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‘I Can’t Remember If I Cried’ by Lori Tucker-Sullivan Amplifies the Voices of Rock Widows

Eric Alper
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‘I Can’t Remember If I Cried’ by Lori Tucker-Sullivan Amplifies the Voices of Rock Widows

The stories of rock musicians who die young are the thing of lore and legend. Accidents, drug overdoses, plane crashes—all have taken the lives of male rock stars still in their primes. But what became of their widowed brides? How did they survive a loss so great? What is it like to have to share your grief with millions of strangers? And where are these widows today?

I Can’t Remember if I Cried is part music history, part memoir, based around interviews with rock widows conducted by Lori Tucker-Sullivan—who herself lost her husband in 2010. With each widow that Lori interviews, she learns lessons in love, forgiveness, coping, and moving on. The book is framed by the author’s own narrative to create a single thread that links the stories together to ultimately create a tale of how the author’s life is changed through her interactions with these amazing women.

Among the women profiled by Tucker-Sullivan:

  • Judy VanZant who, after losing husband Ronnie of Lynyrd Skynyrd, sued the re-formed band in order to protect her interests.
  • Sandy Chapin, widow of Harry Chapin, who has worked tirelessly to uphold Harry’s significant legacy around activism and hunger prevention.
  • Crystal Zevon, the ex-wife of Warren Zevon, who provides details of her abusive relationship with Warren and how she resolved her anger and grief.
  • Jamie Weiland, widow of Stone Temple Pilots’ Scott Weiland, speaking openly of Scott’s mental health, which at times kept him housebound for days.
  • Janna Leblanc, widow of Stevie Ray Vaughan, who shares the details of her visits with Stevie in rehab.

These women lived through the backstage chaos and the front-page headlines. Their stories remind us that behind every tragic chorus is someone still trying to find the bridge.

Rikki Stein’s ‘Moving Music’ Memoir Charts a Life on the Road With Legends

Eric Alper
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Rikki Stein’s ‘Moving Music’ Memoir Charts a Life on the Road With Legends

Renowned music manager, Rikki Stein, has spent nearly six decades moving musicians around the world, and this book recounts a lifetime of adventure on the road. Always in the right place at the right time, Rikki was part of the great countercultural moments of the last century, from Woodstock and the Vietnam War Moratorium March to the launch Glastonbury Festival.

Throughout this extraordinary time, Rikki has toured some of the world’s most iconic musicians and groups, from The Jimi Hendrix Experience, The Kinks, The Animals, The Yardbirds,The Moody Blues, Grateful Dead to managing the Nigerian superstar, Fela Kuti and many other iconic artists.

Full of extraordinary, sometimes hilarious, stories of life on the road, this memoir recounts the joys, frustrations and surprises of juggling logistics, local politics and the whims of his creative clients to deliver true, life-enhancing moments of moving music.

Chris Stein’s Memoir ‘Under a Rock’ Dives Into Blondie, Fame, and Downtown Chaos

Eric Alper
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Chris Stein’s Memoir ‘Under a Rock’ Dives Into Blondie, Fame, and Downtown Chaos

Debbie Harry defined iconic band Blondie’s look. Chris Stein―her performing partner, lover, and lifelong friend―was its architect and defined its sound. “Parallel Lines”, their third album, catapulted to #1, sold 20 million copies, and launched singles like “Heart of Glass”, “Hangin’ On the Telephone,” and “One Way or Another”, providing the beat when Bianca Jagger and Halston danced at Studio 54 and the soundtrack to every 1970’s punk-soundtracked romance.

Chris Stein knows how to tell a story. Under A Rock is his nothing-spared autobiography. It’s about the founding of the band, ascending to the heights of pop success, and the hazards of fortune.

Famous names march through these pages―Warhol, Bowie, Jean-Michel Basquiat, and more–but you can get famous names anywhere. What you can’t get anywhere else is a plunge into the moments that made a giant 1980’s artistic sensation. Stein takes us there in this revelatory, propulsive, distinctive memoir.

36 Songs That Dialed – Literally – Into Music History

Eric Alper
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36 Songs That Dialed – Literally – Into Music History

Back when phones clicked, clacked, and had cords that doubled as tripwires, musicians were already onto something—phones weren’t just for calling your crush. They were emotional conduits. Songs with phone numbers were direct lines to heartbreak, hookups, nostalgia, or pure chaos. Sometimes the numbers were real. Sometimes they were lies. But every one of them had one thing in common: they made us want to dial in and listen again.

Here are 36 of the greatest songs about phones, phone numbers, and the messy, glorious act of trying to reach someone on the other end.

1. “867-5309/Jenny” – Tommy Tutone (1981)
The gold standard. The number that launched a thousand prank calls. Tommy Tutone’s power-pop classic made 867-5309 the most famous seven digits in music history.

2. “Beechwood 4-5789” – The Marvelettes (1962)
Motown + teenage longing = phone number magic. This one came with harmonies so smooth, you wanted to call even if you had nothing to say.

3. “634-5789 (Soulsville, U.S.A.)” – Wilson Pickett (1966)
Need some loving? Wilson’s got the hotline. With a brass section that grooves like no other, this number connected straight to soul heaven.

4. “Pennsylvania 6-5000” – Glenn Miller Orchestra (1940)
Jazz, swing, and the actual phone number for the Hotel Pennsylvania in New York. It’s the earliest phone jam in pop culture.

5. “Memphis, Tennessee” – Chuck Berry (1959)
Chuck Berry’s tearjerker about trying to reconnect with a girl named Marie hits even harder when you realize she’s his daughter. Operator, we’ve got a plot twist.

6. “Party Line” – The Kinks (1966)
Remember when phones were shared? This jangly tune turns eavesdropping and missed connections into a British Invasion bop.

7. “Rikki Don’t Lose That Number” – Steely Dan (1974)
Smooth jazz, cryptic lyrics, and the most laid-back plea ever recorded. If someone gave you a number and told you not to lose it, this is the soundtrack.

8. “Telephone Line” – Electric Light Orchestra (1976)
Jeff Lynne took a heartbreak and added strings, harmonies, and an actual phone ring. The result? One of the most beautiful missed calls in history.

9. “Operator (That’s Not the Way It Feels)” – Jim Croce (1972)
A phone booth, a dime, and a broken heart. Croce turned post-breakup desperation into one of the most human songs ever written.

10. “Kiss Me Thru the Phone” – Soulja Boy ft. Sammie (2008)
Teen romance, ringtone culture, and a real number that thousands called. Soulja Boy had the whole world trying to leave voicemails.

11. “Your Call Is Very Important to Us. Please Hold.” – Sparks (2006)
Leave it to Sparks to make hold music into high art. It’s theatrical, satirical, and more accurate than your last two customer service calls.

12. “Telephone” – Lady Gaga ft. Beyoncé (2010)
Two icons dodging your call, killing your ego, and turning pop into a crime scene. The music video alone deserves its own hotline.

13. “Call Me” – Blondie (1980)
Giorgio Moroder made it disco, Debbie Harry made it immortal. You don’t need a number—just an attitude.

14. “Answering Machine” – The Replacements (1984)
Paul Westerberg screams into the void and gets a beep. This is what loneliness sounded like before text bubbles existed.

15. “Mr. Telephone Man” – New Edition (1984)
Smooth vocals, teenage confusion, and an extremely polite tech support call. Who knew fixing a line could sound this catchy?

16. “I’ll Shoot the Moon” – Tom Waits (1993)
From The Black Rider, it features a surreal monologue involving a number (392-7704), a missile launcher, and a heartbroken lunatic. Only Waits could make a missed connection sound like nuclear fallout.

17. “54-46 That’s My Number” – Toots & The Maytals (1974)
Spoiler: it’s not a phone number, it’s a prison number. But it’s been misdialed by listeners for decades, proving once again that reggae lies sometimes slap.

18. “0898 Beautiful South” – The Beautiful South (1992)
Not a song, but a whole album named after a now-defunct British premium rate code. Don’t call it. Just listen to the lush, sardonic pop inside.

19. “Don’t Push” – Sublime (1992)
Bradley Nowell drops 439-0116 like a burned-out love letter with a zip code. It’s SoCal ska-punk meets chaotic voicemail energy.

20. “Winter Warz” – Ghostface Killah (1996)
Ghostface casually throws out a 10-digit number (917-160-49311?) in the middle of a verse. No context, all style. Classic Wu-Tang mystery.

21. “Dirty Deeds Done Dirt Cheap” – AC/DC (1976)
Need revenge? Call 362-436. Angus and Bon Scott turned a fake number into the scuzziest hotline in rock.

22. “6060-842” – The B-52’s (1979)
A bathroom wall number leads to nowhere. Disconnected lines, dimes in the slot, and Tina waiting forever. It’s punk, weird, and pure B-52’s.

23. “5.7.0.5” – City Boy (1978)
Proof that even in the ’70s, Britain knew how to make a catchy phone number hit. It’s glam, clever, and somehow still rings today.

24. “Beechwood 4-5789” – Carpenters (1982)
Yes, they covered it. And yes, Karen Carpenter made it sound even more heartbreaking. It’s like calling your ex in three-part harmony.

25. “Long Tall Shorty” – The Kinks (1964)
More phone digits (4-2-4-6-8-9), more innuendo. If you’re squeamish, maybe skip this one—unless you’re into vintage scandal.

26. “Skandal im Sperrbezirk” – Spider Murphy Gang (1981)
Rosie has a phone and business is booming. German rock meets late-night calls in the red light district. Fantastisch!

27. “Bow E3” – Wiley (2007)
Grime legend Wiley drops a real UK mobile number and sets his voicemail to “wasteman suck ya mum, starr.” Instant legend status.

28. “Red Frame/White Light” – Orchestral Manoeuvres in the Dark (1980)
A tribute to a red telephone box and the band’s early days. 632-3003 was the number, and yes, fans have tried calling it.

29. “1-800-273-8255” – Logic ft. Alessia Cara & Khalid (2017)
The most important number on this list. A life-saving anthem that turned a suicide prevention hotline into a Billboard hit.

30. “I Got You / 634-5789” – Stu Gardner (1968)
A solid cover of the Pickett classic. Same number, different voice, all soul.

31. “634-5789 / Help” – Tina Turner (1988)
Tina brought her powerhouse voice to this number and gave it a whole new life. Even the operator had to stop and listen.

32. “(This Ain’t) No Thinkin’ Thing / 634-5789” – Trace Adkins (1997)
Country meets soul. Trace brings baritone swagger to the soul standard in a surprise double A-side.

33. “54-46 Was My Number / The Man” – Toots & The Maytals (1972)
Revisiting the same legendary digits. Toots can sing that number 100 times and it’ll still be a jam.

34. “I’ll Shoot the Moon” – Tom Waits (1993)
We’re repeating this one because frankly, it’s unhinged genius. Tom Waits answers the phone and chaos ensues.

35. “0898 Beautiful South” – The Beautiful South (1992)
Yes, again. It’s not a real number, but the band is so sarcastic, it feels like they meant to crash a telecom system.

36. “Skandal im Sperrbezirk” – Spider Murphy Gang (1981)
Worth repeating. It’s the German “867-5309” with way more edge and an economy that apparently prevails through the night.

Sometimes you call and no one picks up. Sometimes it’s disconnected. And sometimes, it becomes a hit single. These phone number songs remind us that music can make even the most mundane 7 digits feel like poetry. Just remember: always check the area code before you call. Some of these still might answer.

Know a Young Canadian Songwriter? This Award Could Change Everything

Eric Alper
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Know a Young Canadian Songwriter? This Award Could Change Everything

Hey folks,

Okay, most of us might be past the eligibility window for this one (unless you’re pulling off a serious reverse-aging trick), but I wanted to pass it along because you might know someone who fits the bill.

The Award for Young Canadian Songwriter—created by SOCAN Foundation in partnership with SiriusXM Canada—is now accepting submissions. It’s designed to celebrate emerging songwriters aged 21 and under who are crafting original songs in genres like folk, blues, rock and roll, hip-hop, R&B, and beyond.

Here’s the breakdown:

This is a great opportunity for a student, mentee, young collaborator, or maybe your incredibly gifted cousin who’s always playing guitar at family dinners. Share it forward—you never know whose path it might open.

P.S. If you are 21 or under and reading this… A) congrats on being way ahead of the game, and B) go for it!

8 Songs The Beatles Wrote About Each Other

Eric Alper
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8 Songs The Beatles Wrote About Each Other

Breakups are messy. Breakups between bandmates who changed the world? That’s songwriting gold. Even after The Beatles went their separate ways, they never truly stopped talking to each other—they just started using guitars and microphones instead of group chats and press statements. Whether it was affection, frustration, or playful jabs (depending on which member you asked), the Fab Four kept their complicated brotherhood alive in lyrics and melody.

Here are 8 songs The Beatles wrote at one another—proof that even when the band broke up, the music kept the conversation going, good and bad. Mostly bad. Until 1980.

1. “Too Many People” – Paul McCartney
From the album: Ram (1971)
Paul was clearly holding a grudge—and a guitar. This track kicks off with veiled digs at John and Yoko, accusing someone of preaching too much and taking liberties. “Too many people going underground,” he sings, with a melodic smirk.

2. “How Do You Sleep?” – John Lennon
From the album: Imagine (1971)
John’s scorched-earth answer to Paul’s subtle shade. With George Harrison on slide guitar (!), John doesn’t hold back: “The only thing you done was ‘Yesterday’… and since you’ve gone you’re just ‘Another Day.’” Ouch. Fire, meet gasoline.

3. “Back Off Boogaloo” – Ringo Starr
From the single: Back Off Boogaloo (1972)
Ringo’s glam-rock stomper has long been rumored to throw playful punches at Paul’s solo work. Lines like “wake up, meathead” raised eyebrows, especially with Paul’s vegetarian lifestyle. Subtle? Not quite. Funky? Absolutely.

4. “Dear Friend” – Paul McCartney
From the album: Wild Life (1971)
Paul brings the olive branch—and a piano. A slow, sorrowful ballad asking John, “Is this really the borderline?” It feels like Paul stepping back from the feud and extending a heartfelt moment of reconciliation.

5. “Jealous Guy” – John Lennon
From the album: Imagine (1971)
While not directly aimed at Paul, this track’s origin story is rooted in their post-Beatles tension. John transformed his anger into vulnerability, singing, “I didn’t mean to hurt you,” in a moment of rare emotional nakedness.

6. “Early 1970” – Ringo Starr
From the B-side to It Don’t Come Easy (1971)
Ringo gives a musical postcard update on where everyone’s at: Paul’s on the farm, John’s in New York, George might jam with him. It’s funny, sincere, and the ultimate “I hope we’re still cool” track in pop history.

7. “God” – John Lennon
From the album: John Lennon/Plastic Ono Band (1970)
When John sang “I don’t believe in Beatles,” it was like watching the curtain close on an era. It wasn’t anger—it was detachment, honesty, and a declaration of emotional independence.

8. “All Those Years Ago” – George Harrison
From the album: Somewhere in England (1981)
Written in tribute to John after his death, George’s song is full of fond memories and admiration. “You were the one who imagined it all,” he sings. It’s sincere, soaring, and a final love letter across the sky.

Even when they were feuding, The Beatles still found a way to make brilliant music out of it. Petty? Occasionally. Poetic? Always. Whether it was a dig, a tribute, or an attempt to heal old wounds, these songs remind us that their connection ran deeper than any headline. They made history and wrote some of the greatest songs in history, and some they wrote it to each other.

AIRBEAT ONE Festival 2025 Drops Final Line-Up With Afrojack, Armin van Buuren, Hardwell, and More

Eric Alper
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AIRBEAT ONE Festival 2025 Drops Final Line-Up With Afrojack, Armin van Buuren, Hardwell, and More

The countdown is officially on for AIRBEAT ONE Festival 2025, as organizers reveal a blockbuster final line-up featuring more than 250 of the world’s leading electronic music talents. Running from July 9 to 13, 2025, the festival will transform the historic airfield at Neustadt-Glewe into a vibrant “Spain”-themed festival city, complete with six uniquely crafted stages and an atmosphere that promises to transport attendees straight to the sun-drenched shores of the Mediterranean.

Headlining the gargantuan Mainstage—spanning 180 meters in width and soaring 45 meters high—are global superstars whose names alone guarantee electrifying performances. Dutch Grammy® winner Afrojack will kick off his set with the pure festival energy fans have come to expect, while trance titan Armin van Buuren returns to deliver his signature uplifting melodies. Big-room powerhouse Hardwell follows with fresh anthems destined for dancefloors everywhere, and Steve Aoki rounds out the evening with his trademark cake-throwing spectacle. Rounding out this elite roster are Sebastian Ingrosso of Swedish House Mafia fame, Australia’s genre-defying Timmy Trumpet, psytrance pioneers Vini Vici, and hardstyle hero Brennan Heart—alongside a host of other top acts including ALOK, Amelie Lens, Boris Brejcha, Deborah de Luca, Dimitri Vegas & Like Mike, John Summit, Neelix, Oliver Heldens and W&W.

Techno aficionados can lose themselves on the Arena Stage, where the underground’s finest converge. Highlights include the enigmatic Italian duo 999999999 delivering rugged analog sets, Clara Cuvé spinning razor-sharp vinyl between techno and acid, and Oliver Heldens’ darker alter ego HI-LO wielding pulsing, high-voltage beats. Crowd-stirring performances will also come from Eli Brown, I Hate Models, Klangkuenstler and Kobosil, among others, ensuring a deep and immersive journey through contemporary techno’s frontiers.

For those craving harder sounds, the Harder Stage answers the call with an uncompromising hardcore and hardstyle assault. Miss K8 will reign supreme as the queen of hardcore, while D-Block & S-Te-Fan, Wildstylez and Sub Zero Project showcase melodic hardness at its finest. International hardcore icons Angerfist, Bass Modulators, Coone and Jebroer will join forces with fierce newcomers like Sickmode, Rooler and Thyron to deliver relentless kicks and earth-shaking drops.

The festival’s Terminal Stage offers chart-ready hits alongside homegrown favorites. Gestört aber Geil will unleash earworms and emotional peaks, Cascada returns live with her Eurodance classics, and Lum!x lights up the crowd with infectious pop-EDM hybrids. Also performing are Jerome, Fappe & Bru, 2 Engel & Charlie, Avaion, Le Shuuk & K-Paul and many more, creating a kaleidoscopic showcase of house, future bass and party anthems.

Psytrance enthusiasts will find their haven on the Second Stage, headlined by legends Ace Ventura and Ranji, whose trance-inducing soundscapes have defined the genre. Paul van Dyk brings his storied trance legacy to the stage, joined by Cosmic Gate, Aly & Fila, Ben Nicky and a host of rising stars like Alchimyst, Daora, Ghost Rider and Sajanka. Together, they will guide festival-goers through a deep-dive into hypnotic rhythms and transcendent melodies.

Nostalgia takes center stage on the Butterfly Stage, where the golden era of Eurodance and Hands-Up is reborn. Ian van Dahl revisits “Castles in the Sky,” while classics from 4 Strings, Brooklyn Bounce, Charly Lownoise, Scooter’s own Chris Nitro and DJ Dean evoke carefree party vibes. Mia Julia, House Rockerz, Da Hool and Aquagen round out this stage with high-octane, sing-along nostalgia.

With six intricately decorated stages, a setting that transports guests to Spain, and a roster of over 250 international superstars, AIRBEAT ONE Festival 2025 cements its status as one of Europe’s most significant electronic music gatherings. Presale Phase 2 tickets are available now for €169.99 (plus fees) at https://airbeat-one.myticket.de. Don’t miss your chance to be part of this unforgettable celebration of sound, spectacle and summer spirit.

AIRBEAT ONE Festival is part of the DEAG Group. For full line-up details, news and travel information, visit www.airbeat-one.de or follow facebook.com/airbeatone, youtube.com/airbeatone00 and instagram.com/airbeatone.

Thom Yorke Unveils Haunting New Track ‘Dialing In’ For Apple TV+ Series ‘Smoke’

Eric Alper
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Thom Yorke Unveils Haunting New Track ‘Dialing In’ For Apple TV+ Series ‘Smoke’

Thom Yorke (Radiohead, The Smile, you know who he is) has delivered the enchanting and hauntingly beautiful opening theme for Apple TV+’s forthcoming series Smoke. The single, called ‘Dialing In’ features Thom’s vocals alongside fragile glass-like bells, dancing like flames, unaware of the brooding atmosphere building like a steadily consuming fire beneath.

Existing Thom Yorke fans may recognise the track as one he’s previously performed live, now available for the first time on streaming platforms. Originally titled ‘Gawpers’, the unreleased track contained parallels with the themes of Smoke, having been fine-tuned to underscore the show’s themes even further. Pre-save it here.

“Working with Thom Yorke was as much an honour for me as working with Clint Eastwood, Martin Scorsese or Richard Price,” says Smoke creator and executive producer Dennis Lehane. “I’ve somehow been blessed with collaborating with living legends who were also formative influences on my own creative life. Thom is definitely that. In addition, he took a basic concept I gave him and delivered a song that perfectly embodies the show and absolutely crushes.”

‘Dialing In’ is out now in both standard and Atmos formats – hear it in the official Apple TV+ trailer for Smoke, also out today. Smoke launches globally on Apple TV+ June 27, 2025.

17 Incredible Early Sounds Preserved Forever by the National Recording Registry

Eric Alper
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17 Incredible Early Sounds Preserved Forever by the National Recording Registry

Every year since 2002, the National Recording Preservation Board and members of the public have nominated recordings to be added to the National Recording Registry — an ever-growing list that celebrates America’s rich audio legacy. From revolutionary technologies to priceless cultural snapshots, the registry captures the sound of history as it unfolded. Here are 17 incredible early recordings, dating from the 1850s to the turn of the 20th century, that helped launch recorded sound into the future.

Phonautograms – Édouard-Léon Scott de Martinville (1853–1861)
The phonautograms are the very first known recordings of sound — made not to be heard, but seen as waveforms on paper. Over 150 years later, they were decoded and played back, allowing us to hear voices from the dawn of recording.

St. Louis Tinfoil Recording – Thomas Edison (1878)
Edison’s St. Louis tinfoil phonograph captured one of the earliest known playable recordings of human speech. It was lost to history for over a century before scientists recovered and digitized it in 2020.

1888 London Cylinder Recordings – George Gouraud (1888)
These recordings of Colonel Gouraud demonstrating Edison’s phonograph include the earliest known recorded performances of Arthur Sullivan’s work — a historic blend of British eloquence and cutting-edge American tech.

Around the World on the Phonograph – Thomas Edison (1888–1889)
Edison’s narrated journey introduces listeners to his phonograph while guiding them across the globe through a series of sound vignettes — audio storytelling at its Victorian finest.

Edison Talking Doll Cylinder – Unknown (1888)
This eerie, scratchy snippet of a child’s voice reciting nursery rhymes was embedded in an early talking doll. It’s as haunting as it is historic — a glimpse into toy innovation long before Toy Story.

Fifth Regiment March – Thomas Edison (1888–1889)
One of the earliest musical recordings, this march set the standard for how brass-heavy, patriotic tunes would sound on wax cylinders. It’s audio archaeology you can tap your foot to.

Pattison Waltz – Thomas Edison (1888–1889)
This sweet, swaying waltz captured on cylinder represents one of Edison’s first musical forays — delicate and graceful, it’s the 19th-century version of your favorite dance floor slow jam.

The Lord’s Prayer – Emile Berliner (1890)
Believed to be the first known disc recording, Berliner’s version of The Lord’s Prayer helped pivot recorded sound from cylinders to flat discs, paving the way for the modern record industry.

Passamaquoddy Indian Field Recordings – Jesse Walter Fewkes (1890)
Fewkes captured these extraordinary field recordings of Passamaquoddy tribal chants and prayers — the first ethnographic recordings of Native American voices, still echoing with spiritual significance.

Twinkle Twinkle Little Star – Emile Berliner (1890)
Berliner’s gentle rendering of the beloved children’s classic stands as one of the earliest playable disc recordings. Simple, sweet, and strangely moving — a lullaby that outlived its singer by generations.

Vernacular Wax Cylinder Recordings – Various (c. 1890–1920)
A rich collection of everyday voices captured on wax, these recordings include folk songs, oral histories, and casual conversation — a priceless archive of accents, stories, and forgotten slang.

Benjamin Ives Gilman Collection – 1893 World’s Columbian Exposition
Recorded at Chicago’s famous World’s Fair, Gilman’s cylinders preserve music from diverse cultures on display — audio souvenirs from an exhibition that celebrated (and exoticized) global diversity.

Laughing Song – George W. Johnson (c. 1896)
One of the first Black recording stars, Johnson charmed listeners with his infectious laugh — a novelty hit that sold tens of thousands of cylinders and proved people would pay to hear joy on repeat.

Stars and Stripes Forever – Military Band (1897)
A thunderous rendition of Sousa’s patriotic classic, this early recording turned marching music into mass entertainment — giving listeners a burst of red, white, and boom before radio was even a thing.

Gypsy Love Song – Eugene Cowles (1898)
Cowles’ operatic baritone brings gravitas and warmth to this romantic ballad, offering listeners a rare preserved taste of 19th-century vocal technique and operetta performance.

Honolulu Cake Walk – Vess Ossman (1898)
Banjo master Vess Ossman gave this ragtime number its infectious bounce. One of the first pop instrumentals to sweep early recording markets, it helped bring syncopation into living rooms everywhere.

These early recordings remind us how far we’ve come — and how every musical innovation starts with a whisper, a march, or a child’s rhyme. Thanks to the National Recording Registry, these sonic time capsules will outlive us all, proving that even the faintest echoes of history deserve to be heard forever.

How to Design a Dream Hi-Fi System with the McIntosh MA9500

Eric Alper
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By Mitch Rice

You don’t have to be deep in hi-fi forums or flipping through back issues of Stereophile to recognise those glowing blue meters. McIntosh isn’t just respected, it’s known. It’s made the leap from specialist darling to high-end mainstream without losing what made it great in the first place: uncompromising build quality, instantly recognisable design, and a sound that’s as powerful as it is refined.

The MA9500 amplifier is one of the finest examples of how the brand continues to evolve its legacy without compromise. For me, it was hearing it power a system that truly clicked—bass with spine, mids that breathe, and that wide, holographic stage that only comes from serious engineering. That moment has stayed with me. You may have had a similar one, or you’re chasing it.

Either way, you’re in the right place because building a system around the McIntosh MA9500 amplifier isn’t only about picking quality components. It’s about curating an experience. Whether you’re a vinyl purist, a streaming obsessive, or a digital all-rounder, I’ll make sure every component is worthy of what this amp can do.

Why Start with the McIntosh MA9500?

You don’t start with the MA9500 because it looks impressive, though with those signature glowing blue watt meters and solid glass front panel, it certainly does. You start here because it’s the kind of integrated amplifier that sets the tone for everything else. The MA9500 isn’t a supporting actor; it’s the lead.

Technical Excellence That Translates into Emotion

With 300 watts per channel of solid-state power at its core, the McIntosh MA 9500 can easily supply even the most power-hungry speakers. It features McIntosh’s Autoformer™ technology, meaning you get full power at 2, 4, or 8 ohms, with no compromises on speaker matching.

The double filter capacity of the MA9500 is a new feature, surpassing that of its predecessor, the MA9000. That translates into an increase in dynamic headroom from 1.8 dB to 2.8 dB. In listening terms? Better handling of musical peaks, more space around instruments, and a stronger sense of “you are there” realism.

The integrated DA2 Digital Audio Module supports optical, HDMI ARC, coaxial, USB, and more. It supports high-resolution playback up to DSD512 and 384kHz/32-bit PCM. So whether you’re pulling detail from a meticulously pressed vinyl or a high-res Qobuz stream, the MA9500 is fluent in all formats.

Who Is It For?

With 10 analogue inputs (2 balanced, 6 unbalanced, 1 MC, and 1 MM), you’re free to build the system that suits your style, without running out of room.

  • Vinyl lovers will appreciate the high-quality phono stage with both MM and MC inputs. No need for a separate preamp.
  • Digital streamers will find a clean, transparent DAC stage capable of handling their library’s full resolution.
  • Hybrid audiophiles, or those of us who want it all, will benefit from the MA9500’s flexibility: analogue warmth meets digital precision.

Building a System Around the MA9500

The McIntosh MA9500 amplifier is more than just another component. It’s a rather system-defining centrepiece that elevates everything around it. Whether you’re rediscovering old records or exploring the edge of digital audio, this amp gives your music room to breathe, and your ears something to believe in.

It’s not about following specifications when designing a system around it.  It’s about curating an experience that feels personal, powerful, and enduring. One that makes active enjoyment out of passive listening.

Choose the Right Source Components

Your source is your signal’s foundation, so give it the same attention as your amp and speakers. Fortunately, the MA9500 is versatile enough to accommodate nearly any high-end component.

For Vinyl

Choose a turntable with precision engineering and a cartridge that complements your musical taste. Think Clearaudio Concept, Rega Planar 10, or a Linn Majik LP12. Don’t overlook your cartridge and tonearm synergy. The MA9500’s built-in phono stage is excellent, but investing in a quality MC or MM cartridge brings out its best.

For Digital

Pair the MA9500 with a dedicated streamer like the Auralic Aries G2.1 or Naim ND5 XS 2. The DA2 module’s high-end DAC section means you don’t need to invest in an external DAC unless you’re going seriously exotic. Use the HDMI ARC input to integrate your television setup without compromising sound quality. Dialogue and soundtracks take on a whole new life through a McIntosh system.

Matching Speakers for Optimal Sound

The MA9500’s generous power and Autoformer design open up a wide range of speaker pairings. But synergy still matters. Here are some factors to consider for a heaven-made match.

  • Impedance flexibility. Thanks to the Autoformers, the MA9500 delivers 300W across 2, 4, or 8 ohms. That’s rare, and it allows you to experiment with speakers that demand power or finesse.
  • Transparency and balance. The MA9500 is clean and authoritative, so pair it with speakers that match its refinement. Avoid overly bright or clinical designs.

Speaker Suggestions:

  • Bowers & Wilkins 802 D4, for exceptional clarity and depth.
  • Sonus Faber Olympica Nova III. These are a touch warmer, beautiful with vocals and strings.
  • Focal Sopra N°2, modern, dynamic, and full of texture.
  • If space allows, floorstanders will give you the scale this amp deserves. For smaller rooms, high-efficiency standmounts like the Harbeth HL5 Plus XD still shine when driven well.

Cable Upgrades and Accessories that Make a Difference

I’ll say it: cables matter. Not because they “magically” transform your sound, but because a system at this level demands consistency.

  • Power cables. Use shielded cables to reduce noise and protect the dynamic range. Brands like Shunyata or Isotek are highly regarded.
  • Speaker cables. The innovative Solid CinchTM binding posts from McIntosh guarantee a solid, corrosion-free connection. Pair with bi-wire or bi-amp speaker cables if your speakers support it.
  • Interconnects. Balanced XLR connections (if your source supports them) will get you the cleanest signal path with the lowest noise floor.

Other accessories:

  • Dedicated mains conditioning helps eliminate interference from your household circuits.
  • Vibration isolation platforms under your amp or turntable can reveal subtle improvements in timing and clarity.

Room, Racks and Realism

  • Don’t ignore the room. Poor acoustics can hinder even the best setup.
  • To reduce reflections, use absorbers, diffusers, and rugs.
  • Position speakers away from walls and corners, and experiment with toe-in.
  • Invest in a high-quality hi-fi rack to support your equipment, both literally and acoustically.

Final Touches: Make It Yours

Once the main system is in place, the fun continues. Consider an external headphone amp for private listening. Although the MA9500 has a built-in headphone output, true headphone aficionados may want a dedicated stage.

Additionally, consider streaming apps and interfaces that use platforms like Roon or BluOS for intuitive library management and stunning sound quality. Smart integration adds control via smart remotes or apps and makes daily use seamless.

Ready to Experience It?

A setup like this is meant to be heard, not just read about. If you’re serious about getting the most from the MA9500, book a private demo in a dedicated listening space. Bring your favourite music. Hear what this amplifier can really do. Once you’ve heard it set free in the right system, there’s no going back. 

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

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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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