t already, verify your artist profile on both platforms to unlock tools and analytics that help grow your audience.
  8. Create and promote playlists
    Curate playlists of your own songs or songs that inspire you. Share them with fans to show off your taste and boost streaming.
  9. Use Canvas and visuals where available
    On Spotify, upload looping visuals (Canvas) to enhance the listener experience and catch attention in the app.
  10. Check your analytics regularly
    Data is your friend. Learn who your listeners are, where they live, and which songs they love—and plan your next move accordingly.

The vinyl crackle is cool, but the digital polish matters too. Set up your profile with care and you’ll make a lasting impression wherever fans find you.

Tweet: Your music deserves more than just great sound—it deserves a great profile. Here are 10 easy tips for optimizing your artist page on Spotify and Apple Music. Make it count, every time someone presses play.

25 Must-Have Vinyl Albums You Should Own

Eric Alper
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25 Must-Have Vinyl Albums You Should Own

There’s something about vinyl. The crackle, the warmth, the way an album cover feels in your hands. It’s not just about listening, it’s about experiencing music. Here are 20 albums that absolutely belong on your turntable — not because they sound better (though they might), but because they feel better.

  1. Fleetwood Mac – Rumours (1977)
    A heartbreak masterpiece made for spinning. The harmonies, the drama, the basslines — this one was made for the hiss and hum of vinyl.
  2. Kendrick Lamar – To Pimp a Butterfly (2015)
    Jazz, funk, and revolution. There’s no better way to hear this sprawling opus than on a big platter spinning slow and steady.
  3. Pink Floyd – The Dark Side of the Moon (1973)
    Audiophile heaven. This album feels like it was pressed into existence for the express purpose of being played on vinyl, preferably at midnight.
  4. Joni Mitchell – Blue (1971)
    Vinyl makes Joni’s voice sound like it’s coming from inside your ribcage. Pour some tea, dim the lights, and let this one whisper to your soul.
  5. Daft Punk – Discovery (2001)
    Electronic music with a human heartbeat. On vinyl, every beep and bloop gets a second life, and those robot vocals? Iconic.
  6. Miles Davis – Kind of Blue (1959)
    The ultimate chill record. It practically floats off the turntable. Vinyl gives each note a little more space to breathe.
  7. Amy Winehouse – Back to Black (2006)
    The crackle of the vinyl pairs perfectly with the ache in Amy’s voice. Soul never sounded more lived-in.
  8. Radiohead – OK Computer (1997)
    Cold, weird, beautiful — this album is a sci-fi prophecy that somehow feels more human on analog. Spin it and stare out a window.
  9. Prince – Purple Rain (1984)
    That guitar solo in “Purple Rain” hits different when it’s coming from a vinyl groove. It’s a purple paradise.
  10. Lauryn Hill – The Miseducation of Lauryn Hill (1998)
    A warm, soulful LP that wraps around you like a velvet hug. Play this one loud and feel every line.
  11. The Beatles – Abbey Road (1969)
    The medley on side two is basically a vinyl flex. Flip it, and suddenly it’s magic.
  12. David Bowie – The Rise and Fall of Ziggy Stardust (1972)
    Glam meets grit. The cover alone is worth the purchase, but the music? A starman waiting in the groove.
  13. Bob Marley and the Wailers – Exodus (1977)
    Laid-back revolution. There’s something about reggae on vinyl that feels like a sunbeam for your ears.
  14. Nirvana – MTV Unplugged in New York (1994)
    Every breath, every murmur — it’s all right there. Vinyl makes this already-intimate performance feel like it’s happening in your living room.
  15. Taylor Swift – 1989 (Taylor’s Version) (2023)
    Pop gone analog! This one brings sparkly synths and heartbreak bangers to life on your turntable, and the colored vinyl is just the cherry on top.
  16. Carole King – Tapestry (1971)
    Soft rock royalty. Vinyl lets you hear every nuance of Carole’s piano and every ache in her voice.
  17. Beastie Boys – Paul’s Boutique (1989)
    A sample-packed collage of hip-hop brilliance. Spinning it on wax is like flipping through a pop-culture encyclopedia.
  18. Bon Iver – For Emma, Forever Ago (2007)
    It sounds like it was recorded in a cabin with a single microphone. Vinyl only enhances the intimacy.
  19. The Clash – London Calling (1979)
    Punk with purpose. There’s a fire in the grooves of this one. It’s meant to be turned up and turned over.
  20. Billie Holiday – Lady in Satin (1958)
    Heartbreak on high fidelity. Vinyl gives Billie’s voice all the raw fragility it deserves. Every note is a soft thunderclap.

Collect them, spin them, love them. Because music like this? It deserves to be held.

Jens Gerrit Papenburg Explores the History of Music Technology in ‘Listening Devices’

Eric Alper
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Jens Gerrit Papenburg Explores the History of Music Technology in ‘Listening Devices’

From 1940 to 1990, new machines and devices radically changed listening to music. Small and large single records, new kinds of jukeboxes and loudspeaker systems not only made it possible to playback music in a different way, they also evidence a fundamental transformation of music and listening itself. Taking the media and machines through which listening took place during this period, Listening Devices develops a new history of listening.Although these devices were (and often still are) easily accessible, up to now we have no concept of them. To address this gap, this volume proposes the term “listening device.” In conjunction with this concept, the book develops an original and fruitful method for exploring listening as a historical subject that has been increasingly organized in relation to technology.

Case studies of four listening devices are the points of departure for the analysis, which leads the reader down unfamiliar paths, traversing the popular sound worlds of 1950s rock ‘n’ roll culture and the disco and club culture of the 1970s and 1980s. Despite all the characteristics specific to the different listening devices, they can nevertheless be compared because of the fundamental similarities they share: they model and manage listening, they actively mediate between the listener and the music heard, and it is this mediation that brings both listener and the music listened to into being. Ultimately, however, the intention is that the listening devices themselves should not be heard so that the music they playback can be heard. Thus, they take the history of listening to its very limits and confront it with its “other”-a history of non-listening.

The book proposes “listening device” as a key concept for sound studies, popular music studies, musicology, and media studies. With this conceptual key, a new, productive understanding of past music and sound cultures of the pre-digital era can be unlocked, and, not least, of the listening culture of the digital present.

Jens Gerrit Papenburg is Professor of Musicology/Sound Studies at the University of Bonn, Germany. He is the co-editor of Sound as Popular Culture. A Research Companion (2016) and principal investigator of the research project Syncopation and Volume: Sounding Out Sonic Modernity, 1890-1945.

John Van der Kiste Tells the Tale of Punk Band London in ‘Everyone’s a Winner’

Eric Alper
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John Van der Kiste Tells the Tale of Punk Band London in ‘Everyone’s a Winner’

Simon Le Bon said they were the first band he ever saw, Paul Simonon of The Clash remembered them as “a great live band with good songs”, and Simon Napier-Bell described them as “the band that blew my bloody ears off!”

Everyone’s a Winner, The Story of a Punk Band Called London by John Van der Kiste, with a foreword by Simon Napier-Bell, is an illustrated history of the cult band including a song-by-song breakdown of their albums, a detailed discography, complete gig listings and over 300 photos.

Find out why Paul McCartney made a beeline for singer Riff at his Buddy Holly night and discover how London tried to pinch Captain Sensible from The Damned, only to have him steal their own drummer a few weeks later to replace Rat Scabies. Read about punch-ups on tour with The Stranglers, rubbing shoulders with all the punk greats of the day, and the time Sting nicked their original guitarist for The Police two days after he had joined London. Hear about their unlikely comeback 30 years later and their rock opera about 1960s gangland Soho.

Formed in 1976, London were Riff Regan (vocals), Steve Voice (bass/vocals), Dave Wight (guitar), and Jon Moss (drums). They quickly secured a contract with MCA Records, an experienced manager in Simon Napier-Bell, and the support slot on the Stranglers’ notorious Rattus Norvegicus tour. From this they built up a following that ensured enthusiastic audiences to this day.

They split just as their album Animal Games was released early in 1978. Drummer Jon Moss went on to form Culture Club with Boy George, and Riff Regan, under his real name Miles Tredinnick, became a comedy writer for Frankie Howerd. Regan and Voice then reformed the band in 2008 with Hugh O’Donnell (guitar) and Colin Watterston (drums). New albums followed with the release of Reboot in 2012 and The Hell for Leather Mob in 2020.

This illustrated history, including recollections from members of both line-ups, recounts the rollercoaster tale of a band who were there at the beginning of punk and reappeared 30 years later to take their place in a musical landscape that had changed beyond recognition. Their debut single says it all. Everyone’s a Winner!

25 Little-Known Facts About The Osmonds

Eric Alper
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25 Little-Known Facts About The Osmonds
  1. In the early 1970s, few acts matched The Osmonds in fame, fan frenzy, or chart success. As clean-cut teen idols turned rock performers, they dominated pop culture with hit records, a beloved TV variety show, and sold-out tours worldwide. Blending barbershop harmonies with pop and hard rock experimentation, the Osmonds helped define an era — and became one of America’s most recognizable musical families.
  2. The original Osmond Brothers began as a barbershop quartet in 1958, performing to raise money for their brothers’ hearing aids.
  3. Virl and Tom Osmond, the two eldest siblings, were born with severe hearing impairments and never performed musically with the group.
  4. The family was discovered by Disney entertainment director Tommy Walker while singing at Disneyland.
  5. Their first national TV appearance was on “The Andy Williams Show” in 1962, earning them the nickname “the one-take Osmonds.”
  6. Donny joined the group on the Andy Williams show, making them a five-member act at just five years old.
  7. The Osmonds’ first single was “Flower Music” in 1967, but it failed to chart.
  8. Their breakout hit “One Bad Apple” hit #1 in 1971 and stayed there for five weeks.
  9. The song “One Bad Apple” was originally written with The Jackson 5 in mind.
  10. The Osmonds were among the first artists to record at Muscle Shoals Sound Studio.
  11. The band’s 1972 hit “Crazy Horses” featured no vocals from Donny Osmond.
  12. Marie Osmond scored a #1 U.S. country hit at just 13 years old with “Paper Roses” in 1973.
  13. Jimmy Osmond was the youngest artist ever to hit #1 in the U.K. with “Long Haired Lover from Liverpool” in 1972.
  14. The Osmonds released a concept album called The Plan in 1973, inspired by their Mormon faith.
  15. The family ran their own television studio in Orem, Utah, where they produced The Donny & Marie Show.
  16. Donny was nearly cast as the Teen Angel in Grease but turned it down for the film Goin’ Coconuts.
  17. Merrill Osmond recorded a Top 40 country hit under the pseudonym “Merrill and Jessica” in 1987.
  18. The Osmonds shifted to country music in the early 1980s and had a string of country chart hits.
  19. Alan Osmond was diagnosed with multiple sclerosis and later retired from performing.
  20. Alan’s sons performed as a second-generation group called The Osmond Boys in the 1980s and 90s.
  21. The family avoided bankruptcy in the late ’70s by repaying debts with touring revenue instead of filing.
  22. The Osmonds’ Las Vegas comeback show in 2008 marked their only U.S. stop during their 50th anniversary tour.
  23. Jay Osmond wrote the story for The Osmonds: A New Musical, which toured the U.K. and Ireland in 2022.
  24. The Osmonds received a star on the Hollywood Walk of Fame in 2003.
  25. Despite 1970s chart dominance, their music is now rarely heard on classic hits radio.
  26. In 2022, Merrill Osmond retired to serve a church mission, making Jay the final performing member of the original quartet.










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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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