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Paramount+ Acquires ‘The Children of October 7’ Featuring Montana Tucker And Premieres April 23

Eric Alper
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Paramount+ Acquires ‘The Children of October 7’ Featuring Montana Tucker And Premieres April 23

Paramount+ announced that it has acquired THE CHILDREN OF OCTOBER 7, a documentary featuring social media activist Montana Tucker, set to premiere April 23. A linear run on MTV will follow.

On October 7, 2023, Israeli children were among the most vulnerable victims impacted by the Hamas attacks. The numbers are staggering: Of the estimated 1,200 Israelis murdered, 37 were children. Of those who survived, over 100 children lost one parent, over 20 lost both parents and more than 35 were kidnapped to Gaza. Hundreds of children were injured, and thousands were displaced from their homes.

THE CHILDREN OF OCTOBER 7 features deeply sensitive conversations between Tucker and these children who bravely share their experiences of trauma and survival as they continue to process the unthinkable – being held captive, witnessing the deaths of their parents and enduring violent invasions of their homes. Alongside Tucker’s support, the children present a poignant and heartfelt depiction of their terrifying experiences.

Shari Redstone, Chair of Paramount Global, said, “We have long been committed to sharing content that informs and educates. This documentary is a clear example in highlighting the terror that occurred on October 7th and the aftermath for thousands of children who will forever suffer from the impact of that day. Montana Tucker is doing extraordinary work, and by airing this documentary on Paramount + and MTV, we can bring it to audiences around the country.”

“THE CHILDREN OF OCTOBER 7 is one of the most important projects I’ve ever been part of. As the granddaughter of Holocaust survivors, hearing these children share the horrors they endured — losing their families, their homes, and their innocence in a single morning — felt hauntingly familiar. I’m grateful they trusted me with their stories and that they have this platform to share their truth. Thanks to Paramount+ and MTV, the world will bear witness,” said Montana Tucker.

With nearly 14 million followers across her social media platforms, primarily from Gen Z, award-winning social media activist, actress, singer, dancer and philanthropist Montana Tucker is one of the leading pro-Israel voices in the American entertainment industry. Following the October 7 attacks, Tucker dedicated herself to raising global awareness of the Israeli hostages in Gaza and gained international recognition.

THE CHILDREN OF OCTOBER 7 was produced by Eytan Schwartz, Meny Aviram, Mor Tregger, Zameret Alexaneroni, Jonathan Barsade and Rotem Alima. The film was directed by Asaf Becker, with cinematography by Sasha Gavrikov and editing by Yotam Katzor.

 

SOCAN Celebrates Centennial with Milestone Half-Billion Dollars Distributed to Music Creators and Publishers in 2024

Eric Alper
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SOCAN Celebrates Centennial with Milestone Half-Billion Dollars Distributed to Music Creators and Publishers in 2024

Today, SOCAN announces, that in 2024 total royalty distributions to music creators and publishers hit a record-high $512.4-million. Similarly, annual revenue from music licenses once again exceeded a half-billion dollars. The results are bittersweet for the member-owned, not-for-profit as SOCAN data shows less than 10% of music consumed online in Canada is written or composed by Canadians.

SOCAN revenue grew to $559.4-million in 2024, a 7% increase over 2023.

  • Revenue from music uses that took place in Canada increased by $18.1-million to a high of $421.6-million. The increase is led by revenue from digital sources totaling $208.7-million, a 10.8% year-over-year increase, and General Licensing and Concerts increasing 15%.
  • Revenue from music uses in international territories increased an impressive 14.9% to $137.8-million, a testament to the incredible talent and success of Canadian music creators on the global stage.

SOCAN royalty distributions hit a milestone half-billion dollars in 2024, 17.5% higher than 2023.

  • 2024 distributions include royalties paid to music creators and publishers derived from data matched to revenue received in 2023 and beginning of 2024.
  • SOCAN members benefited from improved distribution processing times and data clean up facilitated by the integration of SOCAN’s enterprise software platform expected to be complete in 2025.

Never in history has consuming Canadian meant more to our nation, and as SOCAN celebrates 100 years, the organization urges Canadians to support homegrown talent. The music that Canadian songwriters and composers create is important to Canada’s local economy, our culture, our storytelling, and our global identity.

“Canadians are increasingly choosing local products and services, driving the success of Canadian businesses and entrepreneurs. It’s important to show the same support for our songwriters and composers — not just today, but always,” said Jennifer Brown, SOCAN CEO. “Canadian music fans, businesses and government, alongside the international music companies choosing to grow their business in Canada all play a role in showcasing music as part of Canada’s cultural identity.”

In 2024, SOCAN continued to invest in its members, supporting them with education via their new SOCAN Academy initiative, providing opportunities to collaborate and connect with peers, and work on craft development, and by advancing the new technology integration and important advocacy efforts.  Even with these essential enhanced efforts, SOCAN was able to maintain their expense-to-revenue ratio at 12%.

SOCAN Annual and General meeting is scheduled for May 21, 2025, in Toronto.

For 100 years, SOCAN has been Canada’s largest member-owned music rights organization, resolutely upholding the fundamental truth that music has value. SOCAN collects license fees for the public performance and reproduction of music, matches them to rights holders, and distributes them as royalties to music creators and publishers in Canada and around the world. With a century of expertise and innovation, SOCAN continues to advocate fair compensation for the work of its nearly 200,000 songwriter, composer, and music publisher members. Learn more at www.socan.com.

 

Kurt Cobain’s Iconic MTV Unplugged Guitar Comes to London for the First Time

Eric Alper
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Kurt Cobain’s Iconic MTV Unplugged Guitar Comes to London for the First Time

A new must-see exhibition is about to make rock history in the heart of London.

From 3 June to 18 November, the Royal College of Music Museum will host Kurt Cobain Unplugged – an intimate exhibition that brings fans face to face with one of the most legendary guitars in music history. Admission is just £5.00, with booking opening on 30 April, and visitors can catch the exhibit Tuesday to Sunday from 11:00 to 16:00.

At the centre of this powerful new showcase is Cobain’s Martin D-18E guitar, made famous during Nirvana’s haunting MTV Unplugged performance in 1993 – one of the band’s final televised appearances. Left-handed and uniquely modified, the guitar helped shape Nirvana’s unforgettable sound. In 2020, it shattered auction records when it sold for over $6 million, becoming the most expensive guitar ever sold.

For the first time in Europe, this instrument is being publicly displayed – and it’s joined by another iconic piece of Cobain’s legacy: his olive-green mohair cardigan, worn during the same performance. Never before seen together, these two artifacts offer a poignant glimpse into a defining moment in rock history.

Curated by Alan di Perna, a leading American rock journalist, and Gabriele Rossi Rognoni, Curator of the Royal College of Music Museum, the exhibition also features rare memorabilia, songwriting insights, and immersive storytelling around Nirvana’s legacy and Kurt Cobain’s creative mind.

Families are also welcome to explore. The exhibition includes interactive activities in the Weston Discovery Centre – from dress-up and design-your-own-guitar stations to a chance to play Nirvana’s songs on Guitar Hero 5.

With the support of Peter Freedman AM (who generously loaned the guitar) and RØDE, this exhibition promises to be a once-in-a-lifetime experience for Nirvana fans, music lovers, and anyone intrigued by the power of art to change the world.

Join the waitlist now and be ready when tickets go live on 30 April.

The Killers Are Ready to Rock Fallsview Casino This August

Eric Alper
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The Killers Are Ready to Rock Fallsview Casino This August

One of the most influential rock bands of the 21st century, The Killers, will take the stage at the OLG Stage at Fallsview Casino on August 3, delivering a high-energy performance packed with anthems that have defined a generation. Tickets for The Killers go on sale Friday, April 4 at 10:00am through ticketmaster.ca.

“The Killers are an iconic band whose music has shaped the rock scene for over two decades,” said Cathy Price, Vice President of Marketing and Resort Operations at Niagara Casinos. “Their electric live performances are legendary, and we are thrilled to bring their dynamic energy to the OLG Stage at Fallsview Casino.

The Killers are a Las Vegas-based four-piece band who formed in 2002, featuring the talents of singer/keyboardist Brandon Flowers, drummer Ronnie Vannucci, guitarist Dave Keuning and bassist Mark Stoermer. The band has received countless accolades for their artistic achievement, including multiple Grammy nominations, American Music Award nominations, MTV Video Music Awards, NME Awards and more. With an extensive catalogue of hits including “Mr. Brightside,” “Somebody Told Me,” “When You Were Young,” and “All These Things That I’ve Done,” the band has sold over 25 million albums globally and headlined the biggest music festivals, including Coachella, Lollapalooza, and Glastonbury.

Since their debut album Hot Fuss catapulted them to international fame, The Killers have continued to push musical boundaries with a string of critically acclaimed albums, including Sam’s Town, Day & Age, Battle Born, and Wonderful Wonderful. Their most recent releases, Imploding The Mirage (2020) and Pressure Machine (2021), showcase their evolution as artists, while their 2023 compilation Rebel Diamonds solidifies their legacy with a curated collection of their most beloved tracks.

Why Casino Kingdom is a good choice for online gambling

Eric Alper
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By Mitch Rice

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Transparency in operations builds trust among players. Casino Kingdom publicly shares information about its licensing, terms and conditions, and responsible gaming policies. This level of disclosure reinforces its commitment to providing a safe gambling environment.

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“Wait… THEY Sang That?!” – 20 of the Funniest Songs in Music

Eric Alper
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“Wait… THEY Sang That?!” – 20 of the Funniest Songs in Music

Sometimes music is just a really good joke. You know those moments when you’re deep into an artist’s discography—serious, profound, legendary—and then bam, out of nowhere comes a tune that sounds like they swallowed a whoopee cushion and chased it with pure chaos? Those moments are gold.

So in the grand spirit of wait, what did I just hear?, here are 20 of the funniest songs ever written—from artists you’d never expect. Legends. Hitmakers. Guitar gods. Poets. Icons. All showing us that when the mood strikes, even they can be absolutely ridiculous just like us.

1. “They’re Red Hot” – Robert Johnson (1936, but released posthumously in the ’60s)

The OG Delta blues master who supposedly sold his soul to the devil… also sang about hot tamales. At lightning speed. Seriously.

2. “Detachable Penis” – King Missile (1992)

Philosophy majors in a band. Add a deadpan monologue about losing one’s genitalia at a party? Instant cult classic.

3. “You’re the Reason Our Kids Are Ugly” – Loretta Lynn & Conway Twitty (1978)

Country royalty roasting each other in a marital duet. It’s hilarious, biting, and weirdly wholesome.

4. “Coconut” – Harry Nilsson (1971)

Put the lime in the coconut and call me in the morning? A groove so smooth, you almost miss the medical absurdity.

5. “Maximum Consumption” – The Kinks (1972)

Ray Davies wrote rock operas about British life… and then penned an entire song about eating too much. With a tuba solo.

6. “Muskrat Love” – Captain & Tennille (1976)

Two muskrats fall in love. That’s the plot. There are sound effects. This was a hit song.

7. “Cook of the House” – Wings (1976)

Paul McCartney lets Linda take the mic to sing about… kitchen appliances. There’s sizzling bacon in the mix.

8. “Big Balls” – AC/DC (1976)

They play it straight, but this is the most juvenile pun-fest in hard rock history. The punchline is the entire song.

9. “The Blue Nun” – Donald Fagen (1982, The Nightfly sessions)

Smooth jazz meets fake wine ads. Fagen flexes his love for lounge lizard satire with full commitment.

10. “Rural Route” – Eminem (2003, unreleased freestyle)

Yes, Eminem is usually wild, but this freestyle is peak absurdist Eminem. He impersonates Forrest Gump while rapping about chickens.

11. “Mr. Grieves” – Pixies (1989)

Starts with some doomsday existentialism… then breaks into a chorus that sounds like a demented polka. Unhinged in the best way.

12. “King Herod’s Song” – Jesus Christ Superstar Soundtrack (1970)

From a serious rock opera about Christ’s final days comes a vaudeville showstopper featuring Herod taunting Jesus like a game show host.

13. “I’m On A Boat” – T-Pain & The Lonely Island (2009)

The only time T-Pain’s auto-tuned glory meets yacht rock satire. He commits. Hard.

14. “Polka Face” – “Weird Al” Yankovic (2011)

Yes, “Weird Al” is known for funny songs, but his polka medleys—especially this one covering modern pop—are masterworks of parody orchestration.

15. “Insects” – Ash (2004, B-side)

Britpop alt-rockers go full-on surreal punk about… bugs. “I don’t like spiders, but I like you.”

16. “Onion Song” – Marvin Gaye & Tammi Terrell (1969)

From two of soul’s most passionate vocalists… a socially conscious track that compares civil rights struggles to onions. Layers, man.

17. “Yoga” – Janelle Monáe ft. Jidenna (2015)

From an Afrofuturist sci-fi visionary comes a track that includes the lyric “You cannot police me, so get off my areola.” Empowering and hilarious.

18. “A Spaceman Came Travelling” – Chris de Burgh (1975)

A prog-pop Christmas ballad… where the angel Gabriel is an alien with synthesizers. Just trust the journey.

19. “Man’s Not Hot” – Big Shaq (2017)

A parody that somehow became a global grime anthem. The joke became real. “The ting goes skrrrahh.”

20. “Grandma Got Run Over By a Reindeer” – Elmo & Patsy (1979)

Because even novelty songs can chart—and traumatize generations of children every Christmas.

5 Wildly Unknown Facts About The Doors Movie

Eric Alper
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5 Wildly Unknown Facts About The Doors Movie

The Doors were a séance set to sound. And Oliver Stone’s 1991 biopic The Doors tried to bottle that lightning—equal parts love letter and fever dream. Val Kilmer’s performance as Jim Morrison was so eerily accurate that even the surviving band members couldn’t tell where Morrison ended and Kilmer began. But what most people saw on screen was only half the story. For those who love digging behind the vinyl sleeve or the film frame, here are five lesser-known facts about The Doors movie that’ll make you want to crank “The End” and light some metaphorical fires.

1. Val Kilmer didn’t just play Jim Morrison—he became him.
Before CGI, before deepfakes, there was Val Kilmer. He spent six months rehearsing, learned 50 Doors songs, and recorded vocals so convincing that Ray Manzarek couldn’t tell them apart from Jim’s. Kilmer even paid out of his own pocket to film a full performance demo for Oliver Stone. But it wasn’t just mimicry—it was method acting gone full Lizard King. He wore Morrison’s leather pants, spoke like him between takes, and according to crew memos, requested not to be addressed by his real name on set. Now that’s rock ’n’ roll commitment—or possession.

2. The real Patricia Kennealy plays the priestess in her own fictionalized wedding scene.
Talk about meta. Rock journalist and Wiccan high priestess Patricia Kennealy, who actually participated in a handfasting ceremony with Jim Morrison in real life, appears in the movie—but not as herself. Instead, she plays the priestess marrying Meg Ryan’s Pamela Courson and Kilmer’s Morrison. The kicker? Kennealy has denounced the film’s portrayal of her, claiming much of her dialogue was given to Courson’s character instead. She called it a betrayal, but in a twist worthy of Morrison’s own poetry, she helped perform her own cinematic erasure.

3. The script was filtered through dozens of people—including Morrison’s parents and Elektra Records.
Oliver Stone didn’t just write a rock movie—he had to negotiate with lawyers, estates, labels, and parents. Morrison’s family only allowed dream-like flashbacks. Pamela Courson’s parents restricted any implication that she influenced Jim’s death. Meanwhile, the band members weren’t all on the same page: Ray Manzarek refused to participate, while John Densmore and Robby Krieger consulted on the film, each bringing their own version of the myth. The result? A movie as much shaped by censorship and grief as by art and music.

4. Kilmer’s live performances in the film weren’t lip-synced—they were sung live over original master tapes.
Most music biopics fake it with overdubs or studio trickery. Not The Doors. Val Kilmer sang live, blending his voice with the original multitrack recordings of the Doors, minus Jim’s lead vocals. The effect was chilling. He rehearsed daily and performed so hard during the five-day shoot of “The End” at the Whisky a Go Go recreation that he nearly lost his voice. This wasn’t a musical performance—it was a séance, captured on film and played back like a ghostly echo from the Summer of Love.

5. Nearly everyone turned it down before Oliver Stone picked up the torch.
Before Stone got behind the camera, the Doors biopic passed through Quentin Tarantino, Francis Ford Coppola, Martin Scorsese, and more. Bono, Michael Hutchence, Johnny Depp, and even John Travolta were considered for Morrison. But it was Stone’s obsession and Kilmer’s uncanny embodiment that finally got the film made. Stone even had to abandon Evita (sorry, Madonna) to make room for the psychedelic circus that The Doors became. The studio fights, lawsuits, casting drama—it’s a miracle the film ever made it to theaters. But like the band it depicts, it survived in chaos and emerged as something unforgettable.

The Doors hits like a fever dream trapped in a whiskey bottle and rolled across the Sunset Strip. It’s a film that believes in mythology more than memoir, in fire over facts. And in the end, maybe that’s exactly what Morrison would’ve wanted: not a documentary, but a hallucination.

5 Surprising Facts About Tom Petty and the Heartbreakers’ ‘Damn The Torpedoes’

Eric Alper
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5 Surprising Facts About Tom Petty and the Heartbreakers’ ‘Damn The Torpedoes’

Damn the Torpedoes was the moment Tom Petty and the Heartbreakers kicked down the doors of classic rock history. Every track crackles with defiance, swagger, and a sound that turned Petty from barroom hero to arena headliner. But if you think you’ve heard all there is to know about this triple-platinum masterpiece, think again. Let’s go, full speed.

1. “Refugee” nearly broke the band—literally.
Before it became one of Petty’s signature anthems, “Refugee” was a recording nightmare. Guitarist Mike Campbell wrote the music at home on a 4-track, and Petty added lyrics that made the whole thing soar. But locking down the right feel in the studio? That took over 100 takes. Tensions got so high, Campbell walked out and skipped town for two days. It’s the only time he ever did that. But when he came back, they finally nailed the track—and captured lightning in a bottle. Sometimes the hardest songs to record are the ones that last forever.

2. “Even the Losers” started with a real-life heartbreak—and a washing machine.
Petty pulled this one straight from his Gainesville youth, inspired by a one-night fling with Cindy, a girl he’d crushed on since junior high. She liked him back… for one night. That bittersweet moment turned into a timeless anthem about fleeting glory. And that voice at the beginning? “It’s just the normal noises in here!” is actually Mike Campbell’s wife, Marcie, caught on tape during a home demo. She was answering Mike’s gripes about the noise from their washing machine. Pure rock and roll serendipity.

3. The title track doesn’t exist—but the phrase has a deep-rooted history.
There’s no song called “Damn the Torpedoes” on the album, but the phrase comes from Admiral David Farragut, a Civil War naval officer who shouted it as his ships charged through a minefield. Petty adopted it as the album title because it captured his mindset perfectly. He was in the middle of a legal fight with MCA over his contract, had declared bankruptcy to wrest control of his music, and was facing down a major-label machine. But like Farragut, Petty went full speed ahead. And he won.

4. “Don’t Do Me Like That” was almost a J. Geils Band hit.
Petty originally wrote this track with his old band Mudcrutch in 1974, and nearly gave it away to the J. Geils Band because he thought it sounded more like them than him. But producer Jimmy Iovine, who had a gift for spotting hits, convinced Petty to keep it. Good call—“Don’t Do Me Like That” became his first Top 10 hit and introduced Petty to a wider audience. It’s a perfect example of how sometimes the right producer at the right time makes all the difference.

5. “Here Comes My Girl” was saved by a half-spoken verse.
Tom wasn’t feeling the verses. The melody just wasn’t working. But when he started half-speaking the lines—drawing from the narrative style of The Shangri-Las and Blondie—the song finally clicked. That deadpan storytelling gave the soaring chorus its emotional punch. And, like “Refugee,” it was written during the same magical week with Campbell. Two classics, born from the same creative storm. The chorus? Petty said it was inspired by The Byrds, which explains that shimmering, heart-lifting jangle.

Damn the Torpedoes was a full-blown act of rebellion set to tape. It fused Petty’s Southern roots with West Coast shine, married snarling guitar riffs with pop sensibilities, and proved that artistic control could coexist with chart-topping success.

In the words of Farragut—and Petty—damn the torpedoes. Full speed ahead.

5 Surprising Facts About Wilco’s ‘Yankee Hotel Foxtrot’

Eric Alper
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5 Surprising Facts About Wilco’s ‘Yankee Hotel Foxtrot’

You already know Yankee Hotel Foxtrot is one of the greatest albums of the 2000s—no argument there. It’s Wilco’s most enduring record, a brilliant, fractured, genre-defying work of art born from studio chaos and label rejection. But here are 5 lesser-known facts that make this indie rock monolith even more legendary.

1. Wilco streamed the album for free… after being dropped by their label.
Before artists like Radiohead or Beyoncé made headlines with unconventional release strategies, Wilco beat them to it with a free full-album stream on their website—in 2001. After Reprise Records rejected Yankee Hotel Foxtrot as “unmarketable,” the band decided to share it directly with fans online on September 18, 2001, just one week after 9/11. This wasn’t a slick PR move—it was a desperate, beautiful act of musical defiance. The gamble paid off: the website saw over 50,000 hits in a single day, and fans were already singing along at shows before the album ever hit retail. It changed the way we think about music distribution and indie credibility forever.

2. The band got dropped… and then signed to another label under the same parent company.
In an almost too-perfect example of music industry absurdity, Warner Bros. dropped Wilco from Reprise Records—but then signed them again under their subsidiary label, Nonesuch Records. That means Warner essentially paid for the same album twice. Wilco recorded Yankee Hotel Foxtrot on Warner’s dime, got dropped, and then sold the finished product back to a different Warner-owned label. In a time when major labels were slashing rosters and chasing hits, Wilco’s loyalty to artistry somehow still led to a win. It’s a story that would feel like satire if it weren’t true—and it earned their place as unlikely industry survivors.

3. “Poor Places” sampled an actual numbers station.
The haunting, robotic voice that repeats “Yankee… Hotel… Foxtrot…” in “Poor Places” wasn’t a studio creation—it came from The Conet Project, a four-disc collection of real Cold War-era numbers station recordings. These cryptic shortwave radio broadcasts, believed to be used by intelligence agencies, added a layer of eerie mystery to the track—and to the album’s overall sense of paranoia and emotional unrest. Wilco didn’t get permission to use the sample, and the label Irdial eventually sued. The dispute was settled out of court, but the sample stayed, giving the album one of its most iconic sonic motifs. It’s indie rock espionage at its finest.

4. The documentary I Am Trying to Break Your Heart started filming the day the drummer was fired.
Talk about timing. Filmmaker Sam Jones began shooting I Am Trying to Break Your Heart—the now-classic documentary about the making of Yankee Hotel Foxtrot—on the very day original drummer Ken Coomer was fired and replaced by Glenn Kotche. The film captures not just the chaos of the recording sessions, but also the interpersonal tension between Jeff Tweedy and Jay Bennett, label drama, and moments of stunning creative clarity. It’s rare that the camera is rolling when everything starts to fall apart—and even rarer when what falls apart becomes a masterpiece. The behind-the-scenes footage was an emotional X-ray of a band tearing down and rebuilding its identity.

5. The album was almost called Here Comes Everybody.
Before landing on the cryptic and evocative Yankee Hotel Foxtrot, the working title for the album was Here Comes Everybody, a phrase pulled from James Joyce’s Finnegans Wake. It reflected the album’s themes of fragmentation, collective disillusionment, and the collision between personal and political grief. But the final title—drawn from military radio lingo—carried a vaguer, more unsettling weight. It felt like a coded transmission from a world falling apart, which, in the shadow of 9/11, burned even more deeply. In the end, the change was poetic: Here Comes Everybody was too specific. Yankee Hotel Foxtrot left room for interpretation—and became a symbol.

With Yankee Hotel Foxtrot, Wilco made a watershed moment in American music. It was messy, it was misunderstood, and it was magnificent. Sometimes, out of chaos comes clarity—and a few haunting numbers over shortwave.

Russ Ballard Premieres New Single “Courageous” and Announces Double Album ‘Songs From The Warehouse / The Hits Rewired’

Eric Alper
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Russ Ballard Premieres New Single “Courageous” and Announces Double Album ‘Songs From The Warehouse / The Hits Rewired’

Renowned rock singer Russ Ballard premiers his new single and accompanying video “Courageous”, taken from his upcoming double album “Songs From The Warehouse / The Hits Rewired”, out on April 25th, 2025, via Frontiers Music Srl.

This release is a real treat for all rock fans: the first CD contains new songs, which show once again that the inspiration never left Russ, while the second CD includes brand new recordings of famous hits either penned or performed by him during the years.

About the new single, Russ Ballard says: “Living in a mad world” – aren’t we somehow? In a world where a little girl is a “mother to her brother for so long”. I had this strong story in my mind one day… A dark one with a good end – “You have the power to stand strong – Long may you shine one”.

He also expresses his excitement for the album: “It’s a buzz releasing a new album. What started as my “Lockdown-tapes” during the pandemic became an album! During lockdown, my studio was a life saver for me, and I found new ways of writing and recording. The result gives the listeners a good insight into this time – have a listen!”

Russ Ballard is simply one of the most renowned and gifted songwriters in pop and rock music.
His music career started when he was only 14 years old and he wrote a tune, which was recorded by the Shadows, appearing on their album “The Sound Of The Shadows” in 1964.

During the 70’s and 80’s, his songs ruled the airwaves and the list of hits is pretty much endless. From “Since You Been Gone” (Rainbow), “God Gave Rock’n’Roll To You” (Argent and Kiss), “So You Win Again” (Hot Chocolate), “New York Groove” (Hello and Ace Frehley), “You Can Do Magic” (America), “Winning” (Santana) or “I Don’t Believe In Miracles” (Colin Blunstone) – just to name a few – everyone who needed a great song knew that with Russ Ballard they could not go wrong.

Numerous records/artists were also produced by him, like Roger Daltrey, America, Elkie Brooks, Skindred or Sada Vidoo. In 1974, he started a solo career (after his stint with the band Argent in early 70’s), which had its highest momentum with the “S/t” album in 1984 (which included the hit single “Voices”) and the follow up “The Fire Still Burns”.

Since then, Russ released 10 studio albums and is still writing and producing hits. Three songs of his 1984 and 1985 album were featured in the TV-show “Miami Vice” and were extensively played on dancefloors around Europe.

“Songs From The Warehouse / The Hits Rewired” Tracklist:

CD1
1. Resurrection
2. Courageous
3. Journey Man
4. The One Who Breathes Me
5. The Wild
6. Charlatan
7. Soul Music
8. Sleepwalking
9. Last Man Standing
10. Make Believe World
11. The Family Way
12. Fearless
13. The Last Amen

CD2
1. Since You’ve Been Gone
2. Winning
3. God Gave Rock And Roll To You
4. Voices
5. New York Groove
6. You Can Do Magic
7. Liar
8. I Know There’s Something Going On
9. I Surrender
10. No More The Fool
11. So You Win Again
12. Free Me
13. On The Rebound

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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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