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HOLLY COLE’s DARK MOON #1 Jazz Album in Canada – #1 Soundscan and #1 iTunes

Eric Alper
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HOLLY COLE’s DARK MOON #1 Jazz Album in Canada – #1 Soundscan and #1 iTunes

Renowned Canadian / International vocalist Holly Cole released her 13th studio album, Dark Moon, on January 24, 2025 and it immediately stormed up the charts, ending the week as the #1 Jazz Album in Canada on both the Soundscan and iTunes Charts.

Teaming up with her long-time live performance partners, along with additional musicians to create rich harmonies and layers, this album is a true ensemble project that highlights her signature style. Dark Moon is available via Rumpus Room/Universal Music Canada.

“I really wanted this album to embrace the spirit of spontaneity. At the same time a quintessential part of the sound of my music is in the arrangements. So, we did very little rehearsal in advance, and the songs were incredibly fresh for us while we were in the studio. The musicians that I play with contribute greatly to the arranging of the songs, and I wanted to hear the sound of when the light goes on for each one of us and many of the arrangements fell together as we played them. What we end up hearing on this record is the moment when we discover what we love about the song, and what its essence is for me.” – said Cole.

Holly Cole isn’t one of those artists who falls into any one category. Her smoky voice is sultry, her arrangements smart and sexy and all the while she and her musicians very uniquely reshape traditional Jazz, Pop and Country standards this time particularly from the New American Songbook writers including Marty Balin, Peggy Lee, Hal David, Burt Bacharach and Johnny Mercer.

The ensemble that Holly has brought together to help create and perform on Dark Moon includes long time live performance / recording mates, Aaron Davis (piano), George Koller (bass), Davide Direnzo (drums) and John Johnson (saxophone). Add to that the brilliance of sometime accompanist’s including guitar master and provocateur Kevin Breit and on harmonica two-time Grammy winner and original member of Bella Fleck and the Flecktones, Howard Levy and finally the wonderful three-part 1950’s Nashville style harmonies of the Good Lovelies. Together they define the absolute best in “ensemble playing”!

The first featured single is ‘No Moon At All’ is an up-tempo, sexy version of the track originally recorded by Peggy Lee that features a wonderful Howard Levy (2-time Grammy winner, friend, and original member of the Flecktones) harmonica solo.

Dark Moon was released on January 24, 2025 via Rumpus Room/Universal Music Canada on CD, 180-gram black vinyl, standard, Hi-Res digital + ATMOS.

Holly Cole is a renowned Canadian / International jazz singer who began her career in 1989 with the release of her 4-song EP ‘Christmas Blues’ under indie label Alert Music, followed by her debut album ‘Girl Talk’ in 1990.

In 1992, she signed with Blue Note’s Manhattan imprint and released ‘Blame It on My Youth’ which achieved Platinum + sales in Canada, over 200,000 copies internationally, and based on the success of the single “Calling You”, a number 1 charted single and album in Japan. The next album based on her hit rendition of Johnny Nash’s, “I Can See Clearly Now” and its accompanying video cemented her success internationally setting up her following release, the critically acclaimed, Temptation, an album made up of material exclusively written by Tom Waits, one of Holly favourite songwriters.

With 12 previous albums to her name, Cole has achieved multi-platinum sales and received numerous awards, including 2 Juno Awards (out of 8 nominations) and 2 Gemini Awards. She has also won two Japanese Grand Prix Gold Disc Awards and the prestigious Ella Fitzgerald Award from the Montreal Jazz Festival, joining the ranks of Aretha Franklin, Diana Krall and Etta James. In 2014, she was awarded an honorary doctorate from Queen’s University.

In 2019, Holly Cole reunited the original Holly Cole Trio, with David Pitch on bass and Aaron Davis on piano, to celebrate the 40th anniversary of the Festival International de Jazz de Montreal. They performed at the cabaret Lion d’Or in Montreal, and these special shows were recorded and became the 2021 album ‘Montreal’.

For Christmas 2022, Cole released a remastered compilation combining her holiday releases from 1989 and 2001, titled anew ‘Baby It’s Cold Outside and I Have the Christmas Blues’.

Upcoming Tour Dates

  • March 7, 8, 10, 11,  – Tokyo, Japan – Blue Note
  • April 27 –  Peterborough – Market Hall Performance Art Centre
  • July 2 – Montreal, QC –  Theatre Jean Duceppe – Place des Arts
  • Canadian Summer Festival appearances announcements coming soon
  • Germany / US / Western Canada Late Summer / Fall 2025

Casey and Diana – Inspired By Princess Diana’s Historic 1991 Visit to Casey House – Coming To Theatre Aquarius February 19 – March 8, 2025

Eric Alper
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Casey and Diana – Inspired By Princess Diana’s Historic 1991 Visit to Casey House – Coming To Theatre Aquarius February 19 – March 8, 2025

Theatre Aquarius and The Royal Manitoba Theatre Centre are proud to present a new production of Nick Green’s critically acclaimed play Casey and Diana. Initially commissioned by the Stratford Festival of Canada, Casey and Diana is inspired by Princess Diana’s historic visit to Toronto’s Casey House in 1991. The original production played to sold-out houses at The Stratford Festival and Soulpepper Theatre in Toronto, garnering rave reviews and winning the Toronto Theatre Critics Choice Award 2024 for Best New Canadian Play.

This potent and moving drama by Nick Green vividly captures a moment when a rebel Princess, alongside less famous caregivers and advocates, reshaped the course of the AIDS pandemic—and how those stricken by the virus found hard-won dignity, community and love in the face of astonishing hardship.

Casey and Diana stars Gregory Prest as Thomas (The Bidding War at Crow’s Theatre, A Streetcar Named Desire at Soulpepper, The Inheritance at Canadian Stage, and Ron Weasley in Harry Potter and the Cursed Child at Mirvish) and Catherine Wreford as Diana (Winner of CTV’s The Amazing Race Canada; 42nd Street, Oklahoma on Broadway; 42nd Street, Annie Get Your Gun on Broadway Tour). In 2013, Catherine was diagnosed with terminal brain cancer and was given 2-6 years to live. Undeterred, Catherine defied the odds and embraced her true calling as a performer. Her triumph on Season 8 of The Amazing Race Canada, alongside her best friend Craig Ramsay, amplified her mission to find a cure for brain cancer. She is a living testament to the indomitable human spirit, an unwavering advocate for life, and an empowering voice encouraging us all to “run your own amazing race.”

Casey and Diana at Theatre Aquarius and The Royal Manitoba Theatre Centre welcomes the director of the original production, Andrew Kushnir, who returns to direct a new production with Joshua Quinlan designing the set and costumes, Logan Cracknel designing the lights and Ashley Au designing the sound and composing the music.

Casey and Diana – 2025 Performances

Theatre Aquarius
February 19 – March 8, 2025
Tickets: www.theatreaquarius.org
Box Office: 905-522-7529

The Royal Manitoba Theatre Centre
March 19 – April 12, 2025
Tickets: www.royalmtc.ca
Box Office: 204-942-6537

Casey and Diana by Nick Green
CAST
Alicia Johnston as Pauline
Noah Beemer as Andre
Sharon Bajer as Marjorie
Gloria Mampuya as Vera
Catherine Wreford as Diana

CREATIVE TEAM
Andrew Kushnir (Director)
Nick Green (Playwright)
Joshua Quinlan (Set & Costume Designer)
Logan Cracknell (Lighting Designer)
Ashley Au (Composer & Sound Designer)
Tara Rosling (Assistant Director)
Geoff Scovell (Fight Director)
Rebecca Cuthbertson (Dialect Coach)
Michael Hart (Stage Manager)
Samantha Desiree (Assistant Stage Manager)
Brianna Unger (Apprentice Stage Manager)

Blues/Folk Singer Ollee Owens Heats Up with Sizzling New Video for “Shivers and Butterflies”

Eric Alper
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Blues/Folk Singer Ollee Owens Heats Up with Sizzling New Video for “Shivers and Butterflies”

Reminiscing about the past can be a blast, particularly if the one you were with back then is still the same partner you’re looking back with now. For Calgary-based blues and Americana singer Ollee Owens, that reflection is captured perfectly in her fantastic new music video for “Shivers and Butterflies.”

The song, from her 2024 chart-topping album Nowhere To Hide, was inspired by Owens and her “guy” for the past 25 years discussing the early days of their relationship. From reflecting on the nerves or jitters both had before their first date to the “silly things we did to impress each other back then.”

The video, directed by Travis Nesbitt (who’s directed videos for Royal Tusk, Brett Kissel, and Dallas Smith, among others), was culled from footage of Owens and her other half making the most of a summer day in and around Victoria, British Columbia. Nesbitt, who previously worked with Owens on a music video for “Some Days” and a short film for “O Holy Night,” records Owens initially singing portions of “Shivers and Butterflies” in a Silver Streak camper. From there, the couple is captured sauntering around Victoria’s Fisherman’s Wharf, taking in the sights and eats. After riding on a bicycle built for two and visiting a petting zoo, the duo ends the fun-filled day cuddled up in front of a cozy fire on the shoreline.

“Our goal was to capture a lighthearted, fun day out together by the ocean,” Owens says of the “Shivers and Butterflies” video. “I hope it brings a smile to your face as you watch — it sure does to mine! After all these years — and the wild ride it’s been — these same feelings still flit and flutter to the surface from time to time…and this song holds relevance today in middle age as it did when we were young.”

“Shivers and Butterflies,” co-written by Owens and Kornelius Colyn, was recorded at Nashville’s Sweetbriar Studio and produced by Bobby Blazier (who plays drums on the track). Aside from Owens on lead vocals, the song features guitarist Chris Rodriguez, bassist Tommy Sims, keyboardist De Marco Johnson, and backing vocalists Gene Miller and Joey Richey.

The video for “Shivers and Butterflies” is the latest highlight in what has been a mammoth and momentous few months for Owens and Nowhere To Hide. The album has spent 13 consecutive weeks in the Roots Music Report Canadian Chart’s Top 10, including three weeks topping the chart. Nowhere To Hide also has cracked the Top 10 on RMR’s Top 50 Blues Album Chart (#8) and Top 50 Soul Blues Album Chart (#2).

Raised in the small farming community of New Bothwell, Manitoba, Owens started writing songs when she was eight and was playing guitar four years later. Inspired by a myriad of influences, including Elvis, The Beatles, Bob Dylan, and Mahalia Jackson, among others, Owens put her musical career on hold and took a hiatus to raise her three daughters, one of whom has a cognitive disability. She returned to music a decade ago, releasing Cannot Be Unheard in 2022.

Owens’ music has been heard internationally on radio stations in Brazil, Australia, and Europe. And she’s shared billing with Dawn Tyler Watson and Matt Andersen at the Roots Blues and BBQ Festival in Drumheller, Alberta. Recently, Owens has received critical acclaim in outlets such as British publication Blues Matters, Blues Music Magazine, and Americana Highways, which described Nowhere To Hide as “one of the strongest surprises of 2024.” In January 2025, Owens performed at the iconic B.B. King’s Blues Club in Memphis.

Now with an honest and engaging music video for “Shivers and Butterflies,” Ollee Owens is keeping the home fires burning while continuing to burn up the charts.

Canada’s Teen Jam Spotlights the Next Generation of Musical Superstars in Toronto Showcase

Eric Alper
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Canada’s Teen Jam Spotlights the Next Generation of Musical Superstars in Toronto Showcase

The highly anticipated Canada’s Teen Jam is bringing together a network of the most talented teen musicians from this country for an unforgettable showcase. Finalists will take the stage at the iconic TD Music Hall in Toronto on February 27, 2025, performing original songs and vying for top honors, cash prizes, and invaluable industry exposure. Tickets are now on sale here.

Renowned live music producer Mark Higgins, the visionary founder of Canada & America’s Teen Jam and Big Music Fest—a festival that has hosted legends like Aerosmith, Bryan Adams, Soundgarden, The Tragically Hip, and ZZ Top—shared his enthusiasm for the initiative:

“This program is about fostering the next generation of musical superstars. We’re building a network of gifted teens, giving them the chance to shine on big stages, and amplifying their brands across international platforms to connect with fans and industry professionals alike.”

The upcoming Toronto showcase features an electrifying lineup of young artists, ages 15–17, all performing original songs:

Bands:

  • Third Times A Charm – Napanee, ON
  • Destined For The Throne – London, ON

Solo Artists:

  • Braydon Hall -Ayr, ON
  • Jade Peter – Napanee, ON
  • Anna Goldsmith – Toronto, ON
  • Brandon Ahmet – Kitchener, ON
  • Tia Nova – Barrie, ON

Sponsored by United Van Lines Canada, the program is dedicated to nurturing teens, families, and communities across Canada. The showcase marks the start of an exciting journey, with Canada & America’s Teen Jam set to travel to Canadian capital cities this summer, culminating in an expansion to the U.S. with dates to be announced soon.

All finalists and winners will receive promotion across Canada & America’s Teen Jam’s international platforms, elevating their profiles and creating opportunities to engage with fans and industry insiders.

Join us for a night of musical discovery and celebrate the future of music!

EVENT DETAILS:
What: Canada & America’s Teen Jam Showcase
When: February 27, 2025
Where: TD Music Hall, Toronto, ON
Tickets: Visit canadateenjam.com for more details

Founded by Mark Higgins, Canada & America’s Teen Jam is a unique platform fostering the growth of young musical talent across North America. By offering live performance opportunities, cash prizes, and international promotion, the initiative inspires teens to pursue their musical dreams while connecting them with industry professionals and global audiences.

The Canada Black Music Archives Announces Black History Month Programming: Dream Warriors, Mathematik + More

Eric Alper
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The Canada Black Music Archives Announces Black History Month Programming: Dream Warriors, Mathematik + More

This Black History Month the Canada Black Music Archives celebrates Toronto’s hip-hop icons and the impact the city has had on the genre. Often overlooked due to the popularity of our neighbours to the south, Toronto hip-hop is long overdue for its flowers.

Starting February 1st and running to the end of the month, Canadian Cyphers: Elements of Toronto Hip-Hop will be open to the public at the City of Toronto Archives located at 255 Spadina Rd. This exhibition offers a glimpse at the many greats who have built the Toronto hip-hop scene and the elements that set the genre apart. Explore album covers, photographs, turntables and more. The exhibit will also feature items from Toronto’s iconic 100 Miles brand and an audiovisual display featuring a mix of live performances and interviews from hip-hop’s early days.

As part of the Black History Month programming and in partnership with the City of Toronto Music Office, the CBMA Presents the Black History Month Showcase. This event will take place once more at the City of Toronto Archives on Friday February 21st.

Hosting the evening is Andy McCurbin aka ‘Brother A’. The MC was a popular presence in the early days of Toronto hip-hop. Special guest speakers include former President of the Ontario Black History Society, Dr. Rosemary Sadlier, and Dr. Mark Campbell of Northside Hip-Hop.

Legendary duo, Dream Warriors, will make a special appearance; their global hit “My Definition of a Boombastic Jazz Style” helped put the city on the map. Check out the music video for the 90s classic here.

Another Toronto rap pioneer, Mathematik, will be performing. He is known for his conscious lyrism and fresh perspectives. Masters of the mix spinning between sets include DJ Carl Allen, DJ DTS, and Joey from Sound Quest. Special guest speakers and a surprise guest star are still to be announced, so stay tuned!

Those in attendance are welcome to explore the Canadian Cyphers: Elements of Toronto Hip-Hop exhibit and music video screenings in between acts. This free event will run from 6:00pm – 9:00pm, with donations encouraged. Exclusive merchandise, drinks and food will also be available for purchase. Book your tickets now on Eventbrite.

Join the CBMA this February to celebrate Toronto’s impact on the hip-hop genre!

Thank you to their partners at the City of Toronto Music Office, the City of Toronto Archives, Retrontario, and Northside Hip Hop for making this programming possible.

For more information, please check out their website.

Americana Artist KC Armstrong Revisits the Past with Swampy New Single “Someone Else Tonight”

Eric Alper
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Americana Artist KC Armstrong Revisits the Past with Swampy New Single “Someone Else Tonight”

Musicians revisiting their discographies can shed light on a certain time and place. It can also be a reason to revisit old songs and see if there’s a new sonic coat of paint that might bring them back to life. For Brantford, Ontario-based Americana musician KC Armstrong, the pandemic offered up time to rediscover old gems, including “Someone Else Tonight,” the latest strikingly solid single, from his Finally Crafted album, teeming with passion and verve despite the recording process being the antithesis of the original approach.

“Someone Else Tonight” was originally recorded for Ranchsongs, an album released in the mid ’80s by Armstrong’s previous band Cadillac Ranch. Armstrong says that version was “recorded live off-the-floor in about three takes with no rehearsal beforehand.” Each of the musicians simply used hand signals as cues to perform their solos as they would live in concert. For this latest version created during the pandemic, the recording process was deliberate, requiring patience as files were sent back and forth via e-mail after recording was done in each musician’s home studio.

Armstrong says he started with drum tracks, then bass, 12-string acoustic guitar, and a scratch vocal. “Doing the recording in this fashion, you might think there would be no synergy between the musicians; each in their own cities, each at a different time – but this was not the case,” he says.

Guest musician Bobby Brioux, who plays mandolin on “Someone Else Tonight,” was given the “bare-bones backing tracks” as a guide but asked to “play away.” While editing that particular piece, Armstrong received keyboardist Steve O’Connor’s accordion and Wurlitzer parts who had only been given the request to make the music “eerie and foreboding.” Neither Brioux nor O’Connor knew what each other was playing. But what transpired was amazing!

“It was astounding,” Armstrong says. “There was only one small bar of music in the whole song where both musicians were playing simultaneously. The rest of the song fit together perfectly while also allowing guitarist Barry Haggarty places to showcase his talents. Another cosmic bit of good fortune emerged when Armstrong unknowingly left both of Haggarty’s guitar tracks in the song. When played simultaneously, they created a gorgeous “twin solos” effect on “Someone Else Tonight.”

“Someone Else Tonight” brings to mind a swampy, dark, and mysterious collage of folk, blues, “swampy-country,” and Americana similar to the late Gordon Lightfoot and particularly Steve Earle’s 2000 album Transcendental Blues. Led Zeppelin’s intro to “No Quarter” sounds like a subtle source of inspiration as well. A Celtic hue adds great results as the song has a surefire, steady pace demanding your attention. The homestretch is also fantastic as the interplay between the instruments and vocals creates music far greater than the sum of its parts. Alongside Armstrong (who sings and plays bass), Brioux, Haggarty, and Steve O’Connor, additional musicians on “Someone Else Tonight” include vocalist MaryEllen Allen, saxophonist Sean O’Connor, guitarist Scott Utting and drummer Jake Adams.

“Someone Else Tonight” is the latest offering from KC Armstrong and the follow-up to his festival single “I Hate That Sweater.” Armstrong’s witty, whimsical style brings to mind musicians like Earle, Randy Newman, Nick Lowe, and the late Ronnie Hawkins. In fact, Armstrong’s band subbed as the Hawks for the iconic rocker back in 2003. Armstrong’s then band Cadillac Ranch were slated to back Hawkins at the legendary SARS-Stock concert at Toronto’s Downsview Park before hundreds of thousands featuring the Rolling Stones and AC/DC. Sadly, Hawkins’ health resulted in the appearance never being realized. Armstrong has also worked with and shared the stage with countless others, including the late Jeff Healey, while playing festivals across Canada and throughout North America.

Now with the spectacular and magical “Someone Else Tonight,” KC Armstrong is kicking off 2025 with a bang. It’s a track you should be telling someone else about tonight, if not sooner!

Amazon Music’s Hype Deck: A Free, Easy Way to Boost Your Big Moments

Eric Alper
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Amazon Music’s Hype Deck: A Free, Easy Way to Boost Your Big Moments

Amazon Music just made it easier than ever for artists to celebrate their biggest milestones, hype up new releases, and share exciting news with fans—without needing a design degree or a marketing team. Enter Hype Deck, the latest addition to the growing “Amazon Music for Artists” toolkit, and a total game-changer for musicians who want to amplify their presence on social media.

Think of it like Spotify’s Promo Cards, but with that signature Amazon Music touch. Hype Deck lets artists (and their teams) create custom Hype Cards to spread the word about new music, anniversaries, playlist placements, and more—all in just a few clicks.

What Can You Do With Hype Deck?

Promote a new release—because every song deserves a spotlight.
Celebrate the anniversary of a fan-favorite album or single.
Let the world know you made it onto a playlist (because that’s a BIG deal!).
Hype up your artist profile and remind people where to find your music.

And the best part? It’s totally free for anyone with an Amazon Music for Artists account.

How to Use Amazon Music’s Hype Deck

Step 1: Open the Amazon Music for Artists app or head to artists.amazon.com.
Step 2: Navigate to the HYPE DECK section and choose what you want to promote—song, album, playlist placement, or your artist profile.
Step 3: Customize it! Adjust the layout, pick a background color, and even change the language.
Step 4: Share it directly from the app or download it to use anywhere—Instagram, Twitter, email newsletters, you name it.

In 2024, visibility is everything. Fans are flooded with content daily, and the artists who stand out are the ones who show up consistently with engaging, shareable content. Hype Deck makes it effortless for artists to turn big moments into social media gold—no fancy graphics software needed.

So whether you’re an indie artist dropping your first single or a seasoned pro celebrating a chart milestone, Hype Deck is here to help you own the moment and make sure fans know about it.

For all your publicity needs, feel free to email Eric@ThatEricAlper.com or call me at 647-971-3742. With 25+ years of experience and a deep passion for connecting artists to audiences, I’m here to help you make an impact.

5 Surprising Facts About Lou Reed’s “Transformer”

Eric Alper
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5 Surprising Facts About Lou Reed’s “Transformer”

Lou Reed’s Transformer is a cultural artifact, a snapshot of early ’70s New York, and a masterpiece that cemented Reed as a solo force beyond The Velvet Underground. Produced by David Bowie and Mick Ronson, the album gave us legendary songs like Walk on the Wild Side, Satellite of Love, and Perfect Day. But even if you’ve had this album on repeat for decades, there’s always more to uncover. Here are five unknown facts about Transformer that will change the way you hear it forever.

1. “Walk on the Wild Side” Was a Celebration of Outsiders

At first listen, Walk on the Wild Side might sound like a voyeuristic tale of New York’s underground scene, but it was actually a love letter to the misfits, artists, and dreamers who made Andy Warhol’s Factory a cultural epicenter. Each verse immortalizes real people—Holly Woodlawn, Candy Darling, Jackie Curtis—who weren’t just characters in Reed’s song, but trailblazers in their own right. Decades later, the song remains an anthem for self-expression and living authentically, proving that Reed wasn’t just chronicling counterculture—he was celebrating it.

2. “Satellite of Love” Was Almost a Velvet Underground Song

Lou Reed first wrote Satellite of Love during his time with The Velvet Underground, but the band never recorded a proper version. A demo exists from 1970, but it’s nothing like the soaring Transformer take, complete with Bowie’s ghostly high harmonies. Bowie’s involvement added a cosmic, operatic element that completely transformed the song—no pun intended—turning it into one of Reed’s most cherished tracks.

3. “Perfect Day” Wasn’t About What You Think It Was

For years, fans debated whether Perfect Day was about love, heroin, or both. Reed himself gave cryptic answers, but those close to him believe it was a reflection of his time with first wife Bettye Kronstad, who recalled that the couple had idyllic afternoons in Central Park together. The song’s ominous outro—You’re going to reap just what you sow—hints at a darker undercurrent, which made it even more haunting when it was later used in Trainspotting’s infamous overdose scene.

4. Bowie and Ronson Saved the Album from a “Disastrous” Start

Lou Reed was an undeniable genius, but when recording started for Transformer, he was struggling with his confidence. Early sessions lacked energy, and it was Bowie and Ronson who reshaped the album’s sonic identity. Ronson arranged the lush string sections for Perfect Day and played some of Transformer’s most iconic guitar parts, while Bowie pushed Reed to embrace a more theatrical, flamboyant vocal delivery. Without their input, the album might not have reached its legendary status.

5. The Cover Photo Was a Happy Accident

The striking black-and-white cover of Transformer, with Reed’s face ghostly and overexposed, became one of rock’s most recognizable images. But photographer Mick Rock, who shot it, later revealed that the image wasn’t planned—he was experimenting with developing techniques when the contrast came out that way. The accidental effect gave Lou an almost spectral presence, perfectly suiting the album’s themes of identity, sexuality, and transformation.

Transformer was a revolution in sound, style, and storytelling. It captured the glam rock era, the grittiness of New York’s underground scene, and the essence of Lou Reed’s enigmatic artistry. Decades later, it still feels fresh, relevant, and defiant.

5 Surprising Facts About Television’s “Marquee Moon”

Eric Alper
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0
5 Surprising Facts About Television’s “Marquee Moon”

Some albums change music. Others define it. Television’s Marquee Moon is both. Released in 1977, this debut album from the New York band didn’t just push the boundaries of punk—it tore them down and rebuilt them with intricate guitar work, poetic lyrics, and a fearless commitment to musicianship. Even after all these years, it remains one of the most influential records of all time, shaping the sounds of post-punk, indie rock, and even jam bands. But for all its legendary status, there are still plenty of hidden details lurking in its grooves. Here are five unknown facts that will make you hear Marquee Moon in a whole new way.

1. The Title Track Was Recorded in One Take

The nearly 10-minute epic “Marquee Moon” wasn’t pieced together in a thousand overdubs—it was captured live in the studio in a single take. Guitarists Tom Verlaine and Richard Lloyd’s mesmerizing interplay, Billy Ficca’s fluid drumming, and Fred Smith’s pulsing bassline all came together in perfect synchronicity. The raw energy of that performance is why the track feels like a living, breathing thing, twisting and turning through its hypnotic solo section without losing an ounce of momentum. Verlaine was such a perfectionist that even the minor imperfections in the final recording were deemed essential to its mystique.

2. “Prove It” Almost Had a Different Title

The album’s only single, Prove It, nearly went by another name. Before the song was fully realized, Verlaine had considered calling it “Where Is the Justice?”—a phrase that appears in the song’s cryptic lyrics. While the title change seems minor, it reflects Television’s shift from their early garage-rock origins to a more sophisticated, literary songwriting style. The final version of Prove It became one of the band’s most accessible tracks, earning significant airplay in the UK and standing out as the closest thing Marquee Moon had to a radio hit.

3. The Album’s Guitar Sound Was a Rebellion Against Punk’s Simplicity

At a time when punk was all about speed, aggression, and simplicity, Marquee Moon was an outlier. Verlaine and Lloyd meticulously crafted their guitar parts, drawing inspiration from jazz, classical music, and even 1960s psychedelic rock. Unlike many of their punk contemporaries, they avoided power chords in favor of intricate, interwoven melodies. Their dueling lead guitar approach created an atmosphere unlike anything in punk at the time—more akin to the Grateful Dead’s improvisations than the three-chord attack of the Ramones. This commitment to musicality set Television apart and made Marquee Moon one of the most complex punk-adjacent records ever made.

4. Eno Almost Produced It—And That Would Have Changed Everything

Before landing in the hands of Andy Johns (who had worked with The Rolling Stones and Led Zeppelin), Marquee Moon was almost produced by Brian Eno. The band did a few early recording sessions with Eno, but they were dissatisfied with the results, feeling that he had softened their raw sound too much. Verlaine and company ultimately wanted something that retained the sharp, angular energy of their live performances. Had Eno stayed on board, Marquee Moon might have been a vastly different album—perhaps leaning more into atmospheric textures rather than the crisp, cutting guitars that define its sound.

5. Verlaine Despised the Original Album Cover

The Marquee Moon cover, featuring a stark portrait of the band against a black background, wasn’t Tom Verlaine’s first choice. He reportedly hated the way it turned out, feeling that the lighting made his face look odd and that it didn’t represent the band’s aesthetic properly. Nevertheless, the cover has become iconic, cementing Television’s image as one of the coolest, most enigmatic bands to emerge from CBGB’s legendary scene. Over the years, Verlaine softened on his dislike of the cover—but he never fully embraced it.

More than four decades later, Marquee Moon still sounds ahead of its time. Its intricate guitar lines, surreal lyrics, and ambitious arrangements make it a unique entry in rock history, standing as a testament to Television’s artistry in a world where punk, poetry, and technical brilliance collide.

Dolly Parton Embraces Red with New Dolly Wines Pinot Noir Release This Valentine’s Day

Eric Alper
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Dolly Parton Embraces Red with New Dolly Wines Pinot Noir Release This Valentine’s Day

Dolly Parton is reclaiming red this Valentine’s Day season by releasing her signature, Dolly Wines Pinot Noir, the same month Jolene was released fifty-one years ago. The hand-crafted California Pinot is the perfect purchase for a Galentine’s Day gathering or a romantic Valentine’s Day dinner. Dolly has invited fans on social media this February to raise a glass, and cheers to her new “shooting star,” Pinot Noir! The beautiful, bright, ruby red Pinot Noir is the second varietal released in the United States, and the fourth globally.

Dolly posted today, “For many years I have not liked the color red, because it reminds me of that woman who tried to take my husband! Remember, ‘Jolene, Jolene, Jolene,’ but my new Pinot Noir has changed all that! I love red now. You should try it.”

Each glass of Parton’s Pinot Noir, which received a 92 point rating from one of the world’s most influential wine critics, James Suckling, is a silky sip, with a fresh palate enriched with red fruit characters and a hint of vanilla. Aromas of warm blueberry pie fresh from the oven, sweet cherries ripe from the tree, and subtle thyme dried from the family garden ensure each glass embodies a joyful celebration of togetherness year around. The Dolly Wines Pinot Noir is available now at leading retailers including Kroger, Total Wine & More, Publix and Cost Plus World Market, among others, in-store and online, priced accessibly at a suggested retail price of $14.99 USD.

“We are incredibly proud to bring Dolly Wines’ Pinot Noir to the market,” said Ming Alterman, Accolade Wines Marketing Director, Americas. “This release is a true testament to the exceptional quality and passion of our winemaking team, working in close partnership with Parton Family Cellars. With its vibrant character and exceptional craftsmanship, this Pinot Noir perfectly embodies the spirit of Dolly’s vision – a wine meant to be shared with those you love, celebrating life’s moments, both large and small.”

Last year, Dolly Wines made a white peach, sweet cream, and toasty oak flavored splash in the United States with the launch of its Chardonnay, which received an impressive 93 point rating from the prestigious Wine Enthusiast. Wine lovers and collectors alike shouldn’t miss the opportunity to add this exceptional bottle to their collections and celebrate with Dolly Wines.

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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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