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Keegan James to Provide Song of the Summer “Sea Level” May 9th

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Keegan James is providing the song of the summer with a vibrant Music Video on May 9th 2026 featuring a let loose message about manifesting success and living in the moment! This song is sure to provide a sunshine state of mind and instinctively get your body moving!

Sea Level by Keegan James

 Keegan is an Albany, NY based pop artist that walks with sunshine and comedic realism on his shoulders. Navigating life and relationships in your 20’s is hard, but music from Keegan makes you feel less alone and motivated to keep moving forward! With a voice warm and expressive, he embodies the emotional depth of a modern day Billy Joel along with the soulful spirit of Stevie Wonder.

Sea Level will roll out May 9th 2026 on bandcamp.com along with all major streaming services. A music video will accompany Sea Level on the same day uploaded to www.youtube.com/@keeganjamess

Music at Noon is Back by the Troy Savings Bank Music Hall

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Music AT Noon BACK Next Week!

TROY, NEW YORK:     The Troy Savings Bank Music Hall’s popular lunchtime series Music at Noon is back on Tuesday, April 14th with Veena & Devesh Chandra. Since 1988, on the second Tuesday of each month through June, the free Music at Noon concert series has presented exceptional musicians with a diverse mix of musical styles.  Shows are free to attend and be sure to bring your lunch!  Free coffee will be available before the show! Full Music at Noon series lineup listed below!

April 14th – Veena & Devesh Chandra

Sitar and Tabla

May 12th – Findlay Cockrell

Piano

June 9th – Hammerhead Horns

Roots, Ragtime, Barrelhouse Blues

 

Music at Noon free to attend thanks to the support of our generous sponsors:

Program Sponsors:

Architecture+

CDTA

Fenimore Asset Management / FAM Funds

Arrow Bank

Berkshire Bank

M & T Bank

Price Chopper/Market 32

Stewart’s Shops / Dake Family

Lucille A. Herold Charitable Trust

 

Full Season / Additional Sponsors:

Supported by New York State through Alive Downtowns

Troy Redevelopment Foundation

New York State Council on the Arts

Fagan Associates

The McCarthy Charities

Access Plus

Troy Savings Bank Charitable Foundation

Emry’s Garden

The Moore Insurance Agency

Review Foundation

Robison Family Foundation

Hatchet Hardware

The Ruck

Bacchus Wood-Fired

Teachers with buses and large groups should call ahead to reserve seats. Limited number of ADA accessible seats available.  Patrons and groups with special seating requests please contact the Box Office at 518-273-0038.  For more information about Music at Noon or the Troy Savings Bank Music Hall’s upcoming programs visit our website at www.troymusichall.org.

Week Fourteen: Jesse Sample’s Freak of the Week “Spin”

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Jesse Sample’s Freak of the Week airs EVERY WEDNESDAY at 6pm EASTERN only on RadioRadioX.com

This is Jesse Sample. Roseanna Grimaldi and I are preparing for a songwriters showcase at the end of May. We compose a group known as the Secret Fashions. In the studio, we take our Electronica to the Wild West with reverb drenched guitars and charged up synthesizers. This is an exciting way to produce songs. This style is energetic but also acknowledges the quiet frontier loneliness outside that tented desert rave.

But a songwriter’s showcase calls on us to put forth our songs stripped down with its parts clearly visible. Voices with acoustic guitars test the potency of the potion. Can we, as writers, express the essence of a feeling in a simple and clear way? Now, Powerful surf guitars milling around in a fuzzy electronic sea always wins me over. It’s not hard. That style, pioneered by guys like Dick dale, inspires feelings of frantic freedom amid chaos. I love it and that style, so powerful, can cover up arbitrary lyrics.

A song is a different thing. It can be produced in a million different ways but the core of it must be telling the truth. A tension must be addressed and, and at least in part, resolved. That melody must do something honest and meaningful within that harmonic room. The writers must feel it and pass that feeling to their audience.

We are enjoying this exploration into things that we thought we created. It turns out that these things have something to reveal to us.

Thanks to all of you tuned into RadioRadioX. This is the Freak of the Week, “Spin.”

Pink Lady / The Wind-Ups @ No Fun, 4/1/2026

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A Satisfaction Guaranteed show full of great dancing at No Fun on April 1, with the Wind-Ups and Pink Lady.

Photography by Timothy Reidy.

Read an interview with Pink Lady here …

A.J. Croce – An Xperience Interview

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A.J. Croce – An Xperience Interview – by Liam Sweeny.

The problem with being the son of an internationally celebrated musician, tragically cut short before his time, is that you’ll face a lifetime of pressure to perform work that, in some cases, was literally made just for you.

A.J. Croce waited years, creating an impressive career of his own, before feeling he was ready to accept the responsibility of honoring his father’s work. Croce Plays Croce is coming to Universal Preservation Hall on Thursday, April 9th at 7:30 pm.

RRX: You’ve created an experience called Croce Plays Croce, and you’re gonna be at Universal Preservation Hall on April 9th. Can you let loose a teaser about this performance? What can people expect, and what might they be surprised by?

AJC: I grew up with my father’s record collection. I was a piano player first and foremost, but along the way picked up guitar and was inspired by that music. And while it wasn’t this vast collection, it was really deep, and I was able to get turned on, of course, to Ray Charles, who was kind of my gateway drug as a kid who couldn’t see all of the Fats Waller and Bessie Smith and Mississippi John Hurt and Skip James and all of this amazing stuff. Soul music like Solomon Burke and Otis Redding and Sam Cooke and rock and roll. Little Richard. And it was everything you could want. Chuck Berry and Bo Diddley and lots of great folk music and great country music, and it was great. My father’s career was really brief. It was 18 months of a professional music career, and before that, he played other people’s music. So I feel like it’s really important to share some of that, because it really informs the audience about what inspired him. But also where his influences came from and consequently where my influences came from.

RRX: Which of your father’s songs were the hardest to learn?

AJC: It is an interesting question. I think it was more about “hard,” emotionally. Musically, as a piano player who started before I could walk, the forms are pretty simple to play on piano. Especially, you know, growing up playing stride and really complicated pieces. It was relatively simple, I think, compared to that. When I switched over to guitar, all of a sudden it became a bigger challenge, you know, because what might be easy on piano for me is not on guitar. I think it’s that the keyboard and fretboard are different in that way. There was absolutely a learning curve. Being a piano player, finger-style guitar really just resonated. It made perfect sense to me. That’s how I started before picking up a flat pick or a thumb pick or anything like that. And so that was a great jumping-off point. I think that a song like “Time in a Bottle,” which was written for me, was emotionally challenging. There are a couple of songs that have very personal stories that I know and that are personal, that are about my family. And I think in those situations, it was just a little hard to approach because they were really personal. I think otherwise it’s pretty joyous. I think all of it is pretty joyous, and you can hear his influences on all the character songs; it all comes out of rock and roll and R&B from the ‘50s. “Don’t Mess Around with Jim” is like a Jimmy Reed song but with the lyrics of Leiber and Stoller. I think growing up on South Street before moving to the suburbs in Philadelphia really informed him musically because it was such a diverse community. You’d have opera in the Italian section, and Klezmer music, and you’d have rock and roll and R&B and jazz and gospel and all kinds of stuff. So, I think it was pretty clear where some of this stuff came from. “Rapid Roy,” you can hear Chuck Berry influence, but again – those character songs – you can hear that Leiber and Stoller influence, the storytelling, the characters. He just does something a little different with it, in that he personalizes it.

RRX: You were very young when your father passed, so a lot of your learning of him came from his music. But then you also learned a lot about him from your family, because they were probably filling you in on stuff that you would have never known because of how young you were. How was it different what you learned from family and what you learned about him through his music?

AJC: We learn all different ways, you know. It can be tactile, it can be something that we perceive; it can be any number of our senses that can lead the way in how we learn emotionally and philosophically as well. Now, with my dad, I think I was really lucky to have all of these home recordings. Before he ever played a little bar, he would practice. He would practice songs he was going to perform, and it could be an audience that he was going to play more blues stuff for, more country stuff for. He might slip one of his own songs into the set, but it might only be one, and the rest of it could be all over the map depending on what it was. So I had a lot of these. And then whenever friends came over, he was also recording. So I had this wonderful kind of library of him with friends, with fellow musicians, hearing his interaction about his ideas. I think he was recording it because certain friends were really funny, and he thought the conversations they would have would inspire a song. So he’s always looking for a way to tell a story. I was the beneficiary of one of the greatest gifts you could have if you’re not going to have the actual person in your life.

RRX: I think there are a lot of musicians starting out that actually fear success, and it holds them back, keeping them from taking a musical risk. How did you see this growing up? How did you feel about fear of success?

AJC: Letting the fear of success go. And when I say success, I mean in the way that I think the outside world thinks of success. To me, success is being able to do what I love for a living, whether I’m playing at a beautiful theatre or festival or playing a private party. I’ve done every kind of wedding and funeral you can imagine, and to me, that’s success, being able to do what I love. But from the more outside perspective, I think that once you let go of that fear of the notoriety and celebrity … you see there’s these opportunities that come along that you didn’t realise, or see in the same light. And so I think once I became comfortable with the idea that, yeah, part of what I’m doing, the whole point for most people is to be known. I think that it was always this idea of like, I don’t want to sell out as an artist. You never want to sell out, right? Which is why I didn’t ever play my dad’s music. I didn’t want to sell out. But then, when it came about for the right reasons, you know, and you’re playing a venue, whatever size, what are you trying to do? You know, you’re trying to sell out. Yeah, trying to sell out. So you really gotta decide how you feel about that stuff, because you can get in your own way a lot by worrying about things, instead of just enjoying the small triumphs that we have, you know, in this roller coaster of a life.

 

 

More from Liam Sweeny…

 

Kit Kat Twelve – The Weird Side of the Internet

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Kit Kat Twelve – The Weird Side of the Internet – by Liam Sweeny.

You heard about the stolen KitKat bars, right? Of course you have. It’s old news. Juicy old news; well, crunchy old news; well, crunchy and… stop. Old news. But I’m obligated to go on at length in this light diatribe because I, friends and neighbors, Romans and countrymen, I have but one favorite candy bar, and it is KitKat. So we are going to analyze this sophisticated crime.

First, you have to know what was heisted. The report says 413,793 KitKat bars were stolen. This should tell us that the theft had begun long before the truck disappeared. 413,793 KitKats? Why no even number? They don’t sell odd numbered KitKat bars. Somebody was pinchin’. So we don’t really know how many were stolen and how many were pinched. Guess we’ll have to rely on the police report.

But there’s another, much larger issue at play here. Kit Kats are filled with a paste that is made from Kit Kats that didn’t make the cut. So Kit Kats are made of Kit Kats which were themselves made from Kit Kats and on and on. What this means is that an infinite number of Kit Kats was stolen in Italy, on its way to Poland, and at any point along route, an interdimensional chocolate portal may cause astonishment and will most definitely cause sinkholes.

I just can’t imagine driving off in a truck containing that much chocolatey goodness. You could eat every day until the beetus gets you. You could build structures out of that many Kit Kats. And yes, of course you could sell Kit Kats on the black market. Imagine if you’re the guy, you know, the Kit Kat guy. Think he walks around like he’s a badass right now, like he just performed a powerflex.

Because he did. He sure in the hell did.

 

 

More from Liam Sweeny…

The Worms Crawl In, The Worms Crawl Out

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The Worms Crawl In, The Worms Crawl Out – by Art Fredette.

The dictionary says an earworm is:

  • a catchy song or tune that runs continually through a person’s mind.
    “the whole album is packed full of earworms that get stuck in your head”

Every morning for as long as I can remember, I have awoken with a song in my head. Rarely has it been a good song, and usually it leaves me somewhat irritated.  What causes this?  I haven’t the foggiest. Why can’t it be a song I like?  Again, no clue, but there it is just bouncing around in all its “Muskrat Love” glory.

Mondays are bad enough without Shania Twain’s “Man! I Feel Like a Woman” rattling around my noggin, but here we are.  WHY?

According to the interweb and the all-powerful ChatGPT, earworms happen because the brain involuntarily replays catchy and simple tunes when it is triggered by stress, boredom, or anxiety. Well … I must be the most bored, anxiety-ridden, stressed person in the history of the world.  Otherwise, why would crappy country songs and large bricks of AM gold from the ‘70s be on shuffle inside my mind?

So, after pondering this question for many years, I decided to keep a diary of daily earworms for 30 days. What would I find?  Is there a connecting thread? Or could it be that I just spent too much time with my headphones on and I am now an addle-brained jukebox of half-songs on repeat? So here goes:

DAY 1 – “Lonely is The Night” – Billy Squier

DAY 2 – “If You Could Read My Mind” – Gordon Lightfoot

DAY 3 – “I Wanna Be a Lifeguard” – Blotto

DAY 4 – ”We Like To Party” – The VengaBoys – I mean W … T … F!!!!!

DAY 5 – The theme from “Love Boat” – ???????? – REALLY?

DAY 6 – “So Far Away” – Carole King

DAY 7 – “Billy Don’t Be A Hero” – Paper Lace – There’s that AM gold sneaking in.

DAY 8 – “Heartbreak Beat” – Psychedelic Furs

DAY 9 – “Breaking Up Is Hard to Do” – Neil Sedaka

DAY 10 – “Cat Scratch Fever” – Ted Nugent

DAY 11 – ”Octopus’ Garden” – The Beatles – Have I ever told you how much I disdain the Beatles?

DAY 12 – “Comes A Time” – Neil Young

DAY 13 – “Only Women Bleed” – Alice Cooper

DAY 14 – “Hot Stuff” – Donna Summer – Disco? Really? F’in disco?

Just about the halfway point here. I am questioning everything I have ever thought about my mental stability.

DAY 15 – “96 Tears” – ? and the Mysterians

DAY 16 – “You Picked a Fine Time to Leave Me Lucille” – Kenny Rogers.   Please, leave me, Lucille, and take Kenny with you.

DAY 17 – “Midnight Rider” – Allman Brothers

DAY 18 – “Baby Come Back” – Player

DAY 19 – “A Matter of Trust” – Billy Joel.  Great, the Long Island Liberace makes his debut. Thank God it wasn’t “Piano Man.”

DAY 20 – “You Oughta Know” – Alanis Morissette.

DAY 21 – “Stepping Stone” – The Monkees

DAY 22 – “Fashionable People” – Joel Plaskett.   This is spare parts Bud.

DAY 23 – “Little Lies” – Fleetwood Mac

DAY 24- “Soul Love” – David Bowie

DAY 25 – “You’ll Never Find Another Love Like Mine” – Lou Rawls-  AM radio rears its ugly influence again!

DAY 26 – “The Flame” – Cheap Trick – great band, shit song

DAY 27 – “Love Is in the Air” – John Paul Young. Does anyone even remember this guy?

DAY 28 – “Like the Way I Do” – Melissa Etheridge. Um, ok.

DAY 29 – “Too Shy” – Kajagoogoo

Coming up on the end of this experiment. I am more befuddled than enlightened. What will the last worm be?

DAY 30 – “Dirty Work” – Steely Dan. At least, I closed out with a good song.

30 days, 30 songs from the deep recesses of my psyche, and no real answers.  My question, Dear Reader, am I alone in this? Do you have worms? Earworms, that is?  One thing I can add is that if you do, I hope your list is as varied as mine and free of John Paul Young.

 

 

 

More from Liam Sweeny…

“Women Are Making Music” @ The Eleven, 4/1/2026

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Paula Pryce and Deb Cavanaugh are both master storytellers with unique and exquisite musical styles. Ms. Niki Kaos joined Deb on a few songs to lend some sweet harmonies to the deal.

Photography by Timothy Reidy.

More from The Eleven here …

The Year of Storms, Chptr. 7 – Xperience Fiction

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The Year of Storms, Chptr. 7 – Xperience Fiction – by Liam Sweeny.

The Diplomat Hotel was a twenty-story building with slate-gray walls and tall windows that overshadowed the street below, spaced so close together that the walls between them doubled as prison bars as seen from the street below. It was stately and sterile and the grime from the old traffic contributed to a gradient that got darker the higher the building climbed, like all of the buildings in Unity.

Laro Wilson, a City President from an old city family, made it a point of his platform to get the tops of the buildings coated in dark suncatcher film to add extra power to the grid. For that point, he was mocked, told that only an aristocrat would think to spend such resources. And nobody running for political office in Post could be considered aristocratic and win, except Laro Wilson.

Cellie chewed a go-stick as she lined up the glass buttons on Podre’s short-sleeve plaid poly shirt. Siran left her with one cotton shirt, which was rare, an imported good. He was an engineer, and visiting workers often traded in rare imports.

But that shirt was dirty, and it was four days to her laundry timeslot.

“Mommy, this shirt doesn’t feel good,” Podre said.

“I know, honey. Just bear with it until we get home. Tomorrow, we’ll go back, and I’ll have you tested for a proper blend, okay?”

Podre shook his body top to bottom and laughed. “It tickles.”

“It’ll be okay. And you can take it off, but only if you’re in a room. You can’t be running around the halls or the lobby with no shirt on.”

She grabbed Podre’s hand and felt him squeeze, his heartbeat passed from his veins to her nerves, and she could picture it beating with the strength of a child who had already spent years away from her growing that pulse.

They walked into the Diplomat, through doors that stretched twelve feet high, yet opened with the barest trace of a pneumatic hiss. A small vestibule, lined on either side with defunct mailboxes, opened to the central lobby. Cellie glanced up at the grand chandelier, six feet in diameter if an inch, wrapped in translucent chains dotted evenly with semi-precious stones, with a gold fount sprouting silver arms that led to brass candle cups holding synthetic candles, each topped with multicolor pulsing LED lights. It was purely decorative; the lobby was illuminated by pale light coming from a space between the upper edge of the burgundy wainscotting and the wall above. It was set up to illuminate the room without there appearing to be a light source, and was pretty good at that.

There were three men and a woman, all spectacularly apportioned, standing at the registration counter. A fourth man was seated in one of the ExP jack-stations. Cellie could hear the low hum of the massager built into the station chair he was sitting in. The ExP cable came out of the right armrest to line up on the same side as the ExP jack at the base of the man’s cranium. He flipped the switch on the jack-station, which turned the massager off. He removed the jack and set it into the cleaner compartment, which Cellie would have to refill when she went on shift.

“We want the North Wing ‘B’ rooms,” he said to the others. “They have a great view, and they’re closer to what they have in Sun City.”

“We just left Sun City,” the woman said. “Why would we want something just like it? Live a little, Hamill.”

Hamill grunted. “We could go with a room on the West Wing, still the ‘B’ rooms. They’re wildly different.”

The woman, in round-frame glasses and dressed in finely woven navy-blue hemp, sighed and looked over to one of the other men, “Senre, do you want to find us something?”

“Miss,” Cellie said. “I can tell you that all of our rooms have zone climate control, in-room recycling that tracks in real time, a varied vegan breakfast, roof-grown vegetables, and full-access lumen panels, nothing extra. So they’re different, but they’re all good.”

“Thank you,” the woman said. “I’m sorry, you don’t have a tag.”

“I’m Celia Erbens,” Cellie said. “But I go by Cellie. And I’m just getting on shift.”

The woman glanced down and gasped. “And who is this wonderful child?”

“That’d Podre. He’ll be our guest until I can find a sitter.”

“I’m amazed that the hotel is so understanding,” the woman said. She leaned toward Cellie and brought her voice down. “They’re no place for a child, you know.”

“We’re not living here, miss. It’s just temporary.”

“Well, I wish you fortune.”

Cellie wandered around the lobby with the dust wand that had the most cling left. The lobby was divided into three rooms, smaller, but still larger than her whole unit. One of the rooms was designed for business, lucite braced in black painted steel, black and burgundy and pale-gray open spacing, desks at odd angles to eager other with the intention of fostering creative problem solving. Lumen panels lined the walls filled with city statistics and inter-city trading information. One of the lumen panels was a live feed of the Primes, the seven people who were empowered to create hypnocurrency. They were mysterious and legendary, but truth be told, no one knew anything about them. But a high-city financial law was that there must always be a visual, available to the public, of the Primes, all day, every day, wake or sleep, though Cellie had never seen them not sleeping. She dusted them too.

Next to the business section was a recreation room, with neon primaries glowing on casual black-and-white vinyl comfort seating and chrome trim on everything that bore an edge.

Topping off the lobby was the executive area, which was true leather and faux ivory, and one of the few places in the city where a real fireplace could burn wood. And this was the room where Podre set about jumping on the furniture.

“Podre, no, don’t do that, honey,” Cellie said as she put a hand around his waist and lifted him off. The chime rung at the registration desk, and she walked over, Podre in tow, over to the man standing at the desk. She walked around to the back end and noticed that the woman from earlier left her motel key by the registration pad.

“Excuse me, sir, I’ll be right with you.” She picked up the key, card shaped. She leaned over to Podre, who was gawking at the man.

“Podie,” she said. “You want something to do? If I give you this card, can you bring it up to Room WB3? You can find it on any panel, just tap ‘Room Map.’ Can you do that for me?”

Podre grabbed the keycard and took off running haphazardly down the hall.

“Kids, huh?” The man said.

“Tell me about it.”

“How old?”

“He’s eight,” she said. “He’s a little small for his age.”

“I see.” The man reached into his pocket. “I need a room.”

“Okay, do you know what kind of room already, or do you need to go experience a few?”

“No. I’m actually with the group that just lost their card. So, a room near where they picked.”

Cellie picked out an adjoining room, which was easy because the hotel was usually thin on guests. It would be closed if it wasn’t the only building designated by the city for foreign lodging. They could have one guest and the city would pay to keep them open.

“Okay, so I have WB5, is that okay? Two doors down?”

“Sure thing.” He reached into his pocket and pulled out something that caught Cellie aback.

He slipped three one-hundred-dollar paper bills on the desk.

 

 

More from Liam Sweeny…

Of Leos and Electric Sounds: An Interview With Richard Knox, Drummer for Danko Jones

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Of Leos and Electric Sounds: An
Interview With Richard Knox, Drummer
for Danko Jones
By Justin Smulison

SUBSCRIBE TO OUR YOUTUBE CHANNEL HERE!

 

Last year, hard rock power trio Danko Jones released their twelfth studio album Leo
Rising, on Perception, an imprint of Reigning Phoenix Music. Leo is the latest in the
band’s long line of high-octane rock LPs that combine swagger and attitude with razor-
sharp riffs, precision and fun.

Though Jones may be the namesake of the trio, his bandmates are equally happy to
weigh in on the mayhem of the music. Drummer Richard Knox is a pretty even-keeled
guy off-stage, but on stage and in the studio, this proud Canadian provides fast, furious
and enormous sound with the most modest of set-ups.
It was a lot of fun to speak with Knox to discuss the benefits and challenges of
remaining a rock trio, and the Leo Rising songs he looks forward to the setlist on an
upcoming Latin American tour in May.

Watch the new single, “I Love It Louder,” here: https://youtu.be/lK1ya5dZzLc
Latin America Tour Dates 2026:
21 May – São Paulo, Brazil – Fabrique Club
23 May – Buenos Aires, Argentina – Uniclub
24 May – Santiago, Chile – Club Ambar
27 May – Bogota, Colombia – Ace of spades club
29 May – Mexico City, Mexico – Foro Bizarro
Purchase tickets HERE!

DANKO JONES are:
Danko Jones | vocals, guitars
John Calabrese | bass
Rich Knox | drums

More on DANKO JONES:
dankojones.com | Facebook | Instagram | TikTok | X | Spotify | Apple Music