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Four Dead Kings – Thanks for Asking!

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Four Dead Kings – Thanks for Asking! – by Liam Sweeny.

RRX: We all get a little support from those around us. And we also can be impressed by our fellow performers. Who do you admire in your community, and why?

Randy: I am a fan of many local artists and people involved in the capital region music scene. Some that I admire are: Mike Valente: He writes killer guitar riffs for his band Brick by Brick and gave us some of our first opportunities to play gigs in the area as a new band at Empire Live Underground and we really appreciate and respect that! Andy Scullin: He had us on his 518 Unsigned podcast early on and we played a great show together with his ShortWave RadioBand and E.R.I.E and we just appreciate what he is doing and the effort he is making to promote the local music scene. Erin Harkes: I’m a big fan of her comedy and her band and inspired by what she has done to pull a team together to resurrect the sorely missed Metroland Now publication. We all think that’s really impressive and very admirable and definitely something that was needed to help give forward momentum to the local music scene.

Jimi Woodul/Girl Blue: I am a big fan of Dark Honey and the music that Jimi and his wife Arielle(Girl Blue) are creating. He helped me record a great demo of a song I wrote a couple years ago and I plan on working with him and his wife in the near future to record more of my side project songs that don’t fit the 4DK band.

Eric: Fellow performers I admire would be anyone that has the talent, vision, dedication and resilience to write/compose their own music and have the guts to perform it live without any wild amounts of technology helping them sound perfect.

Ziz: I grew up in Woodstock NY in the 90’s and the best local band we always went to see was Pitchfork Militia. Peter Head and the gang were some of the first local shows I got to see as a kid and really got me interested in starting a band myself. Tony Levin and his brother were also just an absolute treat to run into at shows around town. I’ve wanted a chapmann stick since I first saw him playing one.

RRX: A band is a business. A business of love, but you got to work for it. Let’s pretend, instead of a band, you all owned a business. What would it be, and why would it be good?

Randy: We all like to hang out and have a good time so I think we would probably open a lake side bar that has a killer music stage facing the lake so we could play whenever we want and also book all the local bands and acts that we love. I think it would work out well because we love all sorts of shenanigans and styles of music and drinks and great food and the mix of all that would be very unique and would definitely make for a really good time.

Eric: I’ve never really thought of being in a band as a business. Music is my passion and something I truly love, so I don’t think I could ever see it as “work.” You know the saying: “If you do what you love, you’ll never work a day in your life.” That’s how I feel about music.  That said, if I were to consider another business, I’d love to open a bar, brewery, and restaurant that serves high-end bar food. I enjoy cooking, I love good drinks, and the bar would feature live music—combining three things I’m passionate about all in one place

Ziz: I’d say a bar/venue with a great soundboard to stream/record the live performances. I have a small studio myself so I could run all the sound while the rest of the gang runs the bar and books the acts

RRX: Cover art is cool. It shows listeners what the artist thinks the album is all about. Because music can be felt visually. If you had to give the public a visual image that you think they would see and just “get” your groove right away, what would it be?

Randy: We think our current band logo of an old scratched analog record with our band name in 3D printed on it gives people a good idea of our style and grove. We all grew up with records and were inspired by classic rock music and really love the sound of an analog record on a good sound system, so that simple design kind of gives out our general vibe right away.

Eric: Cover art is something I have mixed feelings about—sometimes I love it, and other times it doesn’t really resonate with me. Take Pearl Jam’s debut album from 1991/92 as an example. Their name and cover art might not necessarily change how you feel about the music, especially when the album itself is incredible from start to finish. On the other hand, Life of Agony’s first album is a great example of cover art that perfectly matches their sound and the message just fits.  So as long as people are listening to the music is really all that matters.

RRX: Artists, musicians, we immortalize. We set it in stone. Is there anyone who has passed that you feel you have immortalized in your work? If so, can you tell us a little about them?”

Randy: There are a core few that I immortalize so I  like to think a lot of my style is a weird mix influenced by John Lennon, Jim Morrison, Scott Weiland and Gordon Downie in everything that I write vocally and melody wise.  They all contributed heavily to the style and vibe of the music that I write.

Eric: Among those who have passed: Jimi Hendrix, Stevie Ray Vaughan, Ozzy Osbourne, Scott Weiland, John Bonham, and Keith Moon. Among those still with us: Tony Iommi, Eric Clapton, Steve Winwood, Jimmy Page, Robert Plant, and Bob Dylan. Every single person on this list is a master of their craft and represents the kind of musician I aspire to be. I could go on for hours about why each of them has influenced me and what makes them so extraordinary.

Greg: Early on and still to this day, Kurt Cobain. As we all know, he influenced a (my) generation and altered the course of rock n roll forever. Lemmy….. Lemmy stayed true to rock n roll, never changed who he was, didn’t care about critics, and gave his heart and soul to his fans until the very end. Same with Ozzy. He showed us that after life throws you a curve ball, you can come back bigger and stronger. That, and he showed us that it’s not about fame and fortune, it’s about the fans and the connection he had with them around the world.

RRX: Stereotypes are a bitch. I mean, aside from  the really bad ones, you have cultural stereotypes about everything, including music.  Would do you think is the stereotype for the music you play, and how far are you away from it?

Randy: The archetype rock musicians are always painted as these sexed up rebellious self-destructive drug addicts who are unreliable and unemployable and basically cant function in normal society.

While we all like to think of ourselves as nonconformists, the reality is we are all just a bunch of fun loving hard working professional guys with normal lives who just love to get together to write and play music and make some noise.

Eric: “It’s loud and dumb” …” It’s about the song and not the solos” …There are a million stereotypes.  My thought is it is about being loud, it is about the song and it’s especially about the solos (says the lead guitarist).   Stereotypes only matter if you give an ounce of “care” about someone’s opinion you didn’t ask for.

RRX: Our style comes from the extension of our influences. It’s like an evolution. We’re influenced, and it inspires us to influence. What can you say about your influences, and what you feel you’ve done with their influence as a musician or band? Have you extended their work?

Randy: Our influences are the blueprint of our music. We grew up on the sounds that kept us awake. We took those pieces that shaped us and twisted them into our own new voice. Honoring where we came from while building something new for whoever’s listening next. I think we all subliminally steal from our biggest influences and that act alone extends their work into the next generation of song writers.

Eric: Everyone I mentioned in the previous ‘immortalize’ question has been a major influence on me. In many ways, my playing and writing are shaped by the songs I’ve learned and listened to from them over the years. At the same time, I’ve also learned from their mistakes, trying to avoid the chaos, addiction and self-destruction that some of them are known for. So, there’s both inspiration and caution when it comes down to it. That said, I would never claim to have extended the work of legends like Jimi Hendrix, Led Zeppelin, or Black Sabbath that would be an absurd statement. The contributions they have made are unmatched and untouchable.

Greg: Beatles, Zeppelin, Sabbath, Aerosmith, Van Halen, INXS, U2, Depeche Mode, KISS, Motorhead, GnR, John Mellencamp, STP, Nirvana, AIC, Soundgarden, and many many more. I learned how to play and sing by covering them. I learned how to write by studying their song and chord structures. I learned how to get through life by just listening to them. In one way or another there’s a piece of them in everything I do musically. What I enjoy most is looking to their legacy for advice, and then making it my own

Ziz: I grew up listening to Frank Zappa, Steve Vai, Primus, Tony Levin, Therion, Dimmu Borgir, and a shitload of video game music via NES, SNES, Genesis, and onwards. I think all music is an amalgamated interpretation of one’s feelings filtered thru the lense of music/artists that they listen to or have heard.

 

 

More from Liam Sweeny…

“Missing The Point” By Jesse Sample

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Missing the point

By Jesse Sample

My father, Eric Sample, died at the age of 51. I was 27. He was loved by his friends, a group composed of bikers, random Albany residents, his not quite in-laws, and seemingly, everyone else. Everywhere he went, he knew somebody and was greeted with a smile.

I grew up in houses filled with Rock ‘n’ Roll. My mother and father were practically kids when they had me. They both had long hair and heavy record collections.  On any given night, I might be in sleeping in a playpen while my folks and their friends were hanging out and laughing while they spun Allman Brothers albums and did whatever it is that 20-somethings do. 

My mom was allegedly ambitious, and my father was most likely not. This might have been the reason that they didn’t stay together past my second birthday. This prognosis is probably accurate from a bird’s-eye view and incredibly unfair on the ground floor. I was too young to know what was happening and, looking inward, I don’t see any signs of damage. I lived with my mother and visited my father irregularly on weekends. 

My other home was my grandparents’ house, and this may be one of the great gifts of my life. They were, and are, kind, patient and stable people, not to mention, hardworking and funny. I formed the foundation of my musical world in my grandad’s record collection. I use the word “in” because his record collection was a room lined with shelves holding whole catalogues spanning many of the greatest recording artists that ever lived. And it wasn’t just Rock. There was soul, jazz, funk, show tunes, alternative, adult contemporary, and all sorts of things in between. He had every Flying Burrito Brothers album.  He also had a whole wall of Grateful Dead bootlegs. Jerry Garcia inspired me to start taking guitar lessons. Jerry had sainthood status in my grandparent’s house.

I started playing guitar in earnest when I was 14. Every Tuesday night, my grandad would pick me up at his house at 4:00. I was living with my grandparents in an official manner during this chapter of my life. We went to the Chinese Buffet, where I would eat four heaping plates of fat, meat and carbohydrates and then go to my guitar lesson around the corner. How I stayed awake after that feast is still a mystery to me. 

I learned a few chords and a few easy songs and since then, I’ve been living a double life. There is my life as a husband, son, friend, husband, grandson, employee, employer and a friendly stranger. Then there is my life on a fretboard where I exist in another place and speak another language. The latter gives me context to the former and the former gives me context to the latter. There were so many great guitarists and so many diverse styles and I was having my mind blown on such a regular basis. In the shadows of these artists, I aspired to develop something beautiful and unique as a guitarist and songwriter. I am a prolific songwriter and perform live in multiple entities.

I grew up on Rock’ n’ Roll soup. There was so much. From Aerosmith to ZZ Top. There was Bowie, Clapton, and David Gilmore. There’s too much to responsibly mention. But as a young man, I was seeking an identity. In the music of Led Zeppelin, featuring guitarist Jimmy Page, I found a place where I could focus my aspirations. Led Zeppelin was my favorite band and Jimmy Page was my favorite guitarist. I thought he was the best of them.

Nowadays, I can see the insanity of tying yourself to one thing or assigning the word “best” to anything in the musical realm. The spectrum of music is so broad. There are times in my life when George Benson picks me up unlike any other. Or perhaps, when I’m cooking in my kitchen, who better to drink wine with than Stan Getz and João Gilberto. Nowadays, I have Exodus to scratch my heavy metal itch on the treadmill and Byzantine Chant, Live in Brussels when my life is falling apart and I need to find peace. These are different arts and exist in different media. But in those young formative years, I thought Jimmy Page was the best one could be.

I never saw my father as a guy with a strong identity. I heard from my mother that he was handsome and a formidable chess player in his younger days. But I didn’t see anything too formidable in him. He was kind and gentle and all too happy to go with the flow. He didn’t come off to me as bold and daring. I wanted my identity to be different. I wanted to be a formidable guitarist. 

Let’s just cut to the chase: the word is “ROCK STAR.”

(Lightning Flashes)

From my perspective, my father never made his mark. I was youngish when he died…mentally at least. Some guys had families by the time they were 27…like my father. I was trying to make my bones and seeking attention through any method I could fathom. I, like many, thought that attention equals love. I wanted people to love and revere me the way I loved and revered Jimmy Page

I’d learn through the next few years that the most direct path to love is to be loving. And in this, I’d also learn the true size of the mark that my father had left. The funeral home couldn’t fit all the people who showed up in their leather jackets and their suits, and naturally, a spontaneous party developed in the parking lot. Spontaneous parties always seemed to form around my father. If he existed in a comic book, his superpower would manifest in him snapping his fingers and kegs and bearded men with motorcycles would appear in a cloud of smoke to fight the forces of evil. But that’s not a mark. It’s just a skill…or a talent…or a vice.

My father’s mark is most evident in the way people go internal and smile to themselves when he’s mentioned, even 16 years after his death.

It occurs to me that maybe my measure for “making a mark” was a bit off. When Jimmy Page dies, many of us will feel sad for a while and play The Rain Song in our kitchens and, no doubt, the radio stations will be “getting the Led out” for a week straight. CNN will give him 22 seconds where they refer to him as, “blues-rock legend, Jimmy Page” while showing grainy footage of him patrolling the stage like a matador. And then the world will move on into whatever new insanity arises.

Most of us don’t really know Jimmy Page. We know the products of his achievements, the all too risqué rumors of his supposed dabbling in the occult, his killer wardrobe and the mythic rock lore surrounding hotel fishing expeditions in seas of voluptuous groupies. Us music fans know Jimmy Page about as well as we know Moses.

But I have it on good authority that my father let friends who were down on their luck sleep in the spare bedroom in the house he and Maggie- “my evil stepmother” -shared. I was there. I know my father liked walking down to the Colonial on Washington Avenue on a Saturday night for a beer… or a few…or all the beer. He liked to laugh and never really had a motorcycle that ran well for more than a week. He was an open book and a kind guy.

When he took his last breath, I was at band practice. I had stayed over the night before in the hospice unit and I was planning on coming back after practice. When my father died, my mother and my youngest sister were there. I knew he was close to going but I was chasing something. I didn’t want to be like my dad. I wanted to be like Jimmy Page.

When I think of it now, I realize that my father had the thing that I thought being like Jimmy Page would get me. He had people who truly loved him and people whom he loved. He was in the moment. I just wanted to be loved, and I was loved, but I couldn’t see it. I thought people get love for being good at something. I wouldn’t allow myself to be loved. I didn’t think that I was deserving enough. Maybe I put love out of my reach because I couldn’t believe that something that I wanted so much was so available. I wasn’t there when my father died, and I’ve been haunted by it ever since. My father died in a room with my mother and my sister. All the love I could have wanted in this world was in that hospice unit at St. Peters. And I was chasing it somewhere else.

I made a mistake. I denied myself an opportunity that I’ll never get again.  The time we have with others is precious. I have been trying to be in my moments and not looking down at them from a cloud of expectation, blocking the sun. What if my greatest achievement in this life is sitting with a friend at a bar, smiling over a pitcher of beer, and hearing him out as he goes over the details of his latest breakup for the hundredth time?

What if I could be the best in the world at turning off my iPhone and eating dinner with my wife while she talks about her day? When I think about my father, it seems like a worthwhile endeavor. Maybe I could stand among the greats in the fine art of being present in the lives of the people I love. I will continue to live my double life, here and in the fretboard realm, until I die. But the ghost of my father haunts me and reminds me that in these spaces, society and the fretboard, identity is not a mold in which you try and fit but rather something that is constantly being discovered and never truly finished. And being thoughtful, kind and gentle are paramount.

You only become an expert in what you practice. Babe Ruth might have been an absolute failure as a gas station attendant. But I’m willing to bet he would have poured the same magic into that alternate path. Jimi Hendrix comes off as a guy who would have made waves in whatever he did. My father was an artist. I just didn’t understand the medium back then. Maybe the paths we take and the people and things we encounter along the way, train us to be the thing we are…at least in the ways that matter to us.

 

Timothy Reidy’s Year in Review

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No one covers more music and events every year than our own photographer, Tim Reidy. Here’s a look back – a Rundschau – at 2025 through his lens. 12 months, two pictures each.

 

Photography by Timothy Reidy.

More from Timothy Reidy here …

 

Week Fifty-Two: Jesse Sample’s Freak of the Week “Start It Up”

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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. The New Year gets many of us thinking about the things we’d like to get better. I know I’ve been making resolutions ever since I can remember. For some of us, it’s a fresh start. We make our plans and sometimes we even follow through. We consider what’s important to us and we set out to give it a go. Sometimes we succeed and sometimes we fail.

I’ve been thinking a lot about what I aspire to in 2026. I’ve started contracts, diets and exercise regimens on New Years Day, and they’ve all served me pretty well. I could plan out another diet and that’s a fine move. The things we eat effect our health now and into the future. I could commit to practice Spanish more and create standards to make sure I’m being honest in my efforts. It’s worked before and I made some real moves. I could post to social media every day and create consequences if I don’t. I’ve done that and if I stuck with it, who knows where I’d be?  These are all useful things but this year, I feel something different is in order.

Let’s cook all these goals down to something more quintessential. Let’s focus. I want to bring a better part of myself to my relationships and my art. These two genres of life are where my soul eats the best. They serve each other. For 2026, I want to wake up my old ambitions, dust off those quintessential tools and skill sets, and bring them to bear in the subtle art of family and expression. Health is the vehicle, and practice is the clean fuel that keeps that machine tune and powerful.

Thanks to all of you tuned into RadioRadioX. Here’s wishing you and yours success and good health in the new year. Thanks for being a part of this little project of mine. This is the Freak of the Week’ “Start it up.”

Big Brother in Your Bum – Happy New Year!

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Big Brother in Your Bum – Happy New Year! – by Liam Sweeny.

You know, this is the thing. Big Brother is Watching You. That used to be a subversive thought, dare it be spoke in seedy bars by guys with cigarette shakes. Yes, that brushed-steel, monolithic sentinel, that Wizard behind the machinery. But now it’s like “Hey make sure you put on your coat and galoshes, Big Brother is watching. It’s just a “nothing” thing to say now, and I’m sure if there is an actual Big Brother, he’s pretty pleased with himself.

It’s just that every day, Big Brother knows something else about you. And you know I’m going somewhere with this, so now, Emergency Room Big Brother knows what you put in your rectum.

They’ve always known, right? Have they ever kept track? You could make a rectum exhibit in a medical museum. Probably could put that exhibit anywhere. And in that exhibit would be the following things:

  • Nails
  • Screws
  • Baseball (“to see what it felt like”)
  • Uncooked pasta
  • Egg
  • Dog chew toy
  • Dryer sheet
  • Sandal
  • Doorknob
  • Marbles
  • Eyeglasses
  • Rock
  • Beard clippers wrapped in plastic (“was feeling constipated for two days”)
  • Turkey baster
  • Plastic cleanser bottle full of liquid
  • Shampoo bottle (“slipped in the shower”)
  • Shampoo bottle (“was bored”)
  • Lubricant bottle
  • Enema bottle
  • Aerosol can
  • Dental pick
  • Wine stopper
  • Corn cob holder
  • Highlighter
  • Invisible marker
  • Two pencils
  • Magic wand toy
  • 7-inch dildo and pliers (used in an attempt to remove the dildo)
  • Broken piece of butt plug and tweezers (used in an attempt to remove the plug)
  • Film canister
  • Battery-powered light
  • Flashlight
  • Plastic coat hanger (modified so they could still drive to the ER)
  • Penny
  • Light bulb, glass side first (“suction effect” reportedly pulled it in)
  • Vape pen
  • Corncob-style pipe
  • Rubber gasket
  • Piece of nose hair trimmer
  • Rectangular travel toothbrush
  • Baton
  • Hair tie

 

And just so I don’t have to actually go to the ER, the following things are or have been inserted into my rectum:

  • The national debt from 1986.
  • The timeline where the Mets won the 2000 Subway Series.
  • A wrapped piece of Bazooka Joe bubblegum
  • An underground poker game.
  • A box of swizzle-sticks, unopened.
  • The first mother joke.
  • A small little ER.

And that’s about it right there.

 

 

More from Liam Sweeny…

Whassup in the 518? Weekend Shows

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Whassup in the 518?

Wednesday, New Year’s Eve

Raisinhead NYE Party, Putnam Place, Saratoga Springs, 10pm

Come join us for a special New Year’s Eve party with Raisinhead.

Raisinhead has been making music in the Capital District and well beyond for over 20 years. Their rich catalog of originals have an Americana feel with dynamic improvisational sections and covers ranging from Neil Young to the Talking Heads. Raisinhead’s live shows are spontaneous and energetic and never the same twice.

All the members of Raisinhead have a high level of musicianship and a long history with other area bands including Ominous Seapods, Rob Beaulieu Band, the Deadbeats, Quantum Cosmic and Family Tree. Members of Raisinhead include Rob Beaulieu – guitar and vocals, Ted Grey – guitar and vocals, Tom Pirozzi – Bass and Vocals, Brian Mangini – keyboards, and Chad Ploss – Drums.

Website: www.raisinhead.com

2026 New Year’s Party, Rustic Barn Pub, Troy, 7pm-12:30am

New Year’s Eve, Ophelia’s, Albany, 7pm

New Years Honkin’ Eve w/ Brule County Bad Boys, No Fun, Troy, 7pm-11pm

Friday, January 2nd,

Disney On Ice presents Road Trip Adventures, MVP Arena, Albany, 12pm; 4pm

Disney On Ice presents Road Trip Adventures will whisk families away on an immersive getaway chock-full of magical participatory moments. Featuring new and classic tales, this multi-generational experience visits Albany playing January 1-4 at MVP Arena.

Hit the road with Mickey Mouse and his pals for a high-octane ride in Disney On Ice presents Road Trip Adventures. Exciting twists and turns await as Mickey, Minnie, Goofy and guests of all ages embark on an interactive and memory-rich adventure to iconic Disney destinations.

Are.Sham.Bow, Rustic Barn Pub, Troy, 6:30pm-9:30pm

Are Sham Bow (Joe Archambeault) brings a solo acoustic set packed with rock, classics, and fun favorites everyone loves. Don’t miss this crowd-pleasing night of live music!

Peak Jazz Series: The Richard Baratta Gotham City Latin Jazz Sextet, Caffe Lena, Saratoga Springs, 8pm-10pm

A multi-talented artist, Richard Baratta’s career spans both music and film, with an impressive list of Hollywood credits, including The Wolf of Wall Street, The Irishman, Joker, and several Spider-Man films. After decades in the film industry, Baratta made a triumphant return to jazz, earning a GRAMMY nomination for his 2020 album, Music in Film: The Reel Deal, which reimagined iconic movie soundtracks in a jazz setting. His follow-ups, Music in Film: The Sequel and Off the Charts, solidified his place as a boundary-pushing bandleader and visionary musician.

From “Bar People.”

1/2 5:00 PM Sunset Serenade- Saratoga Winery

1/2 6:00 PM Art n Shawna- Carsons Woodside Tavern

1/2 6:00 PM Bobbie Van Detta- Hilton Garden Inn,,, 30Park

1/2 6:00 PM Christine Spero- Panza’s

1/2 6:00 PM Kip Beacco & The Lucky Five- Albany Elks Club #49

1/2 6:00 PM Mike Purcell- The Wishing Well

1/2 6:00 PM Ragged Company- Inn at Saratoga

1/2 6:00 PM Shine On- Bound By Fate Brewing

1/2 6:30 PM Willoughby Station- Artisanal Brew Works

1/2 7:00 PM Bad Monk & Dj Biz- The Night Owl

1/2 7:00 PM Jeff Walton- Principessa Elena

1/2 8:00 PM DJ Postman- Misfit

Saturday, January 3rd

Disney On Ice presents Road Trip Adventures, MVP Arena, Albany, 11am; 3pm

Disney On Ice presents Road Trip Adventures will whisk families away on an immersive getaway chock-full of magical participatory moments. Featuring new and classic tales, this multi-generational experience visits Albany playing January 1-4 at MVP Arena.

Hit the road with Mickey Mouse and his pals for a high-octane ride in Disney On Ice presents Road Trip Adventures. Exciting twists and turns await as Mickey, Minnie, Goofy and guests of all ages embark on an interactive and memory-rich adventure to iconic Disney destinations.

All guests ages 2 and older are required to have a ticket. Group Sales are not available.

ISH, Rustic Barn Pub, Troy, 8pm-11pm

Get ready for a night of bluesy Southern rock with ISH – smoking guitars, killer drums, and Allman Brothers vibes!

Goodnight Moonshine feat. Molly of Red Molly, Caffe Lena, Saratoga Springs, 8pm-10pm

New album “Business Unusual” exclusively available at the show!

Goodnight Moonshine is a guitar and vocal duet, and a musical marriage in all senses. The Duo combines the evocative voice and songwriting of Molly Venter of Red Molly fame, with Eben Pariser’s adventurous and awe-inspiring guitar playing. The result is folk music with a depth of improvisation and tonal subtlety usually reserved for jazz. Molly’s enviable voice, which can be called both “biker-chick smoky” (New Haven Register), and “like silk” (American Songwriter Magazine), has taken her career to highlights including Tønder Festival in Denmark, Kate Wolf Fest in CA, and multiple placements on television and film. “Pariser’s harmonic sensibilities are wide, imaginative” (NPR), and he describes his own playing as “Cooder-grass” in honor of Ry Cooder- part Django part Frisell with a touch of Jerry’s ethos. A natural producer, Eben now has 9 studio records under his belt for himself and other artists.

From “Bar People.”

1/3 10:00 AM Simon Elijah- Saratoga Farmers Market at Wilton Mall

1/3 5:00 PM Eric Kufs- Dancing Grain Farm Brewery

1/3 5:00 PM Trevor Collins- Artisanal Brew Works

1/3 6:00 PM Christine Spero- The Wishing Well

1/3 6:00 PM Jay Yager- Henry’s Tavern

1/3 6:00 PM Jeff Brisbin- Carsons Woodside Tavern

1/3 6:00 PM Party Of Three- The View at Brookhaven Golf Course

1/3 6:00 PM Russ Kennedy- Inn at Saratoga

1/3 6:30 PM Pat Decker- DIamond Club at Embassy Suites

1/3 7:00 PM The Schmooze- The Night Owl

1/3 8:00 PM DJ Postman- Misfit

1/3 8:30 PM DJNPG- Vapor

1/3 8:30 PM The Warped Band- Frog Alley Brewing

Sunday, January 4th

Momentum Series: Misty Blues, Caffe Lena, Saratoga Springs, 7pm-9pm

Led by the incomparable Gina Coleman—a vocalist with fire, grit, and deep emotional range—Misty Blues delivers original music inspired by Koko Taylor, Bessie Smith, Billie Holiday, and the great American blues tradition. Gina’s story is as compelling as her voice: from a dare to sing in 1990 to performing at the Williamstown Theatre Festival, NYC’s Bitter End, and recording with Charles Neville and Joe Louis Walker, she brings decades of artistry, heart, and authenticity to the stage.

From “Bar People.”

1/4 4:00 PM James Gascoyne- Artisanal Brew Works

 

The Last Conspirators Drop New Video Single “Addiction.

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The Last Conspirators Drop Brand New Video Single “Addiction” ahead of Retrospective Release.

With 2026 being the 10th Anniversary of the release of the album ‘Hold That Thought Forever’ the Last Conspirators have unleashed a brand new video single of “Addiction”. View it Here: 

Blurt Magazine hailed “Addiction“ as being a “soul/garage epic” and the band’s production company Driving Rain Musicnow offer up this new visual companion to the reissue of the song. This video production is the first “official” collaboration between the Last Conspirators founder/frontman/songwriter Tim Livingston, and guitarist/bassist/songwriter Nick Bisanz  since the Last Cons final shows of 2016.

Not only does 2026 mark ten years since this albums release, it is also the 20th Anniversary of the recording of the band’s first album  “WARPARTY”. This new video single is the precursor to a forthcoming, all encompassing, retrospective archival release that will include all four of the band’s albums, a wealth of Radio Sessions, live tracks, demos, interview excerpts extensive liner notes, photos and videos. With the working title of
“History: 2006-2016”, the collection is expected to weigh in with well over 50-tracks. More information and release date TBA.  ALL MUSIC GUIDE… calls the Last Conspirators “a powerful rock & roll band whose sound fuses old-school punk, roots rock, and heartland rock, with fierce, often politically charged lyrics on top.” BIG TAKEOVER MAGAZINE: ”If you want to know where the real songwriters in punk are this day and age, look no further”

The Last Conspirators release is only the first of a planned series of, until now, rumored releases by publisher/production Company Driving Rain Music BMI in which they have vowed  to “clean out the vaults” with not only the the Cons catalog  but also Tim’s earlier band the Morons. From 1979 to 1982 Albany NY based punk rock group the Morons wreaked havoc across the Capital Region during their day. Notorious for their rambunctious stage show and satirical social commentary this will be the first official release of the bands catalog including the singles, basement demos, videos and a plethora of rare unreleased live recordings that span all stages of the bands meteoric flash in time.The initial plan is for releasing infamous full-live performances, showcasing the band in both odd and legendary Capital Region venues. These live recordings will be available on digital platforms at 80’s “Clash” inspired budget pricing. More TBA.

For More Information:
info@drivingrainmusic.com

lastconspirators.com

Albert Lee at The Strand Theatre for Matinee Performance

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On Sunday Jan. 11, 2026 @ 3:00pm, spend an afternoon at the Strand Theatre as Albert Lee takes the stage for a special matinee performance, joined by opening act The Strand House Band!

Lee is touring the USA, Canada and England in 2025 and 2026 celebrating the release of his new album, “Lay It Down”. Recorded at the legendary Konk Studios in London. “Lay It Down” is a tribute to some of Albert’s favorite artists and biggest inspirations.

Lee is one of the most respected and renowned guitarists in music history, having worked with The Everly Brothers, Eric Clapton, Emmylou Harris and The Crickets over his long and illustrious career. The British-born country-rock artist started his career during the emerging rock ‘n’ roll scene of sixties London. He has maintained a solo career and is a noted composer and musical director.

Lee has received many awards as a guitarist, winning five consecutive times Guitar Player magazine’s “Best Country Guitarist”. Lee’s song “Country Boy” helped to redefine country guitar for a whole generation of players and was later to become a hit for multi-instrumentalist Ricky Skaggs. Come join us for a Sunday afternoon of great music!

$35/orchestra section (first 2 rows), $30/lower-level seats, $25/balcony.  Tickets are available at the Strand Box Office; cash or check only or online at Events.com.

Doors into the lobby, coffee shop and box office open at 1:30pm. For the ticketing link, please visit our website at www.mystrandtheatre.org. The Strand Theatre is located at 210 Main St, Hudson Falls, NY.

Please visit our website, Facebook or Instagram accounts for a list of upcoming events at the Strand.

 

Sonya Trevizo’s “The Education of a Musician’s Daughter”: Faith in the Silent Spaces

By BradQuan Copeland.

“Would you consider reading and writing a review of my recently published memoir entitled ‘The Education of a Musician’s Daughter?’”

That was the message I woke up to on Facebook from local author Sonya Trevizo on a chilled, cloudy November morning. I lay there in utter disbelief at the reality of the request, especially since I’d told my cousin just a week or so earlier, enveloped in the half-lucid haze of Sunday Night Football, that I hoped to evolve into a touchstone that people could consult with to edit their stories and review their work.

Lost for words at the sight of such blatant universal manifestation, I reacted instinctively with the astonished emoji before typing, “Wow! I’m honored to be asked for such a thing. Of course I will.” I then followed up with, “Have you read my reviews?”

She hadn’t yet, but after browsing my Facebook page, she identified with my perspective. She also appreciated that I was local, since she was trying to connect more deeply with the community as she promoted her memoir.

She agreed to meet up with me later that evening to provide a complimentary copy. Upon arrival, she welcomed me with a gracious, almost timeless warmth, the kind carried only by someone who has truly lived within the depths of their purest form.

Her smile engulfed me in a hushed, tranquil affection reminiscent of the tender, luminous wash that softly pearled from Monet’s canvases at his MoMA exhibit in the summer of 2022.

She invited me into her petite, character-rich, working-class abode, where a rustic and savory aroma of tomato sauce laced with a bouquet of herbs lingered in the room as CNN quietly played in the background. We exchanged a bit of friendly banter before I went on my way.

Unfolding in introspective fragments rather than dramatic climaxes, the memoir moves through emotive recollection and sensation rather than chronology. As I absorbed it, I lost myself within its carefully crafted depth, my consciousness drawn into a liminal portal where my senses recalibrated and my body fell away, as though I’d been uploaded into her inward terrain.

“The Education of a Musician’s Daughter” moves beyond the overindulgence of self-portraiture, thriving instead as a testimony of spiritual resilience, faith clenched through disillusionment, molding an identity grounded in the intimate spaces between music, family, and cultural history.

Raised as an only child, Sonya grappled with both intrapersonal and interpersonal challenges after finding herself in a foreign landscape when her father, a prominent music teacher and performer, relocated the family from New York City to Schenectady in 1957. At just eight years old, she felt futile in that new environment, flopping helplessly with the desperation of a fish out of water.

Though deeply attuned, her father’s presence was felt without display. His work required frequent travel, but she never processed his absence as loneliness. She heard him practice often; music hummed through the walls, and his love and understanding lived largely in silence. Their communication remained limited not by distance, but by her own reluctance to confide in him, though she sensed he understood her more deeply than her mother did. 

She held him as infallible, a reverence that, in retrospect, may have deepened that silence. And though her mother loved her deeply, she was quietly imprisoned within unreconciled trauma that fueled emotional volatility, forging a space where Sonya was seen, but not truly heard. “I came to understand that my mother was carrying unresolved grief,” Trevizo said. “She tried to be superhuman, and no one can live that way without breaking.”

She found refuge within the utopic confines of her imagination, accompanied by the everlasting pulse of faith, which acted as a shield as she grew beneath the dense, echoing residue of the Holocaust. “That inner world became both my shelter and my limitation,” she told me. “It protected me when reality felt unbearable, even as it kept me from coping with it directly.”

That spiritual grounding took early form through her Hebrew school teachings under her esteemed mentor, Zev Weiss, a Holocaust survivor who would later found the Holocaust Educational Foundation. At Hebrew school, she encountered the story of Joseph, whose unwavering resolve left a lasting impression on her.

As she explained to me, “I was impressed by Joseph because he was not discouraged by his overwhelming problems. Without hesitation, he forged ahead despite seemingly insurmountable obstacles. He set an example for me because I realized I had allowed myself to become overwhelmed by problems that were minuscule compared to his. I came to understand that I had a choice. Instead of letting myself be defeated by my circumstances, I could respond to them with positive action.”

That lesson was further deepened by the silent, primeval force of Zev himself. The numerical stamp branded into his arm was quietly revealed during summer months when short sleeves exposed what was never spoken of, yet never allowed to erode his sense of purpose. That reflects the enduring vigor flaring through the veins of their tight-knit community across generations, where personal faith and collective survival are insurmountably intertwined.

One reason I have always respected the Jewish community is that no matter where they were scattered throughout history, they preserved their traditions and beliefs. It is a value system Sonya internalized early and carried forward, never giving in to assimilation, gripping hold of a thin, yet sturdy thread of hope that carried her people from hateful ruin toward the promised land.

The same thread that cradled Sonya through the disillusionment of her formative years carried her into the throbbing ambition of collegiate learning. Her path, though not linear, became rich in abstraction and discovery. It was then that a cherished friend told her of a program allowing students to declare their own major, a route she had not known existed, which ignited her nonconforming biorhythms and gave her the courage to resist the traditional degree her parents and society expected of her. That revelation guided her instead toward a discipline that fully embodied the enlightenment of her pastoral essence: photography.

As I traveled through the glorious uncertainties of early adulthood alongside her, I learned that turmoil does not defile meaning. Instead, it can paint the spirit with a wisdom that emits luminous life, a truth the memoir ultimately reveals through the evolving contours of her relationship with her parents, mentors, and friends.

In turn, I reflected on my own relationship with my parents and found solace in a simple, often-overlooked truth: even as they are raising you, they are still learning too. That realization surfaces by the narrative’s end, as her mother, though never fully understanding her, finally learns to accept her. That acceptance further amplifies the quiet flame long fueled by the innate awareness of her artistic father, whose footsteps she followed while still marching to the beat of her own drum.

I encourage all existential seekers, no matter age, race, or creed, to invest in this literary work, which to me exists as a nurturing reminder of that truth, traced through the trials and transformations of Sonya’s numinous metamorphosis. Even in retirement, she still possesses the childlike impulse to ask why, an instinct that draws her ever closer to the marrow of spiritual anthropology.

Looking back, that Facebook message wasn’t just a request to review a memoir. I believe it was an opening. A life void of faith births a strange space where aimless pleasure eclipses purpose. In contrast, Sonya’s life stands as an invitation into one assiduously sculpted by faith, imagination, and endurance.

With another book in the works, Sonya leaves readers on edge as she pushes forth on her visionary quest.

Crushing It In ’26: An Interview with Johnny Gioeli

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Crushing It In ’26: An Interview with
Johnny Gioeli

By Justin Smulison

Subscribe to our YouTube Channel HERE!

Johnny Gioeli is one of the hardest-working frontmen in the international rock scene. A
native of Howard Beach, New York, Gioeli bounced around a bit once his rock career
took off in the early 1990s – first with Hardline and later as the singer for German guitar
maestro Axel Rudi Pell since 1998 and also as the singer for Crush 40, which provides
songs and soundtracks for culture-defining video games like “Sonic The Hedgehog.”
Though he most frequently tours in Europe, the UK and Asia, Gioeli is making the rare
appearance at the SuperMagFest in Maryland on Jan. 9, 2026 – like a Woodstock for
gamers – playing the songs of Crush 40.

I found Gioeli some years back as a fan of Hardline and have been following his rock
career ever since – which as you will hear in the interview, is opposite how many of his
fans find him. We spoke of the generational impact this wailing non-gamer has had on
video game fans worldwide and his continuous philosophy of gratitude to fans of all his
output.

With “Ghost Town” due from Axel Rudi Pell on March 20 and “Shout” due from Hardline
in April 2026 – both to be released via Steamhammer – we also discuss why 2026 is
poised to be one of the biggest years in Gioeli’s three-plus-decades career and the
special surprise he has in store for Crush 40 fans.

Clips:
“I Am…All of Me” – Crush 40
“Ghost Town” – Axel Rudi Pell
“Takin’ Me Down” – Hardline

Extreme Music Awards: https://extrememusicawards.com/
Listen Up Awards: https://radioradiox.com/listenupawards/listen-up-vote/

Johnny Gioeli – Bands, Tours and Social
Hardline – www.hardlinerocks.com
Axel Rudi Pell – www.axel-rudi-pell.de
Johnny Gioeli – @Crush40Johnny

supermagfest

Axel Rudi Pell – Ghost Town Tour 2026
 21.03.26 – UK London, O2 Academy Islington
 22.03.26 – UK Manchester, Academy 3
 24.03.26 – DE Berlin, Huxleys
 26.03.26 – DE Bochum, Zeche
 27.03.26 – DE Jena, F-Haus
 28.03.26 – CZ Zlín, Masters of Rock Café
 29.03.26 – DE Geiselwind, Musichall
 31.03.26 – DE Augsburg, Spectrum
 01.04.26 – DE München, Backstage
 03.04.26 – HU Budapest, Dürer Kert
 05.04.26 – DE Lindau, Club Vaudeville
 06.04.26 – CH Bern, Bierhübeli
 07.04.26 – DE Saarbrücken, Garage
 08.04.26 – DE Hamburg, Fabrik
 10.04.26 – SE Lund, Mejeriet
 11.04.26 – SE Stockholm, Debaser
 12.04.26 – SE Göteborg, Pustervik
 14.04.26 – DE Bochum, Zeche

Hardline Tour Spring 2026

Apr 17th 2026
Hyde Park – Osnabrück (DE)
Apr 18th 2026
Poppodium Boerderij – Zoetermeer (NL)
Apr 19th 2026
Het Bolwerk – Sneek (NL)
Apr 21st 2026
DVG Club – Kortrijk (BE)
Apr 22nd 2026
Turock – Essen (DE)
Apr 24th 2026
Kammgarn – Kaiserslautern (DE)
Apr 25th 2026
Rock N Eat – Lyon (FR)
Apr 26th 2026
Le Cherrydon – Marseille (FR)
Apr 28th 2026
Komplex 457 – Zürich (CH)
Apr 29th 2026
Musiktheater Rex – Bensheim (DE)
Apr 30th 2026
Backstage Halle – München (DE)
May 1st 2026
Randal Club – Bratislava (SK)
May 2nd 2026
Analog Music Hall – Budapest (HU)
May 3rd 2026
Klub Zaścianek – Krakow (PL)

May 5th 2026
Hole 44 – Berlin (DE)
May 6th 2026
Knust – Hamburg (DE)
May 8th 2026
Gebäude 9 – Köln (DE)
May 9th 2026
Colos-Saal – Aschaffenburg (DE)
Jul 29 to Aug 1
Wacken Open Air 2026 – Wacken (DE)