Check out this photo essay of Winger’s performance at the Vault Music Hall in New Bedford, MA, on May 5, 2022, with special guest Iron Tiger. This concert was presented by JKB Management and Booking. All photos taken by Rick Farrell, Mojo Photography.
Check out this photo essay of The Zombies’ performance at the Narrows Center in Fall River, MA, on May 1, 2022, with special guest Jesse Lynn Madera. This concert was presented by JKB Management and Booking. All photos taken by Rick Farrell, Mojo Photography.
Check out this photo essay of The English Beat’s performance at the Narrows Center in Fall River, MA, on April 1, 2022. This concert was presented by JKB Management and Booking. All photos taken by Rick Farrell, Mojo Photography.
Former Scorpions and UFO guitarist, Michael Schenker, is celebrating his 50th anniversary as a touring artist with a date at the Vault Music Hall in New Bedford, MA, on October 19, 2022. It is one of the smallest venues he is playing on this tour and there is no opening act for this show. Purchase tickets HERE.
Michael Schenker Group (MSG) is a legendary name. After two phenomenal records under the guise of Michael Schenker Fest, a true guitar hero is returning to his roots. By forming Michael Schenker Group (MSG) back in 1979, Michael Schenker laid the foundations for one of hard rock’s most glorious solo careers. And while nobody expected anything less from a former guitarist for Scorpions and UFO, it’s close to impossible mentioning everything Michael has built over the past 50 years, or the countless people he influenced or played with. This, truly, is the stuff that hard rocking myths are made of.
Very few guitarists can be cited as a primary influence for the likes of James Hetfield, Kirk Hammett, Dave Mustaine, Dimebag Darrell, Slash or Kerry King. However, to understand Michael Schenker means to understand one primary thing: he’s not here to be worshipped or adored, he’s not here to get rich, he’s here to play. And he’s doing it with the same swagger, verve and dizzying artistry as always.
The Vault Music Hall is located at 791 Purchase Street in New Bedford, MA. Street parking is available for free.
By CHRISTOHPER TREACY
Don Felder is excited.
He’s excited to get back to touring, excited to show off his band, and excited to deliver a set chock full of Eagles songs he knows we want to hear.
And those are the topics he was eager to discuss when we spoke with him on a recent call from his California digs. The celebrated former Eagles lead guitarist and co-writer, oft-recognized for his use of a double-neck Gibson EDS-1275, has released two solo albums in the past decade, the most recent being 2019’s star-studded American Rock and Roll. But his 2022 tour dates, including his stop at the Narrows Center for the Arts in Fall River, MA, on Tuesday, March 1, will revolve around his 27-year tenure with the Eagles. [Purchase tickets to the show HERE].
He’s excited for the crowd-pleasing.
“I always do at least two solo songs every night, for those people that want to hear them, and I mix those up from show to show,” he said. “But the majority of the people in my audience are probably over a certain age… some of them know some of my solo material and some don’t. I would rather err on the side of making people really happy and ensure that they’ll enjoy the show because they’re familiar with most of the songs.”
Felder, now 74, admits to being flattered by fans that have clamored for deeper cuts from the Heavy Metal soundtrack and his 1983 solo album Airborne, but he has recently surveyed ticket holders for their top ten setlist choices via a contest on his website. One would assume that his 2022 sets will be based on the results – Eagles, it is.
Despite this, he’s quick to acknowledge the satisfaction of writing and recording on his own. Truth is, when he joined the Eagles, during the recording of 1974’s On the Border, he’d already learned quite a bit about making records from earlier periods spent working in recording studios. But the band dynamic kept him relegated to a specific space. Nonetheless, Felder either sang or played on many of the group’s best-known songs, and his co-writing credits include “Hotel California” and “Victim of Love.”
“I would write between twelve and fifteen ideas—song beds, I call them—for each Eagles album, and I’d submit those, and they’d pick a couple. That’s really how that team worked, where I provided musical ideas and then we’d develop them. Some of my music that was discarded I got to use later on. I wrote this one song, the working title was “You’re Really High, Aren’t You?” We cut it as a great hard rocking track for The Long Run. But we were just at a point where we already running late. We had to get out of the studio and go on the road, so it never got finished. Eventually, that became “Heavy Metal.”
“I’ve gone back and listened to that stuff and have reworked some more of it,” he continued. “The title song from my album Road to Forever was another one that I’d recorded and submitted to Don (Henley) and Glenn (Frey), and they just didn’t think it was really, you know, Eagles material. So, if they weren’t into it, it just didn’t happen. Now I can go in and record anything I want. I have my own first class, top notch recording studio. And I do that all the time, I go in there with an idea, I fire it up and record some guitar parts and immediately start working on putting together a piece of music. If I like it and I release it, then I hope other people like it too. If I don’t like it, then it goes to digital heaven.”
Felder built his home studio over 40 years ago, prior to the digital recording revolution. It’s safe to say that he’s versed in current technological trends, but he takes pride in having cut his teeth at a time when there were fewer tricks available to artificially sweeten records.
“Our producer and engineer Bill Szymczyk used to say that if you can’t make a record with the 24 available tracks, you’re in the wrong business. You had to be able to play on time and sing in tune. You know what there was before Pro Tools, right? There were pros. They didn’t need the tools.”
Felder’s current band meets his stringent glove test, and his enthusiasm about delivering an unabashedly Eagles-centric show is unstoppable.
“Everybody plays and sings remarkably well,” he said. “I think they all have scars on their back from me cracking the whip on them to be able to play these songs impeccably… because I want it to be tight. I don’t want to go out and have mistakes, but these guys are on top of it. And so we take pride in how well we present these classic songs because it’s important to me that if I’m going to do a show like this, I have great people with me and we present audiences with a likeable, affable evening. Audiences enjoy these songs so much and feel like they can reach out to touch something they’ve been listening to for the last 40 or 45 years—here it is, live in front of them… and at a very affordable price! It makes me super happy to be able to do that and be back out playing live after this year and a half of just solitary confinement.”
The Narrows Center is located at 16 Anawan Street in Fall River, MA. Tickets to this can be purchased online at narrowscenter.org 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.
If you enjoy great music, JKB Entertainment Group/Limelight Magazine is presenting three upcoming shows at the Narrows Center in Fall River, MA, including former Eagles guitarist Don Felder on March 1st, The English Beat on April 1st and The Zombies on May 1st. Read more about each show below. Tickets can be purchased at narrowscenter.org. [A direct link to purchase tickets to each artist appears at the end of each paragraph about them].
DON FELDER [MARCH 1, 2022]
Don Felder is a legendary singer-songwriter, a 1998 inductee into the Rock & Roll Hall of Fame with the Eagles, a New York Times best-selling author, and a true American rock and roll guitar hero. Felder spent 27 years with The Eagles who own the fine distinction of recording the top-selling album of all time – Their Greatest Hits (1971-1975) – which has sold over 38 million copies (and counting). He co-wrote some of the band’s biggest hits, including “Hotel California” and “Victim of Love,” and became a New York Times best selling author with his autobiography Heaven and Hell: My Life in The Eagles (1974-2001). His iconic double necked guitar was featured in the Metropolitan Museum of Art’s Play It Loudexhibit in May 2019 – the first major exhibition in an art museum dedicated entirely to the iconic instruments of rock and roll – and is currently on display in the Rock & Roll Hall of Fame’s exhibit of the same name. He was inaugurated into the Musicians Hall of Fame and Museum in Nashville in 2016, and the Florida Artists Hall of Fame in 2017. His most recent solo album American Rock ‘N’ Roll (BMG) was released on April 5, 2019. For this show, Felder will perform the hits he co-penned with the Eagles or performed for 27 years with them. Purchase tickets HERE.
THE ENGLISH BEAT [APRIL 1, 2022]
Founded in 1979 by Dave Wakeling, The English Beat is a band with an energetic mix of musical styles and a sound like no other. Their infectious sound, which crosses fluidly between ska, soul, reggae, punk and rock, has allowed them to endure for four decades and appeal to fans of all ages all over the world. Throughout their career, The English Beat has scored multi-platinum record sales, sold out shows and, most importantly, universal fan approval because they kept “The Beat” alive. The English Beat is still lead by Wakeling with an amazing all-star ska backing band that will play all their signature tunes, such as “Mirror in the Bathroom,” “Save It For Later,” “Can’t Get Used to Losing You,” “Hands Off, She’s Mine,” and “I Confess,” as well as some covers and songs from their 2016 album Here We Go Love, the band’s first new release since 1982’s Special Beat Service. Purchase tickets HERE.
THE ZOMBIES [MAY 1, 2022]
The Zombies scored U.S. hits in the mid- and late-1960s with “Time of the Season,” “She’s Not There,” and “Tell Her No.” Their 1968 album Odessey & Oracle is ranked 100 on Rolling Stone magazine’s list of the 500 Greatest Albums of All Time. The band’s live performances, described by Rolling Stone as “absolutely triumphant,” take fans on a journey through time, from their early hits…their 1968 masterpiece Odessey & Oracle…post-Zombies solo favorites such as Argent’s “Hold Your Head Up”…right to today with “Still Got That Hunger.” The Zombies are also cited as being one of the most influential UK pop/rock bands of all time. Billy Joel, Paul Weller, and the band Badly Drawn Boy are just some of the artists that have been influenced by The Zombies. Aside from The Beatles and perhaps The Beach Boys, no mid-’60s rock group wrote melodies as gorgeous as those of The Zombies. Purchase tickets HERE.
The Narrows Center is located at 16 Anawan Street in Fall River, Mass. Tickets to these shows can be purchased online at narrowscenter.org 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.
Thanks to comedian Will Ferrell, former Blue Öyster Cult drummer Albert Bouchard’s liberal use of cowbell on the band’s FM staple, “(Don’t Fear) the Reaper” might be what goes down in the music history books as his defining rock and roll moment. But Blue Öyster Cult is much more than the butt of a joke or a couple of tunes in the classic rock canon, and Bouchard’s imagination stretches well beyond the percussive stroke of genius that propels one of their biggest hits.*
Hardcore BÖC enthusiasts have long been aware of a collection of scripts and poems written by collaborator/manager Sandy Pearlman over fifty years back, entitled The Soft Doctrines of Imaginos—a secret history of the two World Wars. Think of it like a battling good-and-evil story that merges historical facts and far-flung fiction with gothic imagery, horror, elements of fairytale, and Lovecraft-inspired sci-fi.
For those that don’t know, Pearlman wrote or co-wrote many BÖC songs and often served as a co-producer on their albums. Blue Öyster Cult had utilized fragments of Pearlman’s Imaginos storyline for songs scattered throughout their first four albums, but they lacked context, so those tracks carried an added layer of mystery that intrigued listeners looking to decipher meaning from the band’s music. The song “Blue Öyster Cult”—which could be considered their defining moment—appears on the Imaginos album, which finally surfaced in 1988.
But by the time of its release, Imaginos had gone through multiple unplanned revisions. Originally begun seven years prior in 1981, the recording and release of the ambitious concept album were fraught with complications.
In the first place, it was Bouchard who’d championed the idea of developing a rock opera around Pearlman’s storyline, but he’d been officially fired from BÖC in 1981. He then planned to release the project under his name, having inked a solo deal with CBS/Columbia. But by 1984 it was clear that the label was no longer interested. Given that they owned the existing recordings, Imaginos was then reconfigured—without Bouchard’s input—as a Blue Öyster Cult album, which eventually saw the light of day four years later. In the interim, BÖC had disbanded and reformed. By that time, Aldo Nova, Joe Satriani, and The Doors’ Robby Kreiger had all played on the album and Bouchard’s lead vocals had been completely removed.
Even after all the revisions, and despite a fair amount of critical accolades, Imaginos didn’t sell particularly well. But BÖC fans knew that it had been planned as a trilogy and, in the nearly thirty-five years since its release, they’ve continually clamored for the rest of the story to materialize.
Now Bouchard is seeing it all the way through. He recorded a mostly acoustic version of Imaginos, entitled Re-Imaginos, and released it in November 2020. Then, in October of 2021, Imaginos II: Bombs Over Germany was released, featuring Buck Dharma and Eric Bloom from BÖC. Bouchard has since begun writing the third installment—the working title is Imaginos III: Mutant Reformation—which he hopes to release in 2023. And on Saturday, January 15 at the Narrows Center for the Arts in Fall River, he will perform Imaginos for the first time, in its entirety, along with selections from Imaginos II and some BÖC favorites. Paul Bielatowicz, of Carl Palmer’s ELP Legacy will open the show with an abridged version of his Nosferatu score. Purchase tickets HERE.
To say it’s been a journey doesn’t really capture the winding path that Bouchard has walked to get to this point. He recently spoke with us at length from his Manhattan apartment about the process of coming full circle with this creative labor of love.
Limelight Magazine: What about this story holds so much fascination for you?
Albert Bouchard: It’s just a classic story. Maybe it’s a bit like Homer’s The Odyssey. It focuses on this person who travels through space and time and certain things happen to him and other things he makes happen and… all that kind of stuff. The original Imaginos is his origin story. And then the second episode, this last one I just put together, is where all the bad stuff starts happening. It’s the dark Empire Strikes Back part of the story.
LM: Was Star Wars inspiring?
AB: I first started visualizing the story as a whole when I was watching Star Wars, so, yes, definitely. I was also reading a book by Joseph Campbell… something about the gods and how these various myths just seem to continue playing out and how, as stories and reflections of our own experiences, they just never get old. Rather, they just keep getting retold but dressed in slightly different clothing. When I talked to Sandy about it back then he said that’s exactly right, that Campbell truly understood the value of myths in our culture. So, at that point, we started thinking beyond just this song and that song and began looking at the larger picture and how to deliver this story, musically, as a bigger piece.
LM: Was expanding it into a trilogy something that you’d discussed with Sandy from the beginning, further elaborating on his original writings, or was that an idea that came later?
AB: From what I remember, that aspect of it didn’t come together until towards the end of the time I was with BÖC. But Sandy’s original writing was epic, so it was never a story that could be easily condensed.
I’ve always found with doing this stuff that you can’t hold anything that sacred. You might find a better twist of a word or phrase that improves a song, so it’s best not to get too attached to doing something a certain way. Because when you’re talking about songs, you’re talking about rhythm and melody at the same time as you’re talking about the actual words, and you have to balance all of that out. Sandy’s writing didn’t always loan itself well to song structures because he was wordy. Wordy songs can get tricky. Originally, “The Siege and Investiture of Baron von Frankenstein’s Castle at Weisseria” was very long with lots of additional parts. Some of it was very good, but some of it was… just embarrassing. So I kept working on it. I thought the first version I did was pretty good—had a lot of nice little guitar licks in there— but Sandy said he didn’t like it. So then I redid it, and this time it was really awful. But at least I’d gotten the words to better sync with the music. That made it clearer to Sandy said we should break it into two songs, so it became “Siege and Investiture…” and “The Girl That Love Made Blind,” so that rather than forcing it to work as a suite, one was more of a ballad and the other was a heavier, angrier piece. Just scarier. More menacing.
LM: Do you think Sandy Pearlman would be happy with what you’ve done with Re-Imaginos, Bombs Over Germany, and the third installation that you’re working on? Is this true to the form he thought the story would take?
AB: I think he’d be okay with it, yes. I remember somebody in the press saying, when the original Imaginos came out, “Sandy Perlman is doing all the interviews… who wants to interview the manager?,” not grasping his contribution to the band. But he was our fifth Beatle, you know? Especially in the beginning, he was there all the time. And always with ideas and suggestions for how to make things better. And, of course, this story was his original idea.
When I was working on the first record back in the early 80s, Sandy and I were very excited. We felt as if we were doing something that hadn’t been done in rock music. The music itself seemed almost indescribable, and we had the gut feeling that it was quite good. I had a lot of great players on it who could do just about anything I asked them. So it was very intoxicating. And at the time we thought, okay, so we’ll put this out, and if it hits, I have my solo contract, we can keep going. So, we began writing songs for part two right away, but there were schedules to work around. Blue Öyster Cult and Foghat were using the same studio, so I had to take time off recording the original tracks because I couldn’t get in there and everyone had other projects they were contributing to… we couldn’t just do it all at once. During those breaks, Sandy and I worked on writing for part two and conceptualizing part three, but no songs got written for the third part at that time.
LM: Would you credit Sandy with setting the sort of ominous, mysterious tone that runs through so much of BÖC’s output?
AB: Yes, I would. He didn’t like to fill in all the blanks. So there would always be plenty of space for you to imagine what we’re talking about. He loved that. He never wanted to be nailed down to any specific meaning on any specific thing. He just enjoyed having a sort of poetic attitude about what BÖC was doing, what each song meant, what each song might suggest. He was trying to create something different. I’ll say this—we were heavily influenced by the original Alice Cooper band. But not so much their theatricality, even though that was great, but more their musical style. Initially, it was very hard to pin down what they were. I think people kind of bemoan Alice Cooper’s show now because he’s kind of taken on that heavy metal mantle with the four guitar attack, but the original Alice Cooper would do some very unusual stuff. It was as if they felt like they could do anything and get away with it, and we admired that.
LM: So, What made this the right time to get this done?
AB: This has always been something I wanted to do, but in 1987, I began working in a public school. I would play on weekends or sometimes tour with a band during vacations, but I decided to put my time into that career. I’d planned to retire at 70 to get in a good ten years of rock and roll. I’m going to be 75 in a couple of months, so time is limited for me to do the things that I want to do. And this is one of the main things that I wanted to do. In 2015, Sandy had an accident and he was in a coma. The music writer Robert Duncan was checking in on him at the hospital and sending out email updates about his prognosis. I wrote back to Robert and said I want to go and see him because I had all these things I wanted to talk to him about, one of them being about finishing this trilogy idea. We had songs that we’d started to write and never finished. I wanted his input. Fans were saying I should do my own version, asking if it’ll ever get finished, and I would always say I’d have to have Sandy Pearlman help me because it was his idea. I couldn’t just go and do it without him. I wouldn’t even think of it, really, just out of respect for my friend. He eventually came out of the coma, I went to the hospital and told him that he had to get better because I wanted to complete the trilogy. And then, in the end, he didn’t make it. He never really regained his faculties. He was conscious and could hear what people were saying. He could communicate by moving his left index finger or that kind of thing, but he really couldn’t have a conversation. He could just acknowledge if he understood or not.
LM: It must have been challenging to deal with what happened to the original Imaginos album since this was your solo project with Sandy, and then it was released as a BÖC album that you’d lost creative control over. There are a lot of stories about various betrayals on the parts of both the band and the label. How did you feel at the time?
AB: Well, you know, emotions can cloud our perception of things. So when the record finally came out, I was very unhappy. I felt like the mixes weren’t good. What I’d heard when we cut the basic tracks was so much better, but it was six years since I’d cut those tracks and it’d been worked on, on and off, for those six years. Everything was on tape at that time, and every time you play the tape, it deteriorates a little. So there was that problem. They replaced my vocals, which I wasn’t thrilled about, but I have to admit that the vocals were largely an improvement. Donald Roeser’s—you know, Buck Dharma—versions of my vocals were excellent. Much better than I could do. For the most part. Eric Bloom did a great job… at least as good as I did, if not better. And Joseph Cerisano, thank God they used some of his stuff. I heard this rumor that Columbia didn’t like the vocals and that’s why they weren’t behind the record. But you’ve got to figure it was Al Teller and Donnie Lenner running the show at that point… anybody who knows what was going on at Columbia in those days knows those guys didn’t have a clue. Al Teller was an accountant and Donnie was his buddy. So, what does that tell you? Clive Davis was gone. Bruce Lundvall was gone. All the people with ears for music were all gone. And the people that’d signed me to the solo deal were all gone. All we had were these accountant guys, and they had no interest in music. Then they brought in Tommy Mottola to keep it from becoming a total disaster. At the time, I was extremely angry with the record company, that they wouldn’t put it out as my record, that they would only put it out as Blue Öyster Cult, you know, and Blue Öyster Cult… they did the best they could do under the circumstances.
LM: Have you been able to reconcile all that upset?
AB: For the most part, yes. What was even more mind-blowing was that the label led me to believe that, since my solo project had been folded into a Blue Öyster Cult project, I would be back in the band when they toured Greece in 1987, just before Imaginos came out. And then the band informed me that they had never agreed to that and that they’d hired other people for those gigs. They said they had no idea the label had made any such promises to me. I was really angry about that, too, but they didn’t know anything about the conversation I’d had, so I couldn’t blame them.
That was the same year I’d gotten the job at the school, but working in a school hadn’t changed me yet. Becoming a teacher is a very solitary kind of thing, in a way, because it’s just you and the kids in your classroom, and nobody’s going to help you. You have to just sort it out on your own. On the other hand, working in education, you’re always examining your practice. And you invite other teachers to give you feedback. The amount of meetings that get scheduled is extremely annoying, but over time, it changed me for the better. I became able to separate my ego and look at the process rather than the product. I think that has made me a better person—much more responsible and much more patient. As a teacher, you have to be extremely patient, and you have to be able to present things in more than one way. And believe it or not, this has helped me deal with what happened back then.
LM: There was some debt to the label, too, right?
AB: Yes. I was three-quarters of a million dollars in debt to Columbia, which is why the band thought by not letting me back in they were doing me a favor… I wouldn’t have gotten any royalties for years, you know? We’ve talked about it since then. BÖC basically absorbed my debt for the solo recordings. I guess you could say that ‘Reaper’ started paying for Imaginos. So how can I complain about that?
LM: When you think about performing this work, is it daunting? Who’s in the band you’ve assembled?
AB: Not daunting to me, no, I could go into a club tomorrow and play the whole thing! I’ve set up a group of six, including myself. I’m going to be playing mostly acoustic guitar… or maybe an electric guitar that sounds like an acoustic. It’s a hybrid of the two guitars that are the backbone of all the Imaginos songs. It was just a concept in my mind, but I explained it to my luthier and he said he could do it, so we’ll see. Supposedly, I’m getting it this week. But the main, lead guitar player is going to be Mike Fornatele, who I met at a party hosted by May Pang, John Lennon’s ex-girlfriend. She has three parties every year and he’s always there, so that’s how we originally met. Then I did a gig with him and my brother backing up Mark Lindsay from Paul Revere and the Raiders. My brother, Joe Bouchard, is playing keyboards, trumpet, and flute. Cyzon Griffin will be on drums, this amazingly talented 26-year-old guy that I met when he was busking in Central Park. He reminds me of Larnell Lewis from Snarky Puppy. David Hirschberg, who’s on all the new Imaginos material, will play bass. And then we have Dana McCoy, who played ukulele and keyboards and sang on some of these songs, and hopefully, she’ll be joining us. We’ve been rehearsing!
The Narrows Center is located at 16 Anawan Street in Fall River. Tickets are $38 advance and $43 day of show.
*Actually, the cowbell was producer David Lucas’s idea, but it was Bouchard who decided to use a timpani mallet to beat the bell, thus producing an unusual tone on the final track.
Don Felder, who was a former lead guitarist of the Eagles for 27 years, will make his debut appearance at the Narrows Center in Fall River, MA, on March 1, 2022. He will perform the hits he co-penned or performed with the Eagles, such as “Hotel California,” “Victim of Love,” “One Of These Nights,” “Heartache Tonight,” and many more with a full band. This show is expected to sellout quickly. Purchase tickets HERE.
Felder is a legendary singer-songwriter, a 1998 inductee into the Rock & Roll Hall of Fame with the Eagles, a New York Times best-selling author, and a true American rock and roll guitar hero. Felder spent 27 years with the Eagles, recording the classic albums One Of These Nights, Hotel California, and The Long Run, and the live albums Eagles Live and Hell Freezes Over. With the Eagles, the band owns the fine distinction of recording the top-selling album of all time – Their Greatest Hits (1971-1975) – which has sold over 38 million copies (and counting). He also co-wrote some of the band’s biggest hits, including “Hotel California” and “Victim of Love,” and became a New York Times best selling author with his autobiography Heaven and Hell: My Life in The Eagles (1974-2001). His iconic double necked guitar was featured in the Metropolitan Museum of Art’s Play It Loud exhibit in May 2019 – the first major exhibition in an art museum dedicated entirely to the iconic instruments of rock and roll – and is currently on display in the Rock & Roll Hall of Fame’s exhibit of the same name. He was inaugurated into the Musicians Hall of Fame and Museum in Nashville in 2016, and the Florida Artists Hall of Fame in 2017. His most recent solo album American Rock ‘N’ Roll (BMG) was released on April 5, 2019.
The Narrow Center for the Arts is located at 16 Anawan Street in Fall River, MA. Tickets can be purchased online by clicking HERE or calling the box office at324-1926.
In celebration of John 5 and The Creatures new album, Sinner, the band will be going on tour with a stop at the Vault Music Hall in New Bedford, MA, on May 12, 2022. The tour will feature support from The Haxans (featuring Ashley Costello of New Years Day and Piggy D of Rob Zombie). This concert is presented by JKB Management and Booking. Tickets can be purchased HERE.
For almost 30 years, John 5 has been one of the most in-demand guitar players on the planet. As well as a guitarist for hire, John 5 has shared the stage as axe-man for Rob Zombie, Marilyn Manson and Rob Halford. He has also worked with an impressive array of names, from all walks of music, including KD Lang, Rod Stewart, Dave Lee Roth, Alice Cooper, Tina Guo and Steven Adler.
To call John 5 a shredder does not do him justice. There’s little he can’t put his hand to.
John 5 was born John William Lowery, on July 31st 1970, in Gross Pointe Michigan. His love of guitar began at age seven, when he began watching the Hee Haw series with his father. “I watched the guitar playing and knew that was what I wanted to do. My friends wanted to be astronauts and such but all I wanted to do was play and play and play”. Other notable influences included KISS and Jimi Hendrix.
John 5’s solo career turned out not to be a flash in the pan, and he has now released ten studio albums, two live albums and a remix album. He has worked with several special guests on those albums, including Albert Lee who called John 5 “one of the nicest guys I’ve worked with,” Steve Vai who called John “underrated,” Joe Satriani, Jim Root, Eric Johnson and many more. As well as his solo albums John 5 teamed up with the vocal talents of Joe Grah (formerly of Texas band Jibe) to form “radio rock project” Loser. Their first single, “Disposable Sunshine” was featured on the Fantastic Four soundtrack.
In 2006, John 5 was invited to join Rob Zombie for a short Ozzfest tour. Despite being told “not to get too comfortable,” the pairing brought a resurgence in Zombie, who at the point was turning his hand to directing movies and taking a break from music, they began work on 2006’s ‘Educated Horses’. As a consequence, John 5 had to make the decision to leave his fledgling band Loser. “Being the founding member of Loser, my decision to leave was not an easy one.”
In 2015, following a series of web shows to celebrate the release of his solo album Careful With That Axe, John 5 decided to take his solo set on tour, and formed The Creatures band to support his live shows. Initially joined by long-term friend Rodger Carter on drums, the band continues touring to this day, and now work as a unit on John 5’s solo albums. The current line-up includes John 5, Ian Ross on bass and drummer Logan Miles Nix.
The Vault Music Hall is located at located at 791 Purchase Street in New Bedford, Mass. The venue is set within a former bank building featuring original vault doors and a truly historic feel.
MUST BE 21 or OLDER with Valid ID for Entry.
The English Beat will perform at the Narrows Center in Fall River, MA, on Friday, April 1, 2022, at 8 p.m. The band continues to dish out two-tone, ska, reggae and new wave, while mixing social commentary with danceability. Purchase tickets HERE.
Founded in 1979 by Dave Wakeling, The English Beat is a band with an energetic mix of musical styles and a sound like no other. Their infectious sound, which crosses fluidly between ska, soul, reggae, punk and rock, has allowed them to endure for four decades and appeal to fans of all ages all over the world.
Throughout their career, The English Beat has scored multi-platinum record sales, sold out shows and, most importantly, universal fan approval because they kept “The Beat” alive.
Along with their contemporaries The Specials, The Selecter, and Madness, the band became an overnight sensation and one of the most popular and influential bands of the British Two-Tone Ska movement. By Christmas 1979, The Beat were riding high in the UK charts with their first single, a smoking remake of the classic Smokey Robinson tune “Tears of a Clown.” Over the course of the next five years, The Beat toured relentlessly and released three studio albums: I Just Can’t Stop It, Wh’appen, and Special Beat Service.
Following a lengthy hiatus, Wakeling continued to keep the music alive and strong, touring the world as The English Beat.
Today, The English Beat is still lead by Wakeling with an amazing all-star ska backing band that will play all their signature tunes, such as “Mirror in the Bathroom,” “Save It For Later,” “Can’t Get Used to Losing You,” “Hands Off, She’s Mine,” and “I Confess,” as well as some covers, songs from General Public, and their 2016 studio album Here We Go Love, the band’s first new release since 1982’s Special Beat Service.
The Narrows Center is located at 16 Anawan Street. Tickets can be purchased online at narrowscenter.org 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.