Denver-based guitarist Marcus Rezak just announced an album release tour to celebrate his newest EP, ‘Truth in Sound.’ He will begin the string of performances in New York City at Cafe Wha? and will conclude the tour in South Carolina.
Known as a master of jazz improvisation, Marcus is a frequent preference for bands and musicians looking for an excellent performing guitarist. He has a distinguished guitar style and an admirable stage presence that makes audience members craving an encore. He treats each show as if it were a live recording session, which is apparent because of the euphoric energy he radiates.
Marcus Rezak wrote, recorded, and produced ‘Truth in Sound’ over the course of 2020 in the hopes of healing listeners through music and lyrics. The EP features four epic tracks that showcase his talent as a writer as well as a guitarist. Shred is Dead & members of Mike Gordon, Nth Power, Kung Fu, Raq, and more will join Marcus on his tour. Members of Trey Anastasio Band collaborated with Marcus throughout the process of creating the sophomore EP and are featured on percussion and tabla.
Full Tour Schedule
6/27 – Cafe Wha? – New York, NY
6/30 – 118 North – Philadelphia, PA
7/1 – Cafe 611 – Frederick, MD
7/2 – The Camel – Richmond, VA
7/3 – 5 Points Music Sanctuary – Roanoke, VA
7/4 – Charleston Pour House – Charleston, SC
7/6 – Nectar’s – Burlington, VT
7/7 – Zenbarn – Waterbury, VT
7/8 – Stone Church – Brattleboro, VT
7/9 – T-Rex Theater – Essex, VT
7/15 – Levitt Pavilion Denver – Denver, CO
7/24 – Rancho Relaxo – Austin, TX
7/31 – Empire Control Room – Austin, TX
8/7 – The Lodge at Woods Boss Brewing – Denver, CO
8/13 – La Boca – Middleton, CT
8/14 – The Stone Church Music Club – Newmarket, NH
8/20-8/22 – Summer Camp Music Festival – Chillicothe, IL
9/18 – Deadwood Jam – Deadwood, SC
Tickets for the tour are currently on sale here. Additional dates will be announced throughout the summer. Rezak’s vinyl record via Color Red will be available in the coming weeks. You can pre-order it here.
These are old school music lovers. The obsessive Boomers who spent way too much of their youth flipping through tons of heavy vinyl, the literal and figurative. In used record and department stores. At yard sales, stoop sales and flea markets. In church basements and Goodwill and Salvation Army stores. Anywhere an obscure gem could be unearthed for less than the price of a cup of Joe or can of Tab (the original diet soda introduced in 1963, just ask your grandmother). Along the way, they developed wrists of mighty girth from all the light-speed musical flipping, much the same way today’s generation has thumbs overdeveloped from swiping through the limitless universe of sounds on Spotify, Pandora and the like and hook-ups on Tinder.
Now a duo of these music obsessives and a host of their friends have put together a book about their most memorable finds. With a reading and some deep listening, it will give you a doctorate degree in the deep cut music that matters most. These are the hidden gems of doo-wop, sunshine pop, psychedelia, progressive rock, soul, early metal and proto-punk, ones that are left out of rock’s big history books.
The White Label Promo Preservation Society: 100 Flop Albums You Ought to Know is a delicious new deep dive written and compiled by Sal Maida, NYC-born bassist for Roxy Music, Sparks and ‘70s power pop combo Milk ‘n’ Cookies, and veteran rock journo and A&R exec Mitchell Cohen. The duo recruited for their “society” a gang of esteemed music obsessives – musicians, label executives and journalists –who chose favorite albums from the ‘60s and ‘70s to rave about. The only criterion was that the albums never made the top 100 on Billboard’s LP Top 200.
As Sal and Mitchell write in the book’s introduction: “These are the albums you might not read about, except here. No one needs to tell you why Pet Sounds, Revolver or Blonde On Blonde are essential parts of any decent record collection or guide you towards classics – or even somewhat lesser efforts – by the Rolling Stones, Chuck Berry or the Jimi Hendrix Experience. Or which Pink Floyd album is indispensable (hint: the debut; you can stop right there). Although we have strong opinions about pantheon artists like Led Zeppelin and Marvin Gaye and are happy to share those views with anyone within earshot, that isn’t what The White Label Promo Preservation Society: 100 Flop Albums You Ought to Know is about. We aren’t here to challenge or endorse rock orthodoxy. Neither is the mission to, once again, assert the brilliance of Skip Spence’s Oar, of such artists as Nick Drake, Big Star and the Velvet Underground, whose influence, despite the lack of any commercial success in their time, has been thoroughly – one might even say exhaustively – documented elsewhere.”
To help tell this story, Sal and Mitchell called upon an impressive team of two dozen guest essayists. They include Patti Smith Group guitarist and writer Lenny Kaye, producer Russ Titelman, scenester/singer Bebe Buell, journalists Jim Farber, Peter Keepnews, Ira Robbins and Mike Stax, Sonic Youth’s Steve Shelley, NYC’s chameleon chanteuse Tammy Faye Starlite and many more.
What you will find here? Stories like how with Evie Sands made one of the most confident and accomplished albums by a female singer-songwriter, Any Way That You Want Me, two years before Carole King waxed her 1971 platinum-selling masterpiece, Tapestry. You’ll also hear how county crossover star Bobbie Gentry followed up her monster single “Ode to Billie Joe” and the LP of that title, with a haunting, mysterious concept album that defies description and still surprises with listens today. In all likelihood you will be introduced to the quirky New York folk-rock duo of Bunky & Jake, to the art-rock of Ars Nova, and to the entrancing psych-pop of Blossom Toes. Georgie Fame, Joe South, the Hollies, Jackie DeShannon, The Impressions, the Everly Brothers and Nico all pop up here, often in ways you might not expect. This is a book for everyone who has gravitated to used record stores, garage sales and flea markets and is willing to take a risk in on something simply based on the cover pic, the liner notes or the vibe/impulse to take it home.
As with his bass playing, Maida has a wonderful flow and emotional drive with his words. In The White Label Promo Preservation Society: 100 Flop Albums You Ought to Know, he demonstrates his authority and love for the deep cuts of British pop and American psyche like The Hollies’ Here! Here!, the Brian Auger and Julie Driscoll’s Open, The Bonniwell Music Machine, Curt Boettcher and The Millenium’s Begin, the debut by the Jeff Lynne-led Idle Race and Tomorrow’s self-titled debut. Cohen’s contributions span the stylistic gamut from the vocalese of DJ Murray the K’s Gassers for Submarine Race Watchers comp, the folk treasures in Tim Hardin’s debut and the off-beat pop of Lovin’ Spoonful guitarist Zal Yanovsky’s obscure debut, Alive and Well in Argentina. Cohen also tackles the progressive soul of The Impressions’ The Young Mods’ Forgotten Story, the sharp twang of Merle Haggard’s Pride In What I Am and Laura Nyro’s Eli and the Thirteenth Confession, with some smart comparisons to the work of another R&B inspired tri-state NY collective, The Rascals.
The work of the many “society” contributors also sparkles, with musical knowledge and a resonance of the emotion these ofttimes unknown offerings still trigger in them.
Sonic Youth’s Steve Shelley provides a heartfelt tribute to the lasting impact of the hard-to-find 1966 bossa nova classic Os Afro Sambas by Baden Powell and Vinicius De Moraes, while drummer/reissue maven Pat Thomas reintroduces Seize the Time, an obscure 1969 disc by Black Panther Elaine Brown which chronicled the movement in song. One of the most fun is bassist Eva Gardner’s (Cher, Pink, Moby) recollections of her father Kim’s work at bassist for legendary British mod poppers The Creation and The Birds.
Proving my own worth as a rock anorak, I was familiar with a good deal of the artists covered, while maybe not the particular discs upon which the writers chose to expound. There were a few fab exceptions that I had no idea of, ones that sent me scrolling through YouTube and Wikipedia to discover .
Jim Farber, an excellent music writer who traffics in elevating obscurities these days for the New York Times and The Guardian, explores the spirituality laced folk of Rachel Faro’s 1974 album, Refugees. It’s a should’ve been classic of the Blue-era Joni Mitchell idiom, one produced by John Simon (The Band, Van Morrison) for an artist who disappeared by the end of the decade. Journalist Jim Allen raves on the one album recorded by Paul Siebel, a popular Greenwich Village folkie, 1971’s Jack-Knife Gypsy. Paul was a great songwriter and performer who called it quits after this one offering.
An album cover I encountered repeatedly in ‘70s but never listen to, Baby Huey’s Living Legend, gets the proper praise from Cohen. Produced and with three songs by Curtis Mayfield, it featured the powerhouse 400-pound singer fronting a full throttle band of session aces (Leon Russell), a band compared to James Brown’s JBs meets the Vanilla Fudge. After a blitz of press, Huey’s story ends sadly with an overdose before his album is released. His tune “Hard Times” lives on as a sample in the works of rappers like Ice Cube and A Tribe Called Quest. Well worth many listens.
There were just a couple of puzzling entries in the book. Mega-producer Russ Titelman (Randy Newman, James Taylor) wisely chose Judee Sill’s self-titled 1971 debut, one featuring the classic “Jesus Was A Crossmaker.” But he only goes on for a few short paragraphs about it and the singer’s star-crossed life and career. Songwriting ace Marshall Crenshaw takes on an unexpected choice, Soft Machine’s decidedly avant-garde, self-titled 1969 debut. After complaining about the garbage sounding drums, bass, and a Lowrey organ played with fuzz through a Marshall stack and ear-splitting jamming, Crenshaw somehow concludes about how much he loves it. I might have preferred he discuss something that had a more logical impact on his work, but perhaps, that really isn’t the spirit of the book and his contribution.
If that’s not enough for you, the book concludes with Sal and Mitch’s recommendations of 150 more great albums that failed to crack the charts. Their suggestions include artists like Irma Thomas, Alan Price, the Sir Douglas Quintet, Kaleidoscope, Spooky Tooth, Taste, Jack Bruce, Grapefruit, The Move and more.
I had the pleasure of tackling The White Label Promo Preservation Society: 100 Flop Albums You Ought to Know on long a cross-country drive. Like me, it is one you will want to spend a lot of time with. With open ears, open mind and a long drill down the YouTube wormhole, it will help you discover a boat load of astoundingly cool retro sounds, ones whose impact can last a lifetime, just like they have for these intrepid vinyl scavengers.
Danger Ken! released their 10 track debut album, Up is Down, on May 7th. Aside from a few guest appearances on certain tracks, drums, keys, guitar, bass and vocals are a product of the album’s creator. A multi-talented instrumentalist and composer local to New York, it appears Dan Gerken’s musical alias, a play on his own name, is just as clever and catchy as his new music.
The opening song, Lagoon (Intro), creates an air of mystery as we unravel what’s to come. Free of lyrics, the song invites the listener to relish in the evolving peaceful synthesizers in the background. By contrast, the intro is followed by Jubilate which pushes back our preconceived notions about the album as a whole. Expanding instrumentation, Jubilate, accompanied by guest Andrew Chamberlaine (Mister F,Timbre Coup) brings a punchy retro-sounding electric guitar and pumping drums to get you moving.
Once lyrics emerge in the third track of the album, Astral Traveler, accompanied by guest instrumentalist Dave Berger (Groovestick), its evident no track is alike on this album that keeps you on your toes, switching from tracelike to groovy all in a matter of seconds. Through the diverse discography, there are staples to the album the listener can count on: catchy electric guitar lines, experimental ethereal synthesizer backgrounds, and unique layered vocals.
The psychedelic cover embodies the range of emotions the lister is drawn to feel while listening to this ever-changing musical soundscape. My ears were constantly attuned to the minute changes in instrumentation. While seemingly minimalistic standing on their own, individual loops placed over top one another allowed for a repetitive yet diverse music range across songs.
My personal favorite track, Time to Go, had notes parallel to 80s synthesizer and electric guitar parts with contrasting rock-like vocals bringing a 90s element. The cross-generational track’s beautiful smooth evolution of instrumentation, experimenting with both tempo and timbre, was both catchy and peaceful. The perfect song for a cross-country solo road trip or backyard concert, I was completely entranced, particularly by the thread of electric guitar that wove in and out of the piece.
A self proclaimed “byproduct of being home a lot the last year and having the studio here for the first time in my life,” Gerken’s vocals are passionate and personal, inviting experimental rock into an intimate atmosphere. I highly recommend giving it a listen, and feel confident in saying between the diverse genre shifts within the album, there is bound to be a favorite for everyone.
Streaming on Bandcamp and Spotify, the album is just waiting to be checked out!
Each Sunday evening from 7-9pm 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 new music fromHasty Page and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an 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.
Hasty Page
On Friday June 18, Queensbury trio Hasty Page released their new single, “The Wire.” Unlike the HAIM song of the same name about poor communication, lead singer and drummer Josh Morris goes above and beyond to prove his devotion in a relationship: “Tiptoe on the wire, burning with desire.”
With Anthony Kiedis-like vocals and some seriously groovy guitar and bass, “The Wire” is a clear callback to 90s alt rock. Hasty Page is rounded out by guitarist Zane Agnew and bassist James Paolano. “The Wire” is the first of five songs planned for Hasty Page’s upcoming EP.
The Lumineers recently completed rehearsals for their new project, titled Brightside, at the famed Utopia Studios Soundstage at Bearsville Center in Woodstock. The band sequestered at the soundstage, originally built by Bearsville founder, Albert Grossman for future Rock and Roll Hall of Fame member, Todd Rundgren.
Albert Grossman is best known for managing the early career of Bob Dylan, Janis Joplin, The Band, Todd Rundgren and Peter, Paul and Mary and founding Bearsville Records in Woodstock. In 2019, British entrepreneur Lizzie Vann stepped in to save the historic complex from the wrecking ball and painstakingly restore the landmark music facility into a fully functional, world-class performance and rehearsal space, with recording facilities for audio and video recording.
Today the Bearsville Theater is the heartbeat of Woodstock’s new music scene with a full performance schedule including: NRBQ, Masters of the Telecasters, the Levin Bros., Lindsey Webster, Reelin’ in the Years, Nektar The Wailers and Belew, Mastellotto & Friends.
Fans have been anticipating a new release from the Lumineers since the 2019 album III. With a 2022 European tour scheduled, they will surely be working away until it comes time to fly overseas. Like everyone else, the band is stretching their performing muscles to finally put on a great show after all this time.
We were told that the Lumineers chose Bearsville because we could offer them a complete package: professional studio space, creative vibe, excellent technical facilities and support, extreme privacy, cool places to hang in the park by the Sawkill Creek and in the historic artist rooms of the Theater and studio. We worked to their timeframe, which was often urgent, but managed to always stay calm! The Lumineers were wonderful guests and have a super-professional team, very polished and organized and it was truly an honor to host such an important band of artists right here where so many influential artists created some of their finest work. It was a great time and truly our pleasure.
Lizzie Vann, Bearsville owner and curator
Brightside, produced by longtime collaborator Simone Felice and produced, mixed, and engineered by David Baron over two sessions in winter and spring 2021 at Baron’s Sun Mountain Studios in bucolic Boiceville, NY. The album marks marks The Lumineers’ first new music in more than two years as well as the band’s most joyous and spontaneous piece of work thus far. The nine-song collection sees The Lumineers’ co-founders/co-songwriters Wesley Schultz and Jeremiah Fraites performing virtually all of the eclectic, effervescent instrumentation, with Baron on a wide variety of keyboards and backing vocals and more by Simone Felice, touring members Byron Isaacs and Lauren Jacobson, famed backing singer Cindy Mizelle (Bruce Springsteen, Dave Matthews Band), The Felice Brothers’ James Felice, and acclaimed singer-songwriter Diana DeMuth.
For more information on The Bearsville Theater visit their website.
Poughkeepsie’s Bardavon Opera House presents the schedule for its 2021-2022 Season with the Hudson Valley Philharmonic, consisting of six guest conductors as well as 20 diverse soloists and composers, including multiple New York and world premieres.
Bardavon Presents recently announced their August reopening after 14 months of closure with four new shows, and have now released the 61st Hudson Valley Philharmonic season. This season also represents the HVP’s 22nd year under Bardavon management.
Single tickets to all Hudson Valley Philharmonic concerts are $20-$58 based on location. All seats for Christophe Landon are $100.
Hudson Valley Philharmonic Subscribers save on season tickets and receive guaranteed seat location. A five-concert (does not include Messiah) subscription starts at $125. HVP Premium Subscribers are listed in all playbills, and new subscribers receive a further 30% discount the first year for the five-concert series.
Subscriptions are on sale now. Single tickets go on sale July 13 at 11 AM. For more information on tickets and subscription, log on to Bardavon Presents website.
Check out the full 2021-2022 season schedule below:
2021-22 HVP SEASON
All events are at the Bardavon, except Christophe Landon at Revel 32
October 2, 2021: Reflection
Guest Conductor- Kyle Ritenauer
Remembering our beloved Maestro Randy, as we look back on his legacy and a year of upheaval, loss and renewal.
Johann Sebastian Bach – Dona Nobis Pacem from Mass in B Minor w/Cappella Festiva
Johann Sebastian Bach – Air on the G String (Suite No. 3, BWV 1068)
Inspired by the Poughkeepsie Library’s Big Read: Thi Bui’s graphic novel The Best We Could Do, this programfeatures music from Europe, Vietnam and America
November 7, 2021 at Revel 32, Cannon Street, Poughkeepsie:
Christophe Landon: Mysteries of the Great Instruments to benefit the Hudson Valley Philharmonic
An extraordinary opportunity to experience an intimate presentation by Christophe Landon, one of the world’s leading luthiers, featuring his collection of multi-million dollar violins, violas and cellos, with demonstrations on each by members of the Hudson Valley Philharmonic.
December 18, 2021: Handel’s Messiah:
Guest Conductor Christine Howlett
For the 6th year, a celebration of Handel’s master work, featuring soloists TBA and Cappella Festiva.
Bardavon Marquee
March 5-19, 2022: Underground Figures
Guest Conductor Jeri Lynne Johnson
A program celebrating women, featuring all female composers, soloists, visual artists and conductor and culminating in the HVP premiere of Florence Price’s Symphony #1.
Julia Wolfe-Flowers- w/ Cappella Festiva and projected images of flowers by Georgia O Keefe, Imogen Cunningham, Margaret Bourke-White and others
Nkeiru Okoye-Songs of Harriet Tubman- 4 arias w/ Kishna Fowler
Florence Price– Symphony No.1in E Minor
April 23, 2022: Virtuosos
Guest Conductor Kelly Corcoran
An HVP String Competition winner and the HVP’s principal pianist perform works by two masters of the form.
Sarah Kirkland Snider –“Something for the Dark”
Max Bruch– Scottish Fantasy, op.46 w/ 2018 HVP String Competition winner Max Tan, violin
Ludwig van Beethoven– Concerto , piano no 4, op.58, G major w/ Yalin Chi, piano
Members of the Hudson Valley Philharmonic perform “Tuxedo”
May 14, 2022: Themes & Variations
Guest Conductor – André Raphel–
A New York premiere of a concerto by Israel’s preeminent composer in a program that features Judaic composers from the 19th, 20th and 21st centuries.
Erich Wolfgang Korngold– Theme and Variations, op. 42
Richard Danielpour– Adagietto for String Orchestra
One of the most raucous shows in Stanley Theatre history has finally gotten an official release. The October 25, 2002 performance of Trey Anastasio Band in Utica, best remembered for fans dancing so intensely that the balcony was visibly bouncing, causing the band to cease amplified performance late in the second set.
On the Osiris Network series ‘Alive Again’, Anastasio recalled in Episode 2 the intensity of that night’s performance, and how he and the band reacted to the balcony visibly bouncing up and down.
The show itself was a true rocker. In addition to the debut of “Perhaps,” the unique opener “Javier Cinakowski” was followed by an 18-minute “Night Speaks to the Woman” which set the tone for the evening. During a late Set 2 “Mr. Completely,” clocking in at 28 minutes, pieces of plaster were falling from the balcony. Unbeknownst to the band at the time, who kept playing and feeding off the energy of the audience, road manager Brad Sands had to go on stage and tell the band to stop playing.
The balcony was going up and down and then these plaster pieces started falling on people’s heads. The balcony was shaking so much that it started breaking the plaster. Everyone’s panicking as people are animalistic dancing..
Trey Anastasio on ‘Alive Again’
For the rest of the evening, songs without amplification were performed as a safety precaution. Prior to the encore, an audience member shouted “Free Bird!,” which prompted Anastasio to share two stories (after declining the request), including Phish offering up an a cappella rendition of “Free Bird” for a Lynyrd Skynyrd tribute album that was ultimately turned down.
Phish would perform their own memorable show at the Utica Aud in October 2010. Download the TAB show from 10/25/02 now at LivePhish.com.
Standing at only a mere 4 days old, “Chaos! Chaos! Chaos!” the new single from Arthur Moon has already amassed thousands of streams and landed on playlists alongside huge artists like The Japanese House, Sufjan Stevens, and St. Vincent. Before the mark of their one year anniversary, they earned themselves an NPR Music Tiny Desk Concert.
It’s clear this band is praised for their excellence, and their new single hits the mark the very same.
The Brooklyn avant-pop group, led by composer and singer Lora-Faye Åshuvud with collaborators Cale Hawkins, Martin D. Fowler, Dave Palazola and Aviva Jaye, released the single while announcing their new album to be released in the fall under the same name: “Chaos! Chaos! Chaos!“
And that’s just what the single is: a beautiful and haunting chaotic musical masterpiece. Boarding on the genres of indie and electropop with elements from jazz and a choral influence, Arthur Moon is able to seamlessly meld these opposing musical soundscapes in a captivating and genius way.
“Avant-pop group Arthur Moon are more than happy to deconstruct the conventions of typical pop music”
-Billboard Music
Not a single time during my first time listening through to the single did I know where the next note would land. Against dissonant to resolving vocals and piano vamping that explored multiple keys sometimes within the same measures, there was a sense of peace in the chaos. The droning electronic sounds complimented rather than clashed with the more organic instruments.
The vocals evolved from melodic singing to speak-singing with a metallic overlay, creating chaos in the mix. But never did the chaos not resolve, paving the way for a beautiful jazz piano solo overtop the synth drone.
Rather than staying in the confines of one genre, Arthur Moon seems to reconceptualize boxing artists into one genre over another. They explore so many different soundscapes that at one point, I scrapped the idea of attempting to label them as alt or pop, instead praising their ability to operate outside of anything I’ve ever heard before.
“Dump the heteronormativity and get on Arthur Moon’s wavelength instead”
-Refinery 29
“Chaos! Chaos! Chaos!,” sung by lead Ashuvud who identifies as queer, was released for Pride Month. The music video captures two queer women dancing alone together in the purple light, expressing themselves and their love unequivocally. Their music shows the same queering of pop, electronic, and experimental music. Ashuvud is not afraid to defy traditionalism, bringing a unique approach to timbre, melody, and rhythm throughout all of her pieces.
The unpredictable nature of Arthur Moon’s music alludes to a rejection of heteronormativity within music and a huge step towards the acceptance of queer music which is so very crucially important, particularly in a month honoring our LBGTQIA ancestors. Following the accolades from monumental influences in the music industry, including Billboard and NPR Music, it’s clear Arthur Moon is on the verge of blowing up. If you want to secure bragging rights of knowing their name and following their music before they’re the household name they’re bound to become, stream their new song asap!
Foreigner has announced their return to the road tour with a 121 date, year-long tour. Covering across sixteen countries, The US Tour is set to kick off June 24th, in Iowa.
Foreigner, one of the world’s best selling bands of all time includes timeless anthems, “I Want To Know What Love Is,” “Cold As Ice,” and “Waiting For A Girl Like You.” With more than 80 million records sold, ten multi-platinum albums and 16 US Billboard Top 30 songs, Foreigner is hailed as one of the most popular rock acts in the world.
Equipped with a musical arsenal that continues to propel sold-out tours and album sales, Foreigner now brings these hits back to concert stages across the world with the announcement of a 121-date concert tour across sixteen countries, with two concerts in New York.
The US leg of Foreigner’s world tour takes the band to 71 cities in 42 states. Concerts in New York include Syracuse, and Port Chester. The 2022 leg will be announced in November.
“Live music is at the heart of what we do and I’m thrilled to be back on the road and visiting so many places over the next year. Looking forward to seeing you all out there,” Says founding member, lead guitarist and Foreigner songwriter Mick Jones.
Foreigner still rocks the charts more than 40 years after debuting, with massive airplay and continued Billboard Top 200 album success.
Audio and video streams of Foreigner hits are over 15 million per week. The band’s founder, Songwriter and Hall of Fame member Mick Jones, A visionary maestro whose stylistic songwriting, and multi-layered talents continue to escalate Foreigner’s influence and guide the band to new horizons. Tickets are available on www.foreigneronline.com.
Foreigner 2021 “Return to the Road” Tour Dates
Thursday, June 24 Ottumwa, IA – Bridge View Center Friday, June 25 Sioux Falls, SD – Washington Pavilion Saturday, June 26 Bismarck, ND – Bismarck Civic Center Tuesday, June 29 Casper, WY – Casper Events Center Wednesday, June 30 Billings, MT – MetraPark Arena Friday, July 2 Welch, MN – Treasure Island Great Lawn Sunday, July 4 Fort Bragg, NC – Pope Army Airfield Tuesday, July 27 Fresno, CA – Saroyan Theatre Wednesday, July 28 Prescott Valley, AZ – Findlay Toyota Center Friday, July 30 West Valley, UT – Maverick Center Saturday, July 31 Grand Junction, CO – Los Colonias Park Amphitheater Sunday, August 1 Rio Rancho, NM – Rio Rancho Events Center Wednesday, August 4 Lubbock, TX – Buddy Holly Hall Thursday, August 5 Enid, OK – Stride Bank Center Saturday, August 7 Park City, KS – Hartman Arena Sunday, August 8 North Little Rock, AR – Simmons Bank Arena Tuesday, August 10 West Allis, WI – Wisconsin State Fair Wednesday, August 11 Cedar Rapids, IA – McGrath Amphitheatre Friday, August 13 Arcadia, WI – Ashley For The Arts Saturday, August 14 Interlochen, MI – Kresge Auditorium Sunday, August 15 Peoria, IL – Civic Center Arena Tuesday, August 17 Kettering, OH – Fraze Pavilion Wednesday, August 18 Nashville, TN – Ryman Auditorium Friday, August 20 Doswell, VA – AfterHours at Meadow Event Park Saturday, August 21 Selbyville, DE – The Freeman Stage at Bayside Monday, August 23 Syracuse, NY – New York State Fair Wednesday, August 25 Bridgeport, CT – Hartford Healthcare Amphitheatre Thursday, August 26 Webster, MA – Indian Ranch Friday, August 27 Cohasset, MA – South Shore Music Circus Saturday, August 28 Hyannis, MA – Cape Cod Melody Tent Thursday, September 9 Grand Forks, ND – Alerus Center Friday, September 10 Rapid City, SD – Rushmore Plaza Civic Center Saturday, September 11 Butte, MT – Civic Center Tuesday, September 14 Everett, WA – Angel of the Winds Arena Wednesday, September 15 Nampa, ID – Ford Idaho Event Center Thursday, September 16 Airway Heights, WA – Northern Quest Resort & Casino Saturday, September 18 Fort Hall, ID – Fort Hall Casino Tuesday, September 21 Bend, OR – Les Schwab Amphitheater Wednesday, September 22 Kennewick, WA – Toyota Center Sunday, September 26 Reno, NV – Grand Theatre at Grand Sierra Resort Wednesday, September 29 Saratoga, CA – Mountain Winery (orchestral) Friday, October 1 Los Angeles, CA – Greek Theatre (orchestral) Saturday, October 2 Santa Barbara, CA – Santa Barbara Bowl (orchestral) Monday, October 11 Detroit, MI – Fox Theatre (orchestral) Tuesday, October 12 Youngstown, OH – Foundation Amphitheater (orchestral) Wednesday, October 13 Grand Rapids, MI – Van Andel Arena (orchestral) Friday, October 15 Johnson City, TN – Freedom Hall Civic Center Sunday, October 17 Knoxville, TN – Civic Auditorium Monday, October 18 Columbus, OH – Palace Theatre Tuesday, October 19 Charleston, WV – Municipal Auditorium Thursday, October 21 Reading, PA – Santander Performing Arts Center Friday, October 22 Wilkes Barre, PA – F.M. Kirby Center Saturday, October 23 Baltimore, MD – MECU Pavilion Monday, October 25 Providence, RI – Performing Arts Center Wednesday, October 27 Port Chester, NY – Capitol Theatre Thursday, October 28 Hampton Beach, NH – Hampton Beach Casino Ballroom Friday, October 29 New Brunswick, NJ – State Theatre Saturday, October 30 Atlantic City, NJ – Hard Rock Live at Etess Arena Thursday, November 4 Corbin, KY – Corbin Arena Friday, November 5 Springfield, IL – UIS Sangamon Auditorium Saturday, November 6 Southaven, MS – Landers Center Monday, November 8 Savannah, GA – John Mercer Theatre Tuesday, November 9 Augusta, GA – Bell Auditorium Wednesday, November 10 Greenville, SC – Bon Secours Wellness Arena Friday, November 12 Macon, GA – Macon City Auditorium Saturday, November 13 Tupelo, MS – Bancorp South Arena Sunday, November 14 Brandon, MS – Brandon Amphitheater Tuesday, November 16 Huntsville, AL – Mark C. Smith Concert Hall Wednesday, November 17 Birmingham, AL – BJCC Concert Hall Friday, November 19 Biloxi, MS – IP Casino Resort & Spa Saturday, November 20 Pensacola, FL – Saenger Theater
May 12, 1982
On this day 39 years ago @RobertPlant & @JimmyPage join @ForeignerMusic on stage in Munich, Germany for a performance of the song "Lucille". This was their first performance since John Bonham had passed away 2 years prior.
When you search the words “Senior Living,” the very last thing you’d expect is a bunch of 20-somethings moshing in a damp basement. New Yorkers Zac Geddies, Gino Lopez and Brendan Snell intend to change that. The Albany-native band has announced that their debut LP album, Anniversaries, will be available starting June 25.
Formed in 2016, Senior Living was a passion project for Zackery Geddies (guitar/vocals) and Jeremy “Gino” Lopez (drums). Geddies and Lopez began booking local tours during semester breaks from college, making a name for themselves across the Northeast DIY music circuit. Brendan Snell (bassist) is a recent addition to the band and assisted on recording Anniversaries.
Senior Living’s music is best served cranked up loud, with a side of even louder. They have been described as a band that weaves together genres from ethereal shoegaze to punk with a tinge of modern dream-pop. The band’s chemistry, stage antics, and not to mention the blasting Roland Jazz Chorus amp, is guaranteed to fill the room with an immense pool of sound. They have a budding reputation as Albany’s loudest band, so be sure to bring earplugs!
Anniversaries album cover
Anniversaries, the bands debut full-length, tells the story of Geddies’s upbringing and how he experienced maneuvering through childhood with anxiety. The album explores the manic side of depression, the crippling feelings of stress, self-loathing, experiences in interracial relationships, and growing up a person of color in America.
It’s kind of a challenge to pinpoint exactly what led me down a path to music. I’d like to say that the music I’ve made is just my own attempt at coping with my mental health and the societal issues that affect me and the ones I love. Whatever it was that led me to the point where I want to pursue music, I’m glad I’ve found it, and I won’t be ready to give it up anytime soon.
Zac Geddies, founding member and guitarist
Geddies’s raw vocals tackles the serious themes with pure emotion. Two of the tracks are only about a minute long, just enough time for a short poetry excerpt. The LP has an eerie closer with back to back songs “Sourir” and “Everybody Dreams About Dying,” adding an element of the feelings of depression. Except, at the very end, Senior Living picks it back up with a guitar riff – a cliffhanger.
It seems Anniversaries is meant to be listened to in order, showing the progressions of emotion from elation, to self-doubt, to sadness, and back again.
Senior Living previously released “Dominick,” track seven on Anniversaries, as a demo on Bandcamp in March 2020. All proceeds from the single were donated to United Way COVID-19 relief and Meals on Wheels. As a teaser for the album drop, the band shared opening track “Carousel” with an accompanying video on June 21.
According to the band, all nine tracks were recorded in one day at a secret studio location in Oneonta. Each single is unique and can’t be contained under one genre, some songs are hardcore rebellion garage rock while others have a grungy get-in-your-feels type vibe. Though the tracklist is diverse, the album meshes really well.
Prior to Anniversaries, the band has dropped two short albums, two songs on The Paintbox Lace and three on 35mm.
The experience of writing and recording a whole album with close friends and collaborators in the studio led to a concentrated and compact album, and that chemistry can be felt throughout the tracklisting.
