Greywolf, aka Jay Grey, bassist for rising powerhouse band Escaper, has released “Exit Key,” the first single off his upcoming debut album Operation Wolf.
“Exit Key” is a sample of what the multi-instrumentalist is able to do on his own. Haunting and beautiful, the lyrics evoke themes of love, loss, and wanting to make a change. The track opens with a droning synth, before dropping into love story lyrics. Prescient themes for these times are found, with change needed to be made after reaching a breaking point and wanting to make change.
Greywolf recorded and played all the instruments on this record in his home studio, including piano, synth, keys, guitar, bass and beat programming. The record as a whole addresses change, longing and one’s personal connection with nature and the universe. You’ll find an autobiographical feel and personal touch to the music and the album.
While Jay Grey is best known for his work with Escaper, he has branched off to deliver a sound all his own. Keep your eyes and ears open for more brilliance from this emerging artist.
Bandcamp announced their plans to waive their revenue on September 4, 2020 from midnight to midnight Pacific Time to support musicians facing hardships during COVID-19. The music company plans to keep waiving their revenue for these first Friday of the month days for the rest of the year.
According to the Crack Magazine when Bandcamp withdrew its fees for a day back in March as a promotional act people ended up buying $3 million worth of music in 24 hours. Since then BandCamp has continued these waved revenue days periodically including a 3 month stretch back in May, June, July of this year as a move intended to help independent artists and labels, who are being affected by the coronavirus pandemic.
According to Bandcamp’s website since the pandemic hit in March, people have bought more than $75 million worth of music and merchandise directly from artists and labels, and to date, fans have paid artists over half a billion dollars on Bandcamp.
Bandcamp started waving it’s revenue on the first of the month back in May saying, “To keep supporting musicians during the Covid-19 pandemic, we are waiving our revenue share on all sales this Friday, May 1, from midnight to midnight PDT. Let’s come together as a community to put money directly into artists’ pockets” via their Twitter page.
To keep supporting musicians during the Covid-19 pandemic, we are waiving our revenue share on all sales this Friday, May 1, from midnight to midnight PDT. Let’s come together as a community to put money directly into artists' pockets: https://t.co/hPhgm7WBR4pic.twitter.com/DG6KYI2IN5
Bandcamp announced plans to continue the first Friday revenue waiving until the end of the year considering the pandemic is far from over. The following dates will continue this first Friday tradition: September 4, 2020, October 2, 2020, November 6, 2020 and December 4, 2020.
New York favorites to check out and support on September 4
Giant Panda Guerilla Dub Squad are a Western New York favorite by reggae fans. They formed in 2011 and are based out of Rochester. Giant Panda Guerilla Dub Squad’s sixth studio album MAKE IT BETTER was released September 16, 2016 on Rootfire Cooperative and debuted at #1 on the Billboard Reggae Chart. Their newest single “Good Love” released on February 7, 2020 is available for $0.99 on Bandcamp along with more of their content.
Aqueous is another Western New York favorite hailing from Buffalo New York. They have a devoted following for their indie-jam rock sound. They have recently made it into the national music scene due to their unique way of performing where no two shows are ever the same. They enjoy blurring the lines between a multitude of styles and genres. Their latest live performance for the Live From Out There streaming performances are available on BandCamp for each song for around $5 along with more of their content.
Consider the Source is another favorite from New York City. Consider the Source is an instrumental trio formed in 2004. They are self acclaimed SiFi/ MiddleEaster/ Fusion sound that breaks normal genre concepts. The group has released five studio albums, two live albums, and one compilation album. They have become widely known especially by Radiohead fans for their Radiohead inspired performances. Their latest album You Are Literally A Metaphor was dropped in 2019 and is available on Bandcamp for $10 along with more of their content.
For more information on Bandcamp and their first Friday revenue waiving visit their website.
Today’s Dead-trospective takes us to a Glens Falls Grateful Dead show at the Civic Center played 41 years ago. August of 1979 was interesting time for the Grateful Dead. New keyboardist Brent Mydland was still getting himself acclimated, having joined the band in April. This is only his 19th show, but his second time performing in New York with the Dead after they played Broome County Arena in Binghamton in May.
1979 featured a lot of short tours spread out over the course of the year. This would be the opener of one of them, a six-show tour in the Northeast with the last three at Madison Square Garden. This is the first time the Dead played the Civic Center. They would come back and play a single show the next three years as well.
The show begins with “Promised Land,” a Chuck Berry cover and “Dire Wolf.” It’s a fairly pedestrian 1-2 opening punch with plenty of post-song tuning. Bob Weir’s “Cassidy” follows, now in its new form with Mydland on backing vocals.
After some more tuning and indecision, things begin to take off with “Loser,” the Garcia-sung card playing saga. Jerry has a little fun with the lyrics on this one as the “Ace of Diamonds” comes up once instead of the usual Queen. The recording gets a little bass-heavy in the brief jam that follows but is well worth it. A typically poignant Garcia solo on top of everything else seems to genuinely excite the Civic Center crown.
A brief patch of the AUD recording doesn’t deter from a “Peggy-O” that hits all the right spots with Garcia’s vocals in top form. The first set also has a spot for newcomer Brent Mydland’s “Easy to Love You,” only the second one ever played. Afterwards, Bob Weir gives a little “love” to the locals in “New Minglewood Blues” with a change of lyrics to “New York women.”
This being another transitional period for the Dead, new songs and playing styles would continue to emerge. “Lost Sailor” had only been played four times prior to this, debuting earlier in the month. But this show in Glens Falls would feature the first ever “Saint of Circumstance” as it blended in immediately afterwards, making it sound almost like one song, which it would continue to do for years. This is really the last multi-song composition purposely crafted by the band.
A slow to start “Shakedown Street” begins the second set but it soon turns into a boisterous one with plenty of Garcia-fueled funk. The next song would be the return of a forgotten hero with only the second “Greatest Story Ever Told” since it was shelved towards the end of 1974. Garcia seems to tease “Black Peter” afterwards, a sign of things to come, before the “Ship of Fools” that follows.
The recording slips back to the AUD source towards the end of the stretched out “Estimated Prophet” that follows. But this give a great insight to the feel of the room. Swaths of people can be heard clapping along to the “Eyes of the World” that Garcia transitions to frenetically. This one is uptempo and bouncy from the get go with Mydland dazzling on the electric keyboard.
The highlight of the show comes later in the second set with a remarkable transition from the “Drums” section to “Not Fade Away.” The whole band is locked in atop an infectious rhythm as Garcia continues to pull all sorts of tones out from his bag of tricks. It’s a powerful segue, and executed perfectly, as the jam continues right through “Not Fade Away.”
Fittingly, the show is bookended with “Around and Around,” another Chuck Berry cover. Perhaps curfew was an issue as there does not appear to be any record of an encore for this show. But these two sets would pack enough of a punch on their own with new material and some exquisite second set jamming.
The Grateful Dead would travel to Rochester after this show, for a show at Holleder Stadium. But it’s clear they found a nice new place to play in Glens Falls, the music proves it. Upstate New York fans wouldn’t have to wait too long for a reunion though. The band would return in May next year for another masterclass in psychedelic rock.
Grateful Dead 8/31/79 Glens Falls Civic Center – Glens Falls, NY
Set 1: The Promised Land, Dire Wolf , Cassidy, Loser, El Paso, Peggy-O, Easy To Love You, New Minglewood Blues, Althea, Lost Sailor > Saint Of Circumstance > Deal
Set 2: Shakedown Street, Greatest Story Ever Told, Ship Of Fools, Estimated Prophet > Eyes Of The World > Drums > Not Fade Away > Black Peter > Around And Around
Recording starts with brief AUD patch before switching to SBD source. Patches also heard in “Peggy-O,” “Minglewood,” “Estimated Prophet” and “Eyes of the World.”
Each Sunday evening from 7-9pm on 102.7 FM, you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear music from Millington, Liam Davis, and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
From their album Beatdown Generation, Millington has played at EQX events such as the battle of the bands and Frogtober Fest at Frog Alley Brewing in Schenectady. Singer/Producer Cody Okonski learned a lot during his time working in Goldfinger frontman John Feldman’s studio. In that time Cody observed the techniques of Blink-182, 5 Seconds of Summer, and Sleeping With Sirens. Other members include Cody’s close friends John Bintz, Alex Maloy, and Brandon Rutski.
Liam, from Mount Vernon, NY, has toured with some notable acts in the Albany scene over the past few years. He was born in NYC and has been playing multiple instruments from a young age. His influences include Led Zeppelin, Jeff Buckley, and Stevie Wonder. EQXposure has also featured his song ‘In Your Dreams‘ and this one has a bit of a different vibe than that.
Some of jazz legend Mynton Marsalis’ best work of the last four decades has been influenced by socio-cultural and political issues. In 1985, his Black Codes(From the Underground) won a Grammy, in 1996, Blood on the Fields became the first jazz piece ever to win a Pultzier Prize, All Rise was performed by Symphonic Orchestras all across the world in 2002, and in 2007, From the Plantation to the Penitentiary was said to “[reveal] some important truth about this country with a lot of anger and heart.” It seems only fitting that now, during this historical time of national protest, Wynton Marsalis release a new work that reflects on these human rights issues.
The Ever Fonky Lowdown directly addresses the racism, deception, and greed that clouds the country’s chances of human rights for all and pushes us further away from democracy. It was written in 2018 to combat human suffering and exploitation on the universal scale, but is now, in 2020, more topical than ever. The album’s narrator, “Mr. Game,” says it himself: “We are here tonight, but this is an international hustle. It has played out many times across time and space and is not specific to any language or race. It takes on different flavors according to people’s taste, but always ends up in the same old place.” These issues have been happening to countless all throughout history, and it is time to strip away the distractions to attack the injustice’s sources directly.
https://www.youtube.com/watch?v=IurvhGqimkY
The Orchestra singers act like a narrative Greek chorus and call upon several different forms of jazz, Gospel, American folk, swing, New Orleans funk, and more. The celebratory music is its own character and satirically expresses the joy with which humans hurt one another. The 53 track piece is both entertaining and thought provoking.
“Usually I research and learn a lot of new material for longer pieces. For this one, I went with music and mythology that I have lived. From the music my father and great New Orleans drummer and composer James Black played in the 60’s, to the funk we played in the 70’s, to the modern jazz we have been blessed to play, teach and shape over these last decades, The Ever Fonky Lowdown is an antidote to the poisonous (and largely unquestioned) cultural mythology that continues to infect our general quality of life.”
Wynton Marsalis
Marsalis wants the listener to question what is shown to him: the propaganda, media, and populism. He encourages all to look beyond what is shown to us and find our immediate reality and work to improve it. Essentially, The Ever Fonky Lowdown asks, ‘Where do we go from here?’ Marsalis answers:
“There’s no real answer on the Left or the Right. The solution lies outside of the game. But, we have to rise above our position on the board to get a broader view…..and then decide individually, if we have the will to fight for a collectively better country (or world) populated with ‘others’. It boils down to the basic question of predation vs. symbiosis—do we want to help one another or exploit each other?”
Although the Grateful Dead‘s track record with New York State is vast and varied, there’s one borough in particular that doesn’t get much love. And that’s The Bronx. Mainly because there’s only one show that was truly ever played there – Gaelic Park on August, 26 1971.
stub courtesy of Wayne Eichen
The performance is billed as a two-set show that really plays as three. A noticeably extended first set showcases some of the band’s newer original songs at time blended with a flurry of classic cover selections. Included in all this is a song the Dead would only play twice ever. And as for historical significance, this would be the last show featuring only the five founding members of the band. Seemingly aware of this, they collectively deliver a show for the ages that more than aptly serves as a figurative “passing of the torch” from one era to another.
This show opens with a crisp yet standard version of “Bertha,” a Dead original still in its nascent stages at the time. The early wave of originals would continue with a “Playin’ In The Band” that had just made its debut earlier this year at The Captiol Theatre in nearby Port Chester. Even though this would be a regular selection at Grateful Dead shows for years to come, seeing it so early in the first set like this is a verifiable treat.
Pigpen gets his first chance to shine on vocals with a first set “Mr. Charlie,” another new song that debuted just last month. Even though he was beginning to take on a lesser role in the band by this point in time, Pig’s vocals are effusive and strong throughout this recording. This would be the last show before Keith Godchaux joined the band and assumed keyboard duties. So, fittingly, they give Pigpen plenty of the spotlight at this show and he takes it and runs with it.
The run on cover songs then begins with “El Paso,” a country-western ballad by Marty Robbins, sung smoothly by rhythm guitarist Bob Weir. “Big Boss Man” follows, a longtime Dead cover that was originally recorded by Jimmy Reed in 1960 and later popularized by Elvis in 1967. This gives Pigpen the chance to lead again and his blues-infused vocals ring loud and true throughout this one.
This first set also features a typically stirring “Hard to Handle,” the Otis Redding tune that was one of staples of the Pigpen songbook and, perhaps, his signature song. Aside from a mild snafu with the recording, this version is terrific and sees the band fully locked in during an escalating funk-like jam before Pigpen’s wailing vocals reenter. Sung with all of the soul and swagger he would always bring to this song, sadly, this would be the last one ever played with him on stage.
The set could have ended right there and few would take issue, but instead the band continues to motor on with “Beat It On Down The Line,” yet another cover. Jerry Garcia then takes the reigns courtesy of “Loser” and his customary hauntingly beautiful guitar solo that goes with it.
Courtesy of Bronx Music Heritage Center
Soon after is one of the true gems of this show – the second and final performance ever of “Empty Pages,” a song written and sang by Ronald “Pigpen” McKernan himself. It pairs his traditional crooning style with a slow blues jam that’s nicely peppered with fiery guitar licks from Garcia. It’s a true rarity and a shame that the band wouldn’t be able to further develop this one.
The other first set highlight immediately follows with a smoking cover of The Rascals’ “Good Lovin’.” Pigpen remains strong on lead vocals as both he and the band get into some heavy improvisation on this one. Only the Dead can take a three-minute pop song like this and stretch it out to an almost ten-minute psychedelic journey.
They had such a fun time playing the first set that the second one begins with a rare “Me and My Uncle” placement, as if to keep the opening vibes going strong. Immediately afterwards, reality sets in with a joyous “China Cat Sunflower” that soon effortlessly blends into to its traditional running partner, “I Know You Rider.” Bassist Phil Lesh, turned up particularly high in this mix, gets his turn to show off as he steers the band through the seamless transition.
There would be no extended “Drums” section this evening. Instead, the band collectively rips into the opening of “The Other One,” fueled predominately by drummer Bill Kreutzmann. After a rip-roaring opening sequence, the jam composition quickly devolves into a meeting of the minds between Garcia and the rhythm section. Seemingly out of the blue, Weir interjects with his vocals right on point and the song is off and running.
For a quality listen to the transition into the opening of “The Other One,” alongside some backstage photos, check out this great video courtesy of Sam Cutler, one of the band’s early tour managers:
The powerhouse second set continues with a tidy version of “Uncle John’s Band” and one of the last performances of “Saint Stephen” before it would be shelved for nearly five years and rearranged. The jam progresses into something that almost resembles “The Eleven” before immediately settling back down into the ending of “Saint Stephen.”
And then, right on cue, the rhythm section is back in action with the opening drumbeat of “Not Fade Away,” a Buddy Holly cover that the band had completely appropriated at this point in time. The Dead take one last swing and develop a passionate collective effort that once again flows right into “Goin’ Down The Road Feeling’ Bad” without batting an eye.
This closing sequence serves as the cap to a phenomenal show that’s rich in both quality and legacy significance. It can be argued that the end of the Pigpen Era happened here. Amazingly, the only time the Grateful Dead would ever grace the “Boogie Down” Bronx. But talk about making the most of a single opportunity.
Set 1: Bertha, Playing In The Band, Mr. Charlie, Sugaree, El Paso, Big Boss Man, Big Railroad Blues, Hard To Handle, Beat It On Down The Line, Loser, Sugar Magnolia, Empty Pages, Good Lovin’, Casey Jones
Set 2: Me And My Uncle, China Cat Sunflower -> I Know You Rider, Deal, Cumberland Blues, Truckin’ -> Drums -> The Other One, Next Time You See Me, Me And Bobby McGee, Uncle John’s Band, Saint Stephen -> Not Fade Away -> Goin’ Down The Road Feeling Bad -> Not Fade Away
Each Sunday evening from 7-9pm on 102.7 FM, you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear music from Cassandra Kubinski, Hamilton Craig, Lucas Neil, and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
This Saratoga Springs artist has quite the impressive resume. This song was produced by Chris Sclafani who was an engineer on hit songs by Ed Sheeran, Selena Gomez, and Gwen Stefani. She’s recorded and/or performed with the Goo Goo Dolls, 10,000 Maniacs, Jull Sobule, Dickie Betts, and many others. Her songs have been used in ABC, NBC, and Lifetime shows including Dance Moms where her music was used 13 times while helping to raise tens of thousands of dollars for causes like Autism support and pet rescue. Oh, and here’s what Billy Joel has to say about Casandra.
Cassandra Kubinski is very similar to the singer/songwriters of the late 70’s…proves that the genre (singer/songwriter) can still be transcendent.
Billy Joel
The official music video for “Stardust” was shot in Boulder, CO in July and is expected to be released in September.
This singer/songwriter is from Shushan, NY and has played mainly in the Troy small venue and house show scene. He draws inspiration from “outsider music, the eccentric and naïve stylings of fringe figures excluded from the musical mainstream. He tries to inject the free-spirited ethos of such musical mavericks as Wesley Willis and Daniel Johnston into a more accessible pop format.” Be on the lookout for his new EP, recorded with Rick Spataro of Florist, which should be out by the end of this month.
Lucas Neil – “Wild Winds”
He is a 23 year old independent musician who is currently living the van life in Rhode Island. He grew up in Saratoga Springs, New York and is the son of Jeffrey Johnson who was the drummer of a group called The Make who toured along the east coast through the mid to late eighties. Lucas believes The Make first got radio play on WEQX. If so, he says it’s fun to follow in his dad’s footsteps. If not, it’s probably fun anyway. Regardless of whether or not his dad got played on EQX first, keep an ear out because he says the best is yet to come.
Jimkata, to the excitement of their fans, debuted their new single “Wait For You” on August 13, 2020. The band recently came out of the woodworks last month dropping their single “Wanna Go” after the band went on an indefinite hiatus back in 2017.
The new single focuses on the feeling of being in limbo. It narrates the feeling of sitting around waiting and feeling restless while navigating uncertainty which is a feeling many can relate to during the pandemic era. The music video accompanying the song was created by animator Ben Clarkson. His animation brings further depth and dimension to the notion of waiting and being in limbo. “Wait For You” isn’t just a heartbreak inspired pop song, it is also a commentary on helplessly waiting and hoping for the world to get itself together.
Frontman of Jimkata Evan Friedell shared some of his insights behind the new single saying, “I didn’t realize at the time I wrote it how prescient and universal that feeling would become as we experience a global pandemic and a world in chaos.”
The band Jimkata is a three-piece anthemic, synth-washed, electro-rock band that is based out of Ithaca, NY and Los Angeles, CA. Jimkata is known for their swirling analog synths, infectious pop hooks and candid lyrics. The band has built a distinct sound which has been resonating with listeners across the country. The band has a strong and loyal grassroots fanbase created by their relentless performing across the country before their Hiatus.
For more information on Jimkata and to check out “Wait For You” visit their website.
Even now, 51 years to the day, the performance by Grateful Dead at the legendary Woodstock Music Festival still leaves a mark. Although, for a variety of reasons, it’s a mark that the band and any eyewitnesses that evening may not wish to remember fondly. Weather, electrical and all the other ever-sprouting issues that arose during Woodstock all played factors that resulted in what many deem a less than memorable performance put forth by the Western newcomers that many had heard of but few had seen before.
Due to scheduling issues and incessant rain, the band’s set on August 16, 1969 had already been pushed back from Saturday late afternoon to a 10:30 pm start time. By then, rain and the resulting mud had conquered the Bethel, NY festival grounds. The giant throng of spectators splayed across the hillside were getting soaked and restless waiting for the next act to start. Up until this point, the Grateful Dead were still only a band “on the rise” that was very much new to an East Coast crowd, by and large.
The inauspicious start began when the band’s notoriously heavy gear caused the rotating stage that was being used to sink completely into the mud – something they had warned the event staff about beforehand. Phil Lesh’s bass monitor was somehow picking up the on-site helicopter’s radio signal. And the Dead’s sound technician, Owsley “Bear” Stanley, was making alterations to what he considered an inadequate in-house PA system. It resulted in him improperly grounding the stage equipment and giving new meaning to the term “electric rock.”
Band members recall feeling a “light tingle” whenever they would touch their instruments. This all culminated with a now famous story about guitarist Bob Weir being thrown across the stage, supposedly during the “Saint Stephen” that began the show.
It was raining toads when we played. The rain was part of our nightmare. The other part was our sound man, who decided that the ground situation on the stage was all wrong. It took him about two hours to change it, which held up the show. He finally got it set the way he wanted it, but every time I touched my instrument, I got a shock. The stage was wet, and the electricity was coming through me. I was conducting! Touching my guitar and the microphone was nearly fatal. There was a great big blue spark about the size of a baseball, and I got lifted off my feet and sent back eight or 10 feet to my amplifier.
~ Bob Weir, Rolling Stone interview
Audio recordings only contain the first two minutes of the opening number, likely a result of this mishap. Things immediately lighten up a little afterwards with “Mama Tried,” a Merle Haggard song that the Dead had started covering earlier that year.
The awkward start-and-stop rhythm of the show then rears its ugly head again thanks to another ten minutes of delay in order to deal with the sound setup. A “spirited” Ken Babbs from the Merry Pranksters takes to the MC role during this part of the show as he tries his best to entertain a crowd of hippies growing increasingly damp and restless. This also gives Country Joe McDonald the chance to pop up onstage and warn everyone about the “green acid” that was going around.
After all the sound issues are resolved, the band launches into a moody “Dark Star” that serves as one of the musical highlights of the night. The near 20-minute rendition stretches out and descends into near ambience before rounding back into form. It features wonderful fills and textures provided by early keys player Tom Constanten who seems to be turned up abnormally high in this recording.
Once the “Dark Star” burned out, the band trotted out another new number with “High Time” – a sentiment that was no doubt shared by many this evening. Garcia’s vocals come through aptly but this isn’t exactly a song to get a crowd up and dancing. The slow, drab composition seemed to be reflective of the current atmosphere.
The band seems to cut their losses and ends theit set with a “Turn On Your Lovelight” that stretches out to almost 40 minutes. However,it starts with even more mayhem thanks to another “spirited” individual who jumps on stage and exclaims to everyone about “seeing the sun rise over the lake” and a “third Coast.” All this while the band is quietly playing the instrumental open to the song underneath it all.
While it does seem to finally inject some life into the set, not even a Pigpen rap would be enough to save this show. The extensive jam meanders and shifts from pscychedelia to blues and back with little direction in between. It marked the end of a set that had high hopes at first but falls flat in its delivery thanks to the weather, sound issues, lucid ramblings from MCs and stage crashers alike, and one of the guitarists getting visibly electrocuted on stage.
Grateful Dead Woodstock Music Festival Bethel, NY 8/16/69 St. Stephen (cut), Mama Tried -> High Time (false start), Dark Star ->High Time, Turn On Your Love Light
Each Sunday evening from 7-9pm on 102.7 FM, you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear music from Lucas Garrett, Matt Bosson, Magic Trash Party, and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
The singer/guitarist hails from Upstate NY and continues to meld styles like progressive rock, folk, classic rock, and indie with every new song. He’s performed all over the capital region at coffee houses and reputable venues including Strand Theatre in Hudson Falls, Little Theater on the Farm in Fort Edward, Charles Wood in Downtown Glens Falls, and Hudson River Music Hall just to name a few. He’s remained busy recording new material since the release of his debut EP Evening’s Come, But It’s Not Dark and you can expect the same steady output in 2020. This is just one of more songs to come and if you want to know who’s on what, just take a look below.
This is a friend and former classmate of Tred’s. You know. Tred? From Every Other Tuesday With Tred. On Early EQX? Well, anyway they used to hang out in the Berkshires and now Matt Bosson is making sweet, sweet music in Los Angeles California. He’s spent some time as a singer/songwriter in multiple bands ranging in genres like punk and alt country. Most recently he has been releasing his most personal and unusual music as a solo artist.
Magic Trash Party hails from Windham, NY and they are going for a ’40s-’60s classic pop vibe on this one. If you want to find out more about them like I did you can check out their Facebook page where their bio says they are a “Rock and Pop band from Upstate NY.” Yup. That’s all it says. With a name like Magic Trash Party, who needs details? The magic is in the mystery.
