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The Celtic Tenors Welcome George Hutton to the Trio, Ushering in New Lineup and Booking Agency

Eric Alper
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The Celtic Tenors Welcome George Hutton to the Trio, Ushering in New Lineup and Booking Agency

After more than 25 years of captivating audiences around the world, The Celtic Tenors are turning the page to an exciting new chapter in their storied journey. The internationally acclaimed vocal trio proudly welcomes celebrated Derry-born tenor George Hutton, who joins founding member Matthew Gilsenan and long-time member Daryl Simpson. Together, they bring a renewed spirit, fresh harmonies, and vibrant energy to the beloved group.

Rooted in Ireland and cherished across the globe, The Celtic Tenors have always embodied a musical brotherhood. With Hutton stepping in for the cherished James Nelson, the trio now reflects a rich harmony of Ulster and Leinster—uniting Simpson (Tyrone), Gilsenan (Meath), and Hutton (Derry) in a lineup that honors both tradition and transformation.

After a quarter century of touring the world James Nelson has chosen to retire, leaving a remarkable legacy of music, laughter, and heart. As a founding member, his voice and presence helped define the soul of The Celtic Tenors. His warmth, wit, and unwavering dedication touched audiences everywhere and inspired fellow artists alike. Though he now takes a well-earned bow, his influence will continue to resonate in every performance yet to come.

“It’s a privilege to welcome George. His energy, artistry, and deep Celtic roots bring new color to our harmony and promise an exciting future for The Celtic Tenors,” says Matthew Gilsenan.

The group offers its heartfelt thanks to James Nelson for decades of excellence and dedication and now looks ahead with excitement.

“To be stepping into the shoes of James Nelson—they’re big shoes to fill, but what an honor. I am so grateful for this opportunity and excited to carry on the group’s legacy with Daryl and Matthew,” says George Hutton

Whether heartfelt or high-spirited, The Celtic Tenors are ready for what comes next.

“Music has always been about bringing people together. With George joining the trio, we’re embracing a new era for The Celtic Tenors—one filled with fresh harmonies, renewed energy, and a continued passion for sharing Ireland’s music with the world,” says Daryl Simpson.

“We’ve always believed in mixing world-class music with a good bit of fun, and George fits right in. It’s an exciting time for The Celtic Tenors—our voices, our stories, and our laughter are ready for this next adventure,” says Daryl Simpson.

Since launching in 1999, The Celtic Tenors have reimagined vocal music through a fusion of classical, folk, pop, opera, and traditional Celtic stylings. With over a million albums sold and a global touring legacy, they’ve performed for world leaders, sold out venues across multiple continents, and topped charts in North America, Europe, and beyond.

Mentored by iconic Irish songwriter and producer Phil Coulter, the trio continues to evolve while staying rooted in the spirit of their homeland.

The lineup refresh comes at a moment of momentum. The group recently signed with The Feldman Agency for North American representation and are set to return this winter with their fan-favorite holiday show The Celtic Christmas, including a major performance with the Vancouver Island Symphony and more dates to be announced soon.

The trio’s first major projects together will include a brand-new PBS television special and a special performance celebrating the 200th anniversary of the Irish in Peterborough, Ontario. The Celtic Tenors are available through Slammin Media, with global distribution via Believe.

Still proudly based in Ireland, The Celtic Tenors continue to share the power and playfulness of Irish music with audiences across the world.

The Celtic Tenors Tour Dates:

August 2, 2026 — Yougal, Ireland

August 9, 2025 — Peterborough Music Festival, Del Crary Park

August 12, 2025 — Gravenhurst, Ontario, Wenonah II Muskoka Steamship Cruise

November 29, 2025 — Nanaimo, British Columbia, Port Theatre

December 2, 2025 — Surrey, British Columbia, Bell Performing Arts Centre

December 9, 2025 — Ottawa, Ontario, Shenkman Arts Centre

December 11, 2026 — Brantford, Ontario, The Sanderson Centre for the Performing Arts

February 19, 2026 — Medicine Hat, Alberta, Esplanade Arts & Heritage Centre

February 20, 2026 — Camrose, Alberta, Jeanne & Peter Lougheed Performing Arts Centre

February 21, 2026 — Fort Saskatchewan, Alberta, Dow Centennial Centre Shell Theatre

February 22, 2026 — Prince Albert, Saskatchewan, E.A. Rawlinson Centre For The Arts

March 5, 2026 — Burlington, Ontario, The Burlington Performing Arts Centre

Snowchild Edge Ignites Afro-Fusion With Bold New EP ‘No Wahala’ And Single “Big Problem”

Eric Alper
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Snowchild Edge Ignites Afro-Fusion With Bold New EP ‘No Wahala’ And Single “Big Problem”

Afro-Fusion artist Snowchild Edge is redefining the sound of the West Coast with the release of his stunning new EP *No Wahala* and its lead single “Big Problem,” out now on 100 Collective Records. An ambitious project bursting with diasporic energy, soul-bearing lyrics, and global production, *No Wahala* marks a fearless new chapter for the Nigerian-Canadian artist.

“Big Problem” hits with undeniable urgency — a rhythmic eruption that’s equal parts swagger and soul. “I get e very big problem//E get how we go solve em, Kilode for the funds that I’m wanting //You know say money na the anthem,” Snowchild Edge declares, setting the tone for a project that confronts real-life stress with head-nodding, body-moving beats. The track balances vulnerability with vitality, inviting listeners to feel deeply and dance freely.


The *No Wahala* EP spans Six songs, each channeling a different emotion and sonic landscape. From the slow-burning “Bonnie & Clyde” to the kinetic, inspired “Wine Down,” to the breezy escapism of “Wine Down,” and the healing affirmation track “Searching,” to the bouncy playfulness of “Go” and the futuristic energetic anthem that is “Big Problem”  the EP is a journey through hardship, joy, self-discovery, and cultural pride. Ultimately Snowchild Edge creates a world that he calls home.

“This project means a lot to me, it’s a piece of home, a place I carry with me. It reminds me of where I come from and keeps me grounded, no matter how far I go.”

Behind the scenes, a formidable creative team brought *No Wahala* to life. Production credits include Hila Boi, Ramoon, Rellik Beats, MasonsPayback, and Kira, while engineering duties were handled by Austin (Deus) Glabus-MacLeod, and Teon Gibbs. The EP was mixed by Matt Di Pomponio and Austin Glabus-MacLeod, and mastered by Greg Mindorff, ensuring sonic richness across every track.


Snowchild Edge collaborated with a dynamic mix of co-writers, including  Teon Gibbs and Angel Akabuno, who also appears on the project. At the core of it all is Snowchild Edge who penned the lyrics and helped steer the emotional narrative of the EP. Each contributor has brought a layer of intention, resulting in a record that feels both deeply personal and globally resonant.

Snowchild Edge’s musical foundation is rooted in Afrobeat and Alt Hip-Hop, but his sound is far from predictable. By fusing traditional African rhythms with futuristic production and a storyteller’s sensitivity, he creates a space where listeners from all backgrounds can find something to hold onto.

The music video for “Big Problem” further elevates the experience, shot in Vancouver’s urban core. Visually arresting and emotionally raw, it’s a visual translation of the song’s call for resilience and reckoning. “I made this for anyone who’s been told to stay quiet when they needed to speak loud,” says Snowchild Edge.

*No Wahala* is a bold assertion of identity, place, and purpose. With early attention from industry tastemakers and a growing digital following across platforms like Soundcloud, TikTok, and Spotify, Snowchild Edge is stepping onto the world stage with fire and finesse.

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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0
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.

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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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