All posts by limelightmagazine

Exclusive first look – blindspot release new single and video

blindspot’s first single off their upcoming 2020 sophomore EP is titled “Upside Down.” Limelight Magazine has partnered with the band to preview the new music video for the song which can be viewed below.

The video is the fourth collaboration with their friends in 41st Casanova Productions. The EP will be the follow up to their self-titled debut from 2017. They also put out a single and video in 2018 titled “All I Am,” which is their most recent release before “Upside Down.”

“Upside Down” is a new twist from blindspot, exploring the sound that their fans and listeners have come to be familiar with but also bringing that sound to new sonic heights in terms of writing maturity and an increase in modern pop and alternative rock influences. 

Accompanied today’s release is a a celebratory show tonight at the Middle East Upstairs in Cambridge, MA, with Exit 18, Baabes, and Driip. 

The song has inspired the title of their fall 2019 tour to be called “The Upside Down Tour,” which kicks off October 11th in New Milford, CT. The tour will take them to the Midwest and down the East Coast and back, hitting states such as PA, IN, KY, TN, GA, FL, NC, VA, and NY. They have toured the country extensively over the last few years and have played in 28 states and counting. They will be back at the Middle East Upstairs November 2nd for a combined welcome home from tour show and Halloween bash. You can also catch them at Boston Local Music Festival in City Hall Plaza September 28th and Allston Village Street Fair September 29th before they hit the road.

They have been nominated for Rock Act of the Year and Album of the Year by The New England Music Awards for 2019 and Best in State of MA for 2018.

They were a semi-finalist in this year’s 2019 Rock and Roll Rumble hosted by Boston Emissions with Anngelle Wood.

According to Alexa Economou, lead singer of blindspot, “We are so excited to share new music with our listeners and have them finally hear what we have been working on. ‘Upside Down’ felt like the perfect new release from us because it showcases a fun and dancey side to our writing that stays true to the sound people have come to know as blindspot. The lyrics and message of the song explore the themes of human emotions and how difficult they can be to process and make sense of. People, relationships, and life itself can often be confusing and hard to understand, and the song addresses that reality in an upbeat type of way that we can all relate to by almost saying ‘Hey, that’s life.’ The video portrays the song in the perfect visual way with its emphasis on color, energy, and a willingness to take a deep breath and have some fun. We can’t wait to start incorporating this song into our live set and keep releasing all the tunes we’ve been cooking up.” 

For those who have not heard blindspot before, they are an award nominated, female-fronted alternative rock band from Boston, MA. Comprised of Economou on lead vocals and Chris Cormier on guitar and/or drums, they are influenced by artists such as U2, The Killers, Paramore, Kings of Leon, and The 1975. Their unique sound, passion, and drive make them stand out against other musicians of their age. 

Along with being nominated for Rock Act of the Year and Album of the Year in 2019 and Best Band in State of MA in 2018 by The New England Music Awards, blindspot was a semi-finalist in this year’s 2019 Rock and Roll Rumble competition hosted by Boston Emissions. They have opened for artists such as Steven Tyler of Aerosmith, Gin Blossoms, Candlebox, Plain White T’s, Buckcherry, Puddle of Mudd, Scott Weiland of Stone Temple Pilots, Cherie Currie of The Runaways, Finger Eleven, and Fuel. They are constantly striving to gain as much exposure as possible in order to expand their fan base and spread the word about their music. Look out for them because they want to change the world.


twitter/instagram: @blindspot_music

The Cassette Chronicles – Saraya’s self-titled debut


The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.


 When I first started looking up information for the self-titled debut album from Saraya, I was surprised to see that some of the push on the band’s behalf included promoting them as a female-fronted version of Bon Jovi.

I don’t know if that is entirely true or not, but if so I don’t think it served to help the band in the least. They just didn’t seem to be even close to the level that Bon Jovi was on at that time. I’m talking song quality, etc.

Now, don’t take that for saying that I think the music is bad. Quite the contrary actually. But I know that I only barely remember the band myself so it isn’t like these songs have that “timeless” quality to them that makes you hum them decades later like “You Give Love a Bad Name” or “Living on a Prayer”.

Though I didn’t buy this album when it came out, I remember the song (and accompanying video) for the lead track “Love Has Taken Its Toll”. However, I thought that would be it for me in terms of recognizing any of the material on this album. So you can imagine how happy I was to realize that the songs “Gypsy Child” and “Back To The Bullet” were also songs I remembered. I can’t offer an explanation as to why I know the songs but as they played while I was listening to the album in order to write this article, I could sing the lyrics in my head right along with singer Sandy Saraya.

With “Love Has Taken Its Toll” kicking the album off, I’d hoped for a nice run of rocking songs but the very next song on Side One of the album was “Healing Touch” and I just could not get into it at all. I thought it kind of squandered whatever momentum the first song had built up in my mind.

All was not lost though. The last three songs on Side One are all pretty darn good. There’s the aforementioned “Gypsy Child” but the closing track, “One Night Away” rocks pretty hard too. As for “Get U Ready”, I thought the band was their most aggressive sounding on the number. The vocal take was more aggressively performed and I thought that Sandi Saraya going that way made the song that much better.

The majority of the songwriting featured Saraya, guitarist Tony “Bruno” Rey and keyboardist Greg Munier but Sandy Linzer received a co-write credit on 8 of the 11 songs on the album. He also executive produced the band. When I looked up information about him, he’s been a pretty active songwriter since the the 1960’s, even if it wasn’t in the more rock or metal driven arenas.

But whatever the collaboration between them all, the second side of the album continued to bring about some really strong songs for me to listen to. There was a soft opening with Munier’s “Alsace Lorraine” instrumental but that song fed directly into “Runnin’ Out of Time” which was another fast paced rocker that really catches your ear. After the “Back To The Bullet” song you had the song “Fire To Burn” and that was a damn fine listen as well.

You’ll note that I’ve yet to discuss any songs that would be classified as a ballad. This would be down to the fact that the band really hadn’t put one on the album’s running order to this point. That changed with the song “St. Christopher’s Medal” and I kind of wished it hadn’t. There’s nothing to see or hear with this track and I was rather glad when the song faded to black. The last track “Drop The Bomb” finished off the album in a more rocking style and for that I’m pretty glad.

I actually listened to this album at work and my co-worker that hates everything I play was somewhat complimentary towards this album. He said he’s heard far worse (I did say SOMEWHAT) and thought Sandi Saraya reminded him of Pat Benatar with Tony Rey’s guitar had him thinking Rick Derringer.

For me, my prior knowledge of the band’s music was very limited. I’ve found that my ignoring of the album 30 years ago was a mistake because they actually had some real quality music for rock and metal fans. Whether they are all that well remembered now is besides the point for me. Saraya put out a really good album and I wish I hadn’t been so clueless back then.

NOTES OF INTEREST: The band would go on to release one more album, 1991’s When The Blackbird Sings, before breaking up. They also had the song “Timeless Love” on the soundtrack to the Wes Craven movie Shocker. That track does not appear on either of their albums. There was an attempt to put on a reunion show at a British rock festival in 2010 but it didn’t end up happening.

Most of the band seems to be out of the music business these days, but Tony “Bruno” Rey has gone on to work with acts like Joan Jett, Enrique Iglesias and Rihanna. He was also a part of Danger Danger in 1988 – 1989 and appeared on a number of tracks on their first album.

Keyboardist Greg Munier appeared on the band’s second album but left the band over the direction the music was taken. Sadly, he passed away in 2006.



The Cassette Chronicles – Wang Chung’s ‘Points on the Curve’


The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.


As it is stated in the heading of this series, the music I write about for The Cassette Chronicles covers the rock, pop and metal genres. Of course, it is plainly easy to figure out that the majority of the articles really focus on rock and metal. But I do like to throw in a pure pop music album every so often, just to keep me and everyone else on their toes. And that’s part of the reason for how this week’s article came to be about Wang Chung.

Back in the days when American Top 40 was my musical bible, the Sunday morning countdown was the be all, end all of the week for me. And Wang Chung played a part in that with the songs “Dance Hall Days” and “Everybody Have Fun Tonight”. I remember those songs well and still hear them somewhat regularly on the radio station that I listen to at work.

That radio station and a co-worker are a secondary reason for why I picked up this album on cassette when I had the chance. That co-worker is a huge blues and jazz fan and every time I play something at work that is rock or metal, he hates it. His reaction to the band Nightwish was like he had a peanut allergy or something.

Oddly enough though, when he was first hired and our musical preferences had been established, we were listening to the station and “Dance Hall Days” and he simply stated that he really liked the song. This kind of blew my mind since it wasn’t jazz or blues. Even though I like the song, I just wasn’t expecting his positive reaction. And then he heard “Everybody Have Fun Tonight” (from the album Mosaic, which may be a future article in this series) and raved about that one too. This made me even more assured of buying the albums when I had the chance so that he could hear them at work and I wouldn’t have to listen to his whining about the music I picked. So yaaay to Wang Chung on that front.

The funny thing is that while researching this album, I discovered that they actually had five Top 40 hits in their heyday. But since I never bought any of the albums back in the day, the two previously mentioned songs are quite honestly the only ones I actually remember. So this meant I would have no preconceptions about Points on the Curve since I only knew about “Dance Hall Days”.

What I learned is that while others might really enjoy the group’s music, besides the hit singles I know, Wang Chung had some songs I was surprised to find myself enjoying and then a whole bunch of other material that just left me cold. The album opens with “Dance Hall Days” and I learned that this was a second version of the song. The track had been originally released as a single in 1982 and the band re-recorded it for this album. And I still really dig the song. It was the most successful of the four singles released from this album. The song “Wait” featured a jaunty little uptempo and quite intriguing musical soundtrack. I will say that I thought “Don’t Let Go” was pretty darn good song as well. However, “Don’t Be My Enemy” was a song that I found wanting for something more.

As for the album tracks on Side One, “True Love” came off a bit too strident in the vocal area for me. As for “The Waves” and “Look At Me Now”, I just wanted to get through them and move on to Side Two.

As I said, I liked “Don’t Let Go” and didn’t care for “Don’t Be My Enemy”, but sadly the other three tracks on this side all fell into the “Dislike” category for me. While “Even If You Dream” and “Talk It Out” were songs that just didn’t appeal to me, “Devoted Friends” just seemed to drag endlessly on ad infinitum.

Now I realize that pop music, even during the era when I was actually listening to it, may not be my area of even the slightest level of expertise for me. That said, for me Points On The Curve kind of amply demonstrates why I’m (with notable exceptions) more of a singles kind of listener these days when it comes to 80’s pop.

NOTES OF INTEREST: This was the band’s second album, but the first released as “Wang Chung”. Their original name was “Huang Chung”, which served as the title of their first album as well. Despite the pronunciation being the same, they reportedly changed the spelling of the name because fans were pronouncing it “Hung Chung”.

While their have been other band members in the group over the years, the mainstays of Wang Chung have been singer/guitarist Jack Hues and guitarist Nick Feldman. The group split up in 1990 but got back together in 1997. During the separation, Feldman formed the group Promised Land with Culture Club’s Jon Moss. They released a self-titled album in 1992. Jack Hues did a one off project with Tony Banks from Genesis called Strictly Inc. and they released a self-titled album in 1995.

Wang Chung is still active to this day and are featured on this summer’s Lost ’80s Live 2019 tour. [The co-publisher of Limelight Magazine attended their concert at The Theatre at Grand Prairie in Texas last weekend and said they were one of the best live acts on the bill.]

The song “Don’t Let Go” was used in the video game Grand Theft Auto: Vice City Stories.

Justin Hayward, Vanilla Fudge and Uli Jon Roth headed to the Narrows Center

If you like classic rock music, JKB Entertainment Group has three upcoming shows at the Narrows Center in Fall River, MA, including The Moody Blues’ Justin Hayward on Oct. 9th, Vanilla Fudge on Nov. 16th, and original Scorpions guitarist Uli Jon Roth on May 19th. Tickets for these shows can be purchased through the venue’s website by clicking HERE.

Justin Hayward is best known as The Moody Blues’ vocalist and guitarist and has also enjoyed success with solo projects. He’s penned the timeless classics “Nights In White Satin,” “Tuesday Afternoon,” “The Voice” and “Your Wildest Dreams” and sold over 55 million albums with The Moody Blues who were inducted into the Rock and Roll Hall of Fame last year. Special guest Mike Dawes will open the show as well as play lead guitar for Hayward’s touring band. Purchase tickets HERE.

Psychedelic rock supergroup Vanilla Fudge have influenced a generation of musicians while creating a legion of loyal fans and still feature original members guitarist Vinnie Martell, keyboardist/vocalist Mark Stein, and drummer Carmine Appice, along with Pete Bremy on bass (filling in for the retired Tim Bogert). They create a sound so unique that it cannot be imitated. The Fudge hit big with “You Keep Me Hangin’ On,” “Take Me For A While” and “Season Of The Witch.” Your spirit will jettison right back to a “happening” in that magical summer of 1967, and this “happening” needs to be felt live to truly be appreciated! Purchase tickets HERE.

The musical career of guitar virtuoso Uli Jon Roth spans an amazing five decades. As an artist, Uli is a phenomenon and his unique set of artistic talents has gained him an international reputation as a musical visionary and innovator early on in his career. Having not only explored the world of rock music with the Scorpions and written symphonies for orchestras, Roth has recently come full circle to re-connect with his roots. He is delighted to bring his “Interstellar Sky Guitar” tour to the Narrows Center on May 19th. Purchase tickets HERE.

The Narrows Center is located at 16 Anawan Street in Fall River, Mass. Tickets to this show can be purchased online at or by calling the box office at 508-324-1926. For those wanting to purchase tickets in person, box office hours are Wednesday through Saturday, 12 noon to 5 p.m.

The Cassette Chronicles – Styx’s ‘Edge of the Century’


The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.


While I would go on to discover the earlier music (and hits) from Styx over the ensuing years, I’m one of those people who first became aware of the band because of the song “Mr. Roboto”. This is not something I’d bring up first upon meeting the current lineup of the band, but I was 12 or so when I first hear that song and much like the rest of the listening audience that made the song a major hit, I was all about that song. Not the album it came from mind you, just the song.

But as I said, the passage of years made me a much bigger fan of their most successful period of chart hit music. Until now, I’ve never really dug into the band’s music from 1990 onward. Call it willful ignorance or just the fact of only having so much time, but there it is.

After the success of the Kilroy Was Here album in 1983, guitarist Tommy Shaw departed the band in 1984 and for about a five year period various members of Styx set about releasing solo music to varying degrees of success. But they got back together as a unit and ended up with Edge of the Century coming out in 1990. The lineup was missing Tommy Shaw who was at the time part of Damn Yankees, the band he formed with Jack Blades from Night Ranger and Ted Nugent. In his stead, guitarist/vocalist Glen Burtnik was brought in as his replacement.

The band’s 12th album featured three singles with the ballad “Show Me The Way” being the most successful as it hit #3 on the charts. The album itself would be certified gold. But given the nature of the struggle the band faced between balancing the more hard rock style versus the pop ballads, I was curious to see what I thought of the album nearly thirty years down the road.

Well, I can say that the album’s first side was somewhat of a shock to the system for me. Despite it’s hit single status, I found “Show Me The Way” more than a bit offputting. I suppose given the pop radio aspirations Dennis DeYoung (who produced the album) had for the band’s music the song was fine but if I’d heard it upon its release in 1990, I would’ve been turned off to it. Much like the other Side One songs “Love At First Sight” (which hit #25 on the singles chart) and “All In Day’s Work”, the song came off as souless and calculated to me. I’m not opposed to hitting the singles chart with songs but the sappier the material, the less interest I have in it. And “sappy” was the name of the game on these three songs.

That said, the album’s third single was “Love Is The Ritual” and it served as the opening track for Edge of The Century. It started off a bit too “poppy” for me but once the music kicked in with some more rocking sounds, the track became far more interesting and I ended up quite enjoying the song.

As for the title track, that song is just flat out fantastic! A full-on rocker from start to finish with some really great guitar work enhancing everything about the song.

My disappointment with the first side left me a little wary of what Side Two would contain. I didn’t hold much hope for a whole lot of material to write good things about. But as the saying goes, “that’s why you play the games”. Or in music terms, why you actually listen to the entire album. The second side of the album is just GREAT!

The side opens with two pure rockers in “Not Dead Yet” and “World Tonite”. Besides the more obvious uptempo pacing to the music, the vocal takes/delivery on both songs is top notch. I’d venture to say that I’d hold these two songs up as the best tracks for me on the release. Throw in another rocking track in “Homewrecker” and you’ve got a killer triumvirate of fiery sounding rock and roll.

But things don’t stop there. The second side of the album has two ballad type songs on it. I know you are thinking that I’m going to dump all over them but surprisingly that is not the case. Instead I really enjoyed the songs “Carrie Ann” and “Back To Chicago”. While the softer nature of both songs are obvious, what made them winners in my opinion was the band did a far stronger job of balancing both sides of their sound. There’s the right mix of the ballad and some rock and roll on each song to make it a complete whole. That’s what I always hope for whenever any artist decides to do a ballad, that they don’t forget their rocking side in the quest for a song that people will now hold up their lit cellphones to.

The odd thing about writing about this album is that I’m pretty sure this is the first Styx album I’ve ever actually owned. Thinking off all their best loved releases and I have none of them made me realize I need to rectify this situation. I’m definitely not sold on the stridently commercial ballads on the album’s first side but given how much I loved everything on Side Two, Edge of the Century definitely piqued my interest for the band’s latter-days material!

NOTES OF INTEREST: This was the only album recorded by the lineup of Dennis DeYoung, James “J.Y.” Young, Glen Burtnik, John Panozzo and Chuck Panozzo.

While guitarist Young is still with Styx full-time to this day, bassist Chuck Panozzo has toured with the band on a part time basis due to various health issues (Ricky Phillips has been the full-time bassist for Styx since 2003). Dennis DeYoung has been out of the band since 1999 and recently has been on a 40th Anniversary tour for the Styx album The Grand Illusion.

Sadly, drummer John Panozzo died in 1996. The band paid tribute to him on their 1999 live album Return To Paradise with one of the three studio tracks included on the release. It was called “Dear John” and it was written by the returned Tommy Shaw.

Glen Burtnik was out of the band in 1991 and when the band reunited in 1995, Tommy Shaw had come back. But he was brought back to be the band’s bassist from 1999-2003 and recorded the album Cyclorama with them. He also appeared on three live releases during his second run with the band.

As for the current incarnation of Styx, they are still active and out on tour. In 2017 they released a critically acclaimed album called The Mission.

The Cassette Chonicles – Keel’s ‘The Final Frontier’


The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s and 1990’s. The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from this time period through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums. These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.


It was just about a month ago when I wrote about the 1987 self-titled Keel album. I found myself surprisingly taken with the album. After the article was posted and I had promoted it around the Internet, the majority of the feedback that I saw tended to mention that the reader recommended the band’s album The Final Frontier as well.

As luck would have it, I had the album in The Big Box of Cassettes so I decided to check it out and let those who had recommended it know what I thought. I need to mention that much like the Keel album, my copy of The Final Frontier played well enough for me to listen and write this article but I do plan to upgrade to a CD version as soon as I can.

The album was Keel’s third release and the second in a row to feature Gene Simmons as the producer (after 1985’s The Right To Rock). The album’s title track led off the release and in all honesty, I was kind of underwhelmed by it. There was just something that seemed to be missing that would’ve led to capturing my imagination. I could probably safely say the same about the song “Hear Today, Gone Tomorrow” as well.

But the other three songs are actually quite musically endearing! “Rock and Roll Animal” kicked up the energy level with the song infused by some quite notable guitar work, particularly the solo. The lyrics reminded me of that time in the mid-to-late 1980’s when I was still able to delude myself into thinking I was ever going to be some kind of rock god. Spoiler alert: That didn’t happen! But it sure is nice to get that kind of buzz from a song these days.

The band’s cover of the Patti Smith Group’s song “Because The Night” (co-written by Smith and Bruce Springsteen) was actually quite good. The radio station I have to listen to at work plays the original version and I’m always kind of energized when they do. Keel does up the more rocking nature of the music but I still found it to be a great version, one that makes the song their own while still maintaining a kind of faithful nod to that original version of the song.

I think Keel had an unintentional notion towards saving the best for last because my two favorite songs on the album are sequenced as the last song on each side of the album. Side One’s closing number is “Arm and a Leg”, a rip-roaring rocker that goes for the throat from the first note and shines an extended spotlight on the guitar playing from Bryan Jay and Marc Ferrari.

The second side of The Final Frontier breaks out at the start with a huge anthemic rocker in “Raised On Rock”. I thought the vocals on this song really set it up to be one of the better tracks on the release. With the song “Just Another Girl”, I thought there was the potential for the song to go off the rails but with a surprisingly strong chorus, the song really came together nicely. I wish I could say the same for the album’s ballad / power ballad type song “Tears of Fire”. I just didn’t care for it.

The light touch instrumental “Nightfall” gives listeners a brief respite before leading directly into the album’s closing track “No Pain No Gain”. As I said with “Arm and a Leg”, the band saved the best for last because the song is all fiery attitude and a blazing killer sound. I can’t quite make up my mind as to which of the two “last” songs I like best but both are just fantastic.

I don’t always take feedback suggestions from those who read the articles but I’m kind of glad that I did listen when it comes to The Final Frontier. One of those people who suggested I check out the album was my friend Jeff from Georgia. He and the others that said the same thing as him definitely didn’t steer me wrong. While I probably still prefer the Keel album just a bit more, The Final Frontier showcases Keel in the finest light and again makes me wish I hadn’t taken thirty plus years to actually “discover” them.

NOTES OF INTEREST: The information of the Wikipedia page for this album lists the title track as being co-written by Greg Chaisson, the brother of Keel’s bassist at the time Kenny Chaisson. Greg would go on to become the bassist for Badlands whose debut album I wrote about just last week.

The Final Frontier album had a number of guest appearances. Black ‘N Blue vocalist Jaime St. James did backing vocals on “Rock and Roll Animal”, House of Lords keyboardist Greg Giuffria did the same for “No Pain No Gain” and Michael Des Barres sang on “Raised on Rock”, which also featured Joan Jett on rhythm guitar.




Ninet Tayeb ‘blessed and honored’ to open for The Zombies


When The Zombies perform a sold out show at the Narrows Center for the Arts in Fall River, MA, on August 27th, the audience will be in for a special treat. Israeli singer-songwriter and actress Ninet Tayeb will open the show for the Rock and Roll Hall of Famers.

While Tayeb is arguably one of the biggest entertainment figures in her native country, she has been building a name for herself in the music industry since relocating to Los Angeles in July 2016. Progressive rock fans may know her from her duets with Steven Wilson (of Porcupine Tree), but she also has recorded five solo albums. Last fall, Tayeb recorded a powerful new song called “Self-Destructive Mind,” and she recently released a beautiful rendition of a Joni Mitchell’s classic song “Woodstock” in celebration of the Woodstock Festival’s 50th anniversary.

As Tayeb is in the midst of rehearsing for her upcoming East Coast tour, she took some time out of her busy schedule to chat with Limelight Magazine to discuss her move to Los Angeles, collaborating with Steven Wilson, coping with anxiety and how she’s chosen to blaze her own path as a female musician, among other things.

LIMELIGHT MAGAZINE: Next month, you will be performing select dates with The Zombies, including a show we booked at the Narrows Center in Fall River, MA, on August 27th. How do you feel about opening for such a legendary band who were just inducted into the Rock and Roll Hall of Fame?

NINET TAYEB: I feel privileged to have a tour with The Zombies! They are such a great and important band. I’ve heard so much about their live shows and I actually can’t wait to hear them playing live. I’m sure I can learn so much. I feel blessed and honored.

LIMELIGHT MAGAZINE: For this show, you will be performing as a trio. Who are the two other musicians joining you? Why did you select them for this tour?

NINET TAYEB: The two musicians with me on this tour are Joseph E-Shine. He’s the MD of this show and the bass guitar player. And Yotam Weiss, my drummer. He will be performing on percussion. We thought to have a special arrangement for this specific tour.

LIMELIGHT MAGAZINE: You’ve recorded five solo albums. How do you go about selecting songs for your set list?

NINET TAYEB: It’s actually both fun and frustrating as we have so much we want to share with the audience:) We build it so it will represent our style.

LIMELIGHT MAGAZINE: I was introduced to your music through your work with Steven Wilson. How did you end up collaborating with him? How do you best describe your musical partnership?

NINET TAYEB: Steven is an amazing musician and I owe him so much. He saw me playing many years ago and then after a while he sent me a song of his that’s called Routine, I’ve recorded this one and sent it back to him, his reply was “ok, I’m sending you three more songs” 🙂

And that was the beginning of a remarkable journey we both share till this day. He is a true artist and that’s what I love the most about him, constantly changing and evolving.

LIMELIGHT MAGAZINE: Are there plans to perform any songs from your work with Steve Wilson on this tour?


LIMELIGHT MAGAZINE: Last fall, you released a powerful new song called “Self-Destructive Mind.” I’ve read the song was influenced by your decision to leave your native country of Israel and relocate to Los Angeles, CA, as well as your struggles coping with anxiety. Can you elaborate more on the meaning of this song?

NINET TAYEB:  Well, the song came to me while I was sitting in my balcony in LA, staring at the moon. It was two years after leaving my home in Israel and I suddenly realized what it means. The loneliness and despair that can come out of this kind of situation, the compassion and hope towards the future and everything in between. And yes, I’ve suffered from panic attacks. They show up out of nowhere with no warning signs and all you can do is cover your head under the blanket or write a song, in that moment, that’s what I chose.

LIMELIGHT MAGAZINE: The video for “Self-Destructive Mind” was directed by your husband, Joseph E. Shine. The video made the song come to life visually. Did you have any input on the video or did you leave everything up to your husband?

NINET TAYEB: Of course, I had input. We thought about it together and decided that was the best way to deliver a vision for the audio.

LIMELIGHT MAGAZINE: This song is also the first single from your forthcoming solo album. How far along are you in the recording process? When do you expect it to be released?

NINET TAYEB: The new album will be released in the beginning of next year.

LIMELIGHT MAGAZINE: Several studies show that women face difficulties breaking into the music business. You’ve chosen to blaze your own path. What would your advice be to aspiring female musicians who are looking to pursue a career in the music industry?

NINET TAYEB: Don’t listen to studies because few months from now you will hear about another study that says the exact opposite.

Women are powerful, period. To have a successful career is something that takes time, effort and devotion, and of course, talent. I can give you a long list of a VERY successful badass musicians, females who are out there playing and spreading their magic. It’s all a matter of perspective and the way you choose to look at things.

I don’t think we compete with men or are trying to overshadow them, we play together, all kinds, all genders.

LIMELIGHT MAGAZINE: Your music career has had number of noteworthy accomplishments, especially in Israel. What has been the personal highlight of your career so far?

NINET TAYEB: My highlight has not arrived yet.

MAGAZINE: Lastly, for many people coming to see you open for The Zombies, this will be their first time seeing you perform live. What do you hope they take away from your performance?

NINET TAYEB: That’s a very good and scary question! I really hope they will not regret;)

For more information about Tayeb, visit her website by clicking HERE.