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5 Surprising Facts About INXS’ ‘Listen Like Thieves’

Eric Alper
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5 Surprising Facts About INXS’ ‘Listen Like Thieves’

Before they filled stadiums and soundtracked every late-’80s mixtape, INXS were a group of Australian brothers and friends chasing one goal: to make the kind of music that felt just as good in headphones as it did blasting out of a car stereo. In 1985, Listen Like Thieves became their passport to the world—an album that pulsed with urgency, confidence, and a kind of smooth swagger that couldn’t be taught. It was the moment INXS stepped out from cult favorites to global contenders. And it almost didn’t happen. Here are five things you might not know about this incredible record—and why it still matters.

1. The hit that broke them in America came at the last possible moment
With recording finished and time nearly up, producer Chris Thomas told INXS they were still missing a hit. The band had one day left in the studio. Andrew Farriss pulled out a groove he’d labeled “Funk Song No. 13,” and Michael Hutchence helped transform it into “What You Need.” Two days later, the track was done—and it became their first U.S. Top 5 single. When pressure meets instinct, sometimes you get magic.

2. “Listen Like Thieves” captures everything the band stands for in four words
The title track wasn’t just another song—it was a mission statement. A call to pay attention. To tune into what’s being said—and what’s being felt. Hutchence delivers the lyrics like a sermon and a dare, wrapped in a taut, rhythmic groove that still sounds like it could kick open the doors to any arena.

3. The band wrote most of the album as a collective
At a time when most bands split into “the singer” and “the rest,” INXS remained a unit. Multiple tracks were co-written by all six members, and even the B-sides showcased each member’s individuality—Garry Gary Beers sang the gentle “Sweet as Sin,” while Jon Farriss contributed and performed his own track “I’m Over You.” It wasn’t just Hutchence’s voice—it was their voice.

4. They recorded it at home, but they were thinking globally
After sessions in New York and the UK for previous albums, INXS returned to Sydney’s Rhinoceros Studios to make Listen Like Thieves. But this wasn’t a retreat—it was a launch pad. The album fused funk, rock, and new wave into something slick but raw, bold but unpretentious. It was their way of saying: We’re from here, but we’re ready to go anywhere.

5. Hutchence found the sweet spot between sex appeal and soul-searching
“What You Need” and “This Time” introduced the world to Hutchence as both frontman and force. He didn’t just sing—he prowled, he preached, he pulled listeners in. But even when the groove was tight, the heart was never far. Listen closely to “This Time” and you hear yearning beneath the beat. The charisma was real—but so was the vulnerability.

Listen Like Thieves is more than the album that brought INXS into the international spotlight—it’s the moment their sound crystallized, their chemistry snapped into place, and their confidence became unshakable. They weren’t following trends. They were following the rhythm in their bones, and trusting the world would catch up.

It did.

5 Surprising Facts About Phil Collins’ ‘No Jacket Required’

Eric Alper
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5 Surprising Facts About Phil Collins’ ‘No Jacket Required’

Sometimes an album becomes more than a collection of songs—it becomes a time capsule, a turning point, a burst of everything an artist has carried inside. In 1985, Phil Collins released No Jacket Required, an album full of horns, hooks, heartbreak, and healing. It took him from the drummer in the back to the voice in every living room. With over 25 million copies sold, four massive singles, and a world tour that included both Live Aid stages in one day, No Jacket Required still echoes in stadiums, in movie soundtracks, and in the kind of moments that don’t always need explanation. Here are five things you might not know about this landmark album—and why it still kills nearly 40 years later.

1. It begins in a quiet room with a drum machine and a broken heart
Phil Collins writes most of No Jacket Required in five focused weeks, fresh off producing Philip Bailey and working with Eric Clapton. He returns from his honeymoon with a mission—to make something upbeat after the shadow of his first divorce had shaped so much of Face Value. Songs like “Sussudio” and “One More Night” are born from improvisation, but the emotion behind them feels lived-in. Even the happiest tracks carry the ache of someone who knows what it’s like to hurt.

2. “Take Me Home” hides its pain in plain sight
With its sweeping chorus and stadium-sized synths, “Take Me Home” sounds like a road song. But Collins says it’s inspired by One Flew Over the Cuckoo’s Nest, and imagines the voice of someone trapped in a mental institution. Backing vocals from Sting, Peter Gabriel, and Helen Terry add haunting layers to a song that’s really about wanting to be seen, to be heard, and to belong.

3. “Long Long Way to Go” becomes Collins’ quiet protest
Tucked between radio hits, “Long Long Way to Go” feels like a prayer. It doesn’t chart, but it might be the most powerful song on the album. Written during a time of global unrest, Collins invites Sting to sing backup not for star power, but because they had shared a moment of purpose in Band Aid. The song’s title says it all—some things don’t change overnight. But they’re worth singing about.

4. A restaurant dress code gives the album its name—and its fire
Collins is denied entry to The Pump Room in Chicago for not wearing a “proper” jacket. Robert Plant gets in. Collins, wearing a jacket, doesn’t. That sting stays with him. He names the album No Jacket Required, adding sweat and steam to the cover photo. The music inside is confident, vulnerable, and lit from the inside—like someone who’s spent years being underestimated and finally gets to speak loud enough to be heard.

5. Every lyric comes from a place Phil is still trying to understand
Not every song on the album makes sense—not even to Collins himself. “Don’t Lose My Number”? He’s not quite sure what it means. “Sussudio”? A made-up word from a jam session. But that’s the magic of the record. It’s not always literal. It’s emotional. It’s the way a phrase feels when it fits the music. That’s what keeps No Jacket Required alive—not just the precision, but the pulse.

No Jacket Required captures an artist at the height of his popularity, and still reaching for something honest. It’s got chart-toppers, guest stars, and synths for days—but underneath all that shine is a songwriter who just wants to connect. These songs weren’t just made for radio—they were made for anyone trying to hold it all together.

5 Surprising Facts About Tom Petty and the Heartbreakers’ ‘Southern Accents’

Eric Alper
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5 Surprising Facts About Tom Petty and the Heartbreakers’ ‘Southern Accents’

Released in March 1985, Southern Accents plays like a dream drifting through the American South—part concept album, part cosmic detour. What begins in the tradition of Petty’s roots soon opens into something stranger: a collection shaped by sitars, heartbreak, funk grooves, and broken walls. It never follows a straight line, and that’s what makes it so unforgettable. Here are five facts about Southern Accents that go deeper than radio hits and music video memories.

1. It starts as a Southern concept album, then welcomes outsiders
Petty sets out to write an album entirely focused on the South—its heritage, its contradictions, its soul. But when Dave Stewart of Eurythmics enters the mix, songs like “Don’t Come Around Here No More” shift the tone into more psychedelic terrain. Several tracks originally written for the album stay unreleased or end up elsewhere, showing how the project continues to evolve.

2. Petty’s broken hand changes the course of the sessions
While working on “Rebels,” Petty punches a wall in frustration, breaking his hand badly enough to require surgery. The wound comes not from anger toward a person, but from creative tension. He believes no studio take captures the feel of his original demo, and the moment reflects just how much he invests in every song.

3. “Don’t Come Around Here No More” begins with a night at Stevie Nicks’ house
Dave Stewart visits Stevie Nicks after a show and hears her say, “Don’t come around here no more,” following a breakup with Joe Walsh. That phrase becomes the song’s foundation. Stewart and Petty collaborate in a studio filled with synths, string players, and unexpected energy. The song ends up sounding like nothing else in Petty’s catalog.

4. The title track finds its way to Johnny Cash
“Southern Accents” holds a quiet power. It reflects Petty’s vision of pride and loss, grounded in a place he understands deeply. Years later, Johnny Cash covers it on Unchained, bringing a weathered voice and new weight to the lyrics. The song lives on as a modern Southern hymn.

5. The album cover draws from Civil War memory
The cover features Winslow Homer’s 1865 painting The Veteran in a New Field, showing a lone soldier returning to farm life after war. The image holds space for reflection and resilience, offering a visual that matches the record’s mood. It doesn’t shout, but it stays with you.

Southern Accents moves through multiple musical landscapes but never loses its compass. It speaks through fuzzed-out riffs and delicate ballads, dreamlike textures and dusty details. The songs carry stories of longing, place, and persistence—proof that the American South always offers more than one sound.

5 Surprising Facts About R.E.M.’s ‘Fables of the Reconstruction’

Eric Alper
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5 Surprising Facts About R.E.M.’s ‘Fables of the Reconstruction’

By 1985, R.E.M. had already helped define American indie rock—and then they veered left. Fables of the Reconstruction (or is it Reconstruction of the Fables?) saw the band leave their Athens, Georgia roots behind—physically, at least—recording in a rainy London studio with legendary folk producer Joe Boyd. What emerged was a dense, haunting, and surreal album that wrapped Southern Gothic storytelling in jangly guitars and ghostly murk. It was weird. It was brilliant. It was R.E.M. at their most evocative. Here are five things you might not know about this eerie masterpiece of oddball Americana.

1. The Title Reads Both Ways—And So Does the Cover
Is it Fables of the Reconstruction or Reconstruction of the Fables? Yes. The album’s packaging deliberately lists both titles, with each side of the record acting as a “front.” This mirrored the album’s lyrical obsession with duality: myth vs. memory, home vs. exile, truth vs. tale. In R.E.M.’s world, fables get twisted—and reconstructed.

2. The Band Wanted Van Dyke Parks, But Got Joe Boyd
Michael Stipe had his heart set on working with Van Dyke Parks, known for Jump! and his deep ties to American folklore. Instead, the band landed Joe Boyd—producer for Nick Drake and Fairport Convention. Boyd’s meticulous approach clashed with R.E.M.’s usual spontaneity, and the cold London weather didn’t help. Still, the resulting friction added depth and mood.

3. “Life and How to Live It” Was Based on a Real Eccentric’s Book
One of the album’s most energetic songs was inspired by Brivs Mekis, an Athens man who literally wrote the book on living—titled Life: How to Live. He built a house divided into two sides, living in one while writing about the other. After his death, hundreds of unsold copies were found. R.E.M. turned his peculiar life into art.

4. “Green Grow the Rushes” Was Written as a Pact With Natalie Merchant
Stipe and 10,000 Maniacs’ Natalie Merchant made a pact: both would write songs about the genocide of Native Americans. Merchant penned “Among the Americans”; Stipe delivered “Green Grow the Rushes.” Wrapped in Byrds-like harmonies, the song blends poetic protest with haunting beauty—a cornerstone of R.E.M.’s gift for subtle activism.

5. “Driver 8” Still Echoes—With Trains, Harmonica, and Homage
“Driver 8” might’ve missed the Hot 100, but it remains one of R.E.M.’s most iconic tracks. Its imagery of trains and Southern landscapes captures the record’s wandering spirit. Peter Buck later admitted he unintentionally recycled the chords for “Imitation of Life,” proving that even decades later, Fables keeps riding the rails through R.E.M.’s career.

From train whistles to shadowy dreamscapes, Fables of the Reconstruction is the sound of a band haunted by their roots and boldly exploring them at the same time. It’s eerie, poetic, and unshakably Southern—even when recorded in a gray London studio. Like a back porch story told at dusk, this album lingers long after the needle lifts.

5 Surprising Facts About John Fogerty’s ‘Centerfield’

Eric Alper
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5 Surprising Facts About John Fogerty’s ‘Centerfield’

After nearly a decade away from the spotlight, John Fogerty stepped back up to the plate in 1985 with Centerfield—and crushed it out of the park. His first solo album in nine years, Centerfield marked a fiery return for the Creedence Clearwater Revival legend. Fueled by swamp rock riffs, baseball lore, and a righteous sense of justice (musical and legal), the album proved Fogerty still had one of the most distinctive voices—and visions—in rock. But behind the crack of the bat and the top-10 hits are stories just as rich as the grooves. Here are 5 things you might not know about Centerfield.

1. Fogerty Played Every Single Instrument—Every Note
Drums? That’s John. Bass? John again. Guitar, keys, percussion? All Fogerty. In true garage hero fashion, he recorded the entire album himself using overdubs, holed up in solitude and determination. After years in legal limbo, this was Fogerty reasserting his independence—one track at a time.

2. “Centerfield” Was Named Before It Was Written
The title track, which became an American sports anthem, started as nothing more than an album title. Fogerty hadn’t even written the song yet, but the name stuck in his head like a rally chant. The famous opening riff came later—and when it did, the rest of the tune raced out like a runner stealing home.

3. “Zanz Kant Danz” Turned Into a Legal Firestorm
Originally titled “Zanz Kant Danz” as a jab at Fantasy Records head Saul Zaentz, the track featured a dancing pig who “can’t dance but he’ll steal your money.” After Zaentz threatened to sue, Fogerty changed it to “Vanz Kant Danz.” But the lawsuit saga didn’t stop there…

4. Fogerty Was Sued for Copying… Himself
In one of rock’s most surreal legal battles, Fogerty was sued for allegedly plagiarizing his own Creedence song, “Run Through the Jungle,” with Centerfield’s lead single “The Old Man Down the Road.” In court, Fogerty brought his guitar, played both songs live, and won. The case set a precedent: artists could win legal fees even without proving malicious intent.

5. The Album Is Dedicated to a Kid Who Dreamed of a Triangle
Ever heard of Gossamer Wump? He’s the fictional character Fogerty dedicated the album to—a kid who wanted to be a musician and chose to master the triangle. “After ten years of courage, determination, and hard work, Gossamer plays ‘tingle,’” Fogerty said. “No difference? Maybe not. But Gossamer could hear it.” Just like Fogerty could.

Centerfield is a big statement of musical freedom, of resilience, and of love for both rock & roll and the American spirit. From courtrooms to ballparks, Fogerty swung hard with this one—and nearly 40 years later, we’re still singing, “Put me in, coach—I’m ready to play.”

5 Surprising Facts About Prince’s ‘Around the World in a Day’

Eric Alper
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5 Surprising Facts About Prince’s ‘Around the World in a Day’

How do you follow up Purple Rain—one of the most iconic albums of the 1980s? If you’re Prince, you don’t. You sidestep the spotlight, vanish into the paisley ether, and drop Around the World in a Day, a record that refused to chase chart success and instead embraced psychedelic mystique, emotional vulnerability, and sonic risk. While the world was waiting for Purple Rain 2.0, Prince gave them something stranger, denser, and more surprising. Here are five things you might not know about the album that blurred the lines between pop and the surreal.

1. Recording Began Before Purple Rain Was Even Finished
Prince wasn’t done with Purple Rain before he’d already started Around the World in a Day. Some songs were being demoed and tracked while his previous masterpiece was still in the works. He was always one step ahead—and this album proved he had no interest in standing still.

2. The Title Track Was Sparked by Lisa Coleman’s Brother
The lush, Middle Eastern–inflected title track was born from a demo by David Coleman, brother of Revolution keyboardist Lisa Coleman. That initial sketch inspired Prince to build the sonic world of the album around its whimsical, mystical feel. A true family affair that helped set the tone for the entire project.

3. “Paisley Park” Was Recorded Just Three Months After Purple Rain
The ethereal “Paisley Park” came to life quickly—just three months after Purple Rain was released. Featuring violin from Novi Novog and vocal support from Wendy & Lisa, the track foreshadowed the creation of Prince’s actual Paisley Park studio and label, solidifying his vision of a creative utopia.

4. The 12” of “America” Played Until the Tape Ran Out
The extended version of “America” runs over 21 minutes—because Prince and the Revolution literally played until the recording tape ended. That jam session was raw, unfiltered energy, caught in real time. The tape fades just before it physically runs out, capturing the band’s maximalist spirit.

5. “Pop Life” Features a Riot Sample Prince Couldn’t Explain
In “Pop Life,” the line “throw the bum out!” comes from a crowd sound effect that fans long believed was recorded during a disastrous Rolling Stones opening slot. In truth, it came from a 1982 horror film. When asked why he used it, Prince simply said: “Good question — me too :)”

Around the World in a Day wasn’t a sequel to Purple Rain—it was a rebellion against the very idea of one. It challenged expectations, defied commercial logic, and let Prince explore deeper layers of sound, spirituality, and identity. Nearly 40 years later, its paisley palette still feels bold, bizarre, and totally, unmistakably Prince.

5 Surprising Facts About John Mellencamp’s ‘Scarecrow’

Eric Alper
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5 Surprising Facts About John Mellencamp’s ‘Scarecrow’

When Scarecrow hit shelves on July 31, 1985, John Cougar Mellencamp wasn’t just writing hits—he was writing history. With three Billboard Top 10 singles and a sound that bridged heartland rock and American protest music, the album became a cultural touchstone of the mid-80s. But behind the roaring success of “Small Town” and “R.O.C.K. in the U.S.A.” lies a wealth of lesser-known stories that shaped its creation and legacy.

1. The Band Rehearsed 100 Songs From the ’60s—On Purpose
Before stepping into the studio, Mellencamp had his band rehearse about 100 rock and roll songs from the 1960s. The goal? To absorb the essence of that era’s music and channel it into something fresh. Producer Don Gehman called it a way to “learn all these devices from the past and use them in a new way.”

2. “Rain on the Scarecrow” Was Mellencamp’s Political Turning Point
Co-written with lyricist George M. Green, “Rain on the Scarecrow” marked Mellencamp’s shift from personal storytelling to social commentary. The song tackled the 1980s American farm crisis head-on, drawing from Mellencamp’s own Indiana roots. It later became a signature track at the first Farm Aid concert, which he co-founded.

3. “Small Town” Was Written in a Laundry Room
Mellencamp wrote “Small Town” in the laundry room of his house while guests laughed upstairs. Using an electronic typewriter that beeped at typos, he crafted lyrics about growing up in Seymour, Indiana. What started as a joke among friends became one of the most beloved anthems of rural pride.

4. “Lonely Ol’ Night” Took Its Title From a Paul Newman Film
The title for “Lonely Ol’ Night” came from a line in Hud, the 1963 film starring Paul Newman. Mellencamp had watched the movie repeatedly and was deeply influenced by its themes of strained family ties and isolation. It gave the song emotional depth—and also a title that felt familiar and evocative.

5. “R.O.C.K. in the U.S.A.” Almost Didn’t Make the Album
Mellencamp nearly cut “R.O.C.K. in the U.S.A.” from Scarecrow entirely. He thought it was too light-hearted for an album packed with weighty themes. But at the last minute, he added it to the cassette and CD editions as a bonus track—only for it to become one of his biggest hits.

Scarecrow may have reached #2 on the Billboard 200, but its cultural and emotional resonance can’t be measured on a chart. From political protest to personal reflection, the album captures an era of reckoning and reinvention. And as Mellencamp said himself, Scarecrow was the moment he realized what he wanted to say. Turns out, it was something we all needed to hear.

Sophie Ellis-Bextor Glows With Disco-Funk Joy On New Single ‘Relentless Love’

Eric Alper
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Sophie Ellis-Bextor Glows With Disco-Funk Joy On New Single ‘Relentless Love’

After returning with disco-pop anthem “Freedom of the Night” last year, Sophie Ellis-Bextor has shared her first new music of 2025 with joyous new song “Relentless Love” out now.

“Relentless Love” is a buoyant disco-infused funk-pop track that builds through catchy grooves and luminous synths to an energetic and euphoric chorus. A fresh take on Sophie’s distinctive sound, the track was written and produced by Karma Kid [Rudimental, Shygirl] and Baz Kaye [Jessie Ware, The Blessed Madonna], alongside writing from Sophie and JinJin [Raye] and mixing by David Wrench [Jamie xx, Hot Chip].

Sophie says, “‘Relentless Love’ came from my love of fun fairs and the way that falling in love and going on a ride can be a similar thrill. Ferris wheels, roller coasters… all of them can make your perception of reality a little wonky and give you a rush. They are sometimes unpredictable but also an exciting way to shift your perspective for a little minute. Plus, it’s a great place for a date… hence the line ‘you know it’s sweet as caramel, sitting beside you on this carousel.’ There’s definitely a romance in getting on a ride together and seeing where it will take you.”

The glittering anthem “Freedom of the Night” signalled a new era for Sophie with a confident return to her iconic and esteemed disco-pop sound, embracing her musical roots across pop, disco, and dance. The Radio 2 A-listed single saw Sophie back together with longstanding collaborator Sophie Muller on the music video, which celebrated the renowned “Murder on the Dancefloor” video.

With an impressive musical career that spans over an amazing 25 years, Sophie has achieved five Top 10 albums and eight Top 10 singles. With hits including “Murder on the Dancefloor,” “Take Me Home,” “Get Over You,” “Heartbreak (Make Me a Dancer),” and many more. Most recently, after featuring in the epic final scene of Emerald Fennell’s film Saltburn, Sophie’s beloved 2001 hit “Murder on the Dancefloor” saw a huge resurgence, garnering a Platinum Certification in the US and 2x BRIT Platinum in the U.K., climbing to #2 on the Official U.K. Singles Chart, #51 on the Billboard Hot 100, #10 on Billboard Global 200 Chart, Top 5 on Billboard Hot Dance/Electronic Songs Chart, and #1 on the Spotify Viral 100 Chart, and amassing over 13 billion global streams across all streaming and social platforms. It was the 16th biggest song of 2024 and the biggest song of 2024 for a British female artist. Not to mention, she performed the track in New York’s Times Square on Dick Clark’s New Year’s Rockin’ Eve.

Chaparelle Blaze Into Alt-Country Spotlight With Debut Album ‘Western Pleasure’

Eric Alper
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Chaparelle Blaze Into Alt-Country Spotlight With Debut Album ‘Western Pleasure’

 Alt-country supergroup, Chaparelle today released their newest single “Playing Diamonds Cashing Checks”. The new single comes ahead of their highly-anticipated debut album, Western Pleasure, out now, courtesy of Mom+Pop Music.

In a harmonious union, Texas-based musicians Zella Day, Jesse Woods and Beau Bedford joined forces in 2023 to form alt-country supergroup Chaparelle. What began as a songwriting partnership between Zella Day and Jesse Woods quickly evolved into a deeper connection and the couple is now engaged. The couple soon began working with acclaimed producer Beau Bedford (known for his work with Orville Peck, Wyatt Flores and more) and Bedford soon joined the band, solidifying the group’s distinct sound, vocal prowess and celebrated contributions to their distinct genres.

Chaparelle channels the golden age of country music, weaving a melodic narrative and timeless storytelling with a modern, sultry edge. Their live performances-sensual, enchanting, and undeniably captivating-have quickly built a devoted following.

Fresh off standout performances at Luck Reunion and SXSW, Chaparelle continues to build momentum following the release of their buzzed-about singles “Playing Diamonds Cashing Checks,” “Inside The Lines,” “Bleeding Hearts,” and “Sex and Rage.” Now, the trio sets their sights on the release of their highly-anticipated debut album, Western Pleasure, arriving Friday, April 18. The band wrote and recorded their music, produced entirely by Bedford, in their home city of Austin, Texas.

The band on “Western Pleasure”: Born and raised in the central Texas Hill Country, our album is a celebration of life. Through love’s quarrels and victories is a deep well of inspiration that keeps us together. Like a country song so simple and true is the spirit of Chaparelle.

Prior to the album, Chaparelle will two step across Texas stopping in Houston, Austin and Dallas and following the release, the supergroup will kick-off an incredible calendar hitting stops all over the country.

7/25/2025 | FloydFest | Floyd, VA

8/10/2025 | Rocky Mountain Folks Festival | Lyons, CO

9/17/2025 | Tractor Tavern | Seattle, WA

9/18/2025 | Wonder Ballroom | Portland, OR

9/24/2025 | Slo Brew Rock | San Luis Obispo, CA

9/26/2025 | Pappy + Harriet’s | Pioneertown, CA

10/16/2025 | Fine Line | Minneapolis, MN

10/17/2025 | High Noon Saloon | Madison, WI

10/18/2025 | The Stache, Grand Rapids | MI

10/20/2025 | Turntable | Indianapolis, IN

10/21/2025 | Thunderbird Café & Music Hall | Pittsburgh, PA

10/22/2025 | World Cafe Live | Philadelphia, PA

10/24/2025 | The Sinclair | Cambridge, MA

10/25/2025 | Music Hall of Williamsburg | Brooklyn, NY

10/28/2025 | The Atlantis | Washington, DC

10/30/2025 | The Grey Eagle | Asheville, NC

10/31/2025 | Neighborhood Theatre | Charlotte, NC

11/1/2025 | The Charleston Pour House | Charleston, SC

11/5/2025 | Terminal West | Atlanta, GA

11/6/2025 | Saturn | Birmingham, AL

11/7/2025 | The Basement East | Nashville, TN

12/3/2025 | Crescent Ballroom | Phoenix, AZ

Jason Scott & The High Heat Blaze Through Americana On ‘American Grin’

Eric Alper
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Jason Scott & The High Heat Blaze Through Americana On ‘American Grin’

 Jason Scott & The High Heat release their highly anticipated new album, American Grin, listen here. The 13-track record cements the band’s reputation as one of the most exciting voices in modern Americana, blurring the lines between roadhouse country, heartland rock, and soulful storytelling.

Led by former Pentecostal pastor-turned-frontman Jason Scott, the band delivers a bold, cinematic sound on American Grin-one that’s been praised for its humor, grit, and emotional depth. Written during a period of national and personal upheaval, the album reflects on the absurdity, heartbreak, and resilience of everyday American life with a sharp eye and a wry smile.

“This record came from a heavy time,” says Scott. “We wanted to write something that still had hope and color to it-to zoom out and show a bit of the weird, wonderful, and messy landscape we’re all living in.”

Produced by longtime collaborator Taylor Johnson, American Grin was recorded between Oklahoma City and the Texas borderlands, infusing the project with sonic influences that range from Tex-Mex textures and spaghetti-western twang to Wilco-inspired psychedelia and ZZ Top-worthy guitar riffs.

Songs like “Golden” and “Bernadette” shine with stadium-sized hooks, while tracks like “Yardwork” and “Me & The Bottle (Hungover You)” bring levity and soul to familiar themes. The sweeping closer “Maria” pushes the boundaries of the genre entirely, ending the album with a lush, symphonic finale.

With American Grin, Jason Scott & The High Heat take their biggest creative leap yet. The band was recently named Emerging Group of the Year at the Texas Music Awards and is currently touring in support of the album, including a run of dates opening for Dwight Yoakam.

American Grin Track Listing:
“Jimmy” (Jason Scott, Taylor Johnson)
“High Country” (Jason Scott, Taylor Johnson)
“Golden” (Jason Scott, Taylor Johnson)
“Me & The Bottle (Hungover You)” (Jason Scott, Taylor Johnson)
“Interstate of Mind” (Jason Scott, Taylor Johnson)
“Yardwork” (Jason Scott, Taylor Johnson)
“Natalie” (Jason Scott, Taylor Johnson)
“Intermission” (Jason Scott, Taylor Johnson)
“Bernadette”(Jason Scott, Taylor Johnson)
“Too Wasted” (Jason Scott, Taylor Johnson)
“If We Make Til The Mornin'” (Jason Scott, Taylor Johnson)
“Get In Line” (Jason Scott, Taylor Johnson)
“Maria” (Jason Scott, Taylor Johnson)

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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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