SAY ANYTHING / BAYSIDE

LMC & Psyko Steve Present

SAY ANYTHING / BAYSIDE

REGGIE AND THE FULL EFFECT

Fri, April 21, 2017

Doors: 7:00 pm / Show: 8:00 pm

Marquee Theatre

Tempe, AZ

$21 - $31

This event is all ages

SAY ANYTHING
"With great power comes great responsibility." Surely a meaningful quote, but who can take credit for it? Thomas Jefferson? Sigmund Freud? Socrates? Nope. Spider-Man. It goes to show how something sort of profound can spring from an unlikely source. Any reluctant underachiever can make a difference: nerdy dude who gets bit by a mutant spider or awkward bipolar kid in a vaguely "indie" punk-pop band. That is the premise behind the band and the new self titled record Say Anything - we are in danger and any one of us has the power to save us. It's a fitting concept for a cult-favorite band who, on November 3rd, will release a definitive artistic statement aimed at the masses.

Like the origin of any unlikely hero, Say Anything was forged from conflict: a feisty young punk band from Hollywood formed during the birth of "hipster" elitism, always out of place. In that day any group of rich kids with a penchant for the Velvet Underground and enough five o'clock shadow could be paid millions of dollars to be walking billboards for "anti-culture" consumerism. Say Anything shunted pretension, choosing initially to play sincere and nervous rock music and opening locally for the touring bands they closely identified with (The Weakerthans, Rilo Kiley, The Promise Ring). A few years passed and songwriter Max Bemis continued to feel alienated from the collegiate "scene;" He witnessed young rebels devolve into the counter-culture clichés they sought to avoid in the first place, "reverse psychology" victims of homogenized humanity. By identifying this mass-marketed "hip" lie, Bemis found his "arch villain" and, imbued with purpose, Say Anything's music became a new monster - as theatrically pop-based as it was angular and dark. Influenced by bands like Fugazi, The Who, Botch and Smashing Pumpkins, Say Anything dually expressed its irreverence through sing along punk and almost awkwardly confessional Woody Allen-esque lyrics.
BAYSIDE
BAYSIDE
Anthony Raneri – Vocals, Guitar
Jack O’Shea – Lead Guitar
Nick Ghanbarian – Bass
Chris Guglielmo – Drums

At their inception, BAYSIDE consciously stood apart from the pack and has maintained that commitment to integrity and earnestness for over 18 years. Skipping over pop-punk clichés like landmines and forcefully resisting the fake rebellion and thinly veiled misogyny too often dominating the “scene” around them, BAYSIDE takes their cues from Nirvana and Green Day, never the rulemaking bros.

Originating in Queens and eventually establishing personal lives and careers that extend across the country, BAYSIDE became a staple of pop-punk and alt-rock world, powered by the strength of sing-a-long ready anthems that are both deeply personal and welcomingly universal. Songs like “Devotion and Desire,” “Sick, Sick, Sick,” “I’ve Been Dead All Day,” and “Blame it on Bad Luck” are cherished by the BAYSIDE faithful, the lyrics brandished like badges of misfit honor.

BAYSIDE represent a lifestyle, a counterculture, and a deeply held conviction, diverse in thought and background but united by a shared desire for authentic expression. It’s a spirit that permeates an impressive and storied discography, including Sirens and Condolences (2004), Bayside (2005), The Walking Wounded (2007, celebrated with a 10 Year Anniversary tour in 2017), Shudder (2008), Killing Time (2011), Cult (one of Kerrang!’s Top Albums of 2014), and Vacancy (2016).

Take away the distortion, the aggression, and the reckless ferocity that defines much of punk rock, and a great song is still a great song. With a spirit of deconstruction and re-imagination running counter to some bands’ lazy cash-grabbing collections, BAYSIDE returns refreshed and reinvigorated with Bayside Acoustic Volume 2. Twelve years since the band released the fan-favorite EP, Acoustic, BAYSIDE puts forward an incredible blend of instantly recognizable fan-favorites and deep cuts. BAYSIDE’s latest release throws off convention in search of the distilled melodic essence and emotive power of their catalog. These aren’t “stripped down” versions of BAYSIDE songs so much as they are completely new discoveries, refashioned and broadened by possibility.

Unburned by any expectations or preconceived notions, the band made the record quietly and at their own pace, steadily mining their past to build a new vision for the future. Musicianship and artistry is paramount, with a purposeful urgency throughout. “I didn’t have a studio, an electric guitar, or an amp setup in my house for many years of being in the band,” explains frontman Anthony Raneri. “I wrote everything on an acoustic. It always had to be good without the bells and whistles.”

Bayside Acoustic Volume 2 was crafted in Franklin, Tennessee with Jon Howard, a musician and producer who has worked with Paramore, Dashboard Confessional, and New Found Glory. Howard is part of a hyper local community outside of Nashville that includes members of those bands, plus guys from Yellowcard, Saves The Day, Grammy winning producer Nick Raskulinecz, and Raneri, among others.

“When we went into it, we said, 'this can't just sound like us playing the stuff on acoustic guitars instead of electric guitars.' We were really adamant about that,” says Reneri. “We're always trying to show that we're better than your average pop-punk band. This was a chance to demonstrate all of the different things we can do.”

It was liberating for Raneri and longtime members Jack O’Shea (lead guitar), Nick Ghanbarian (bass), and Chris Guglielmo (drums) to tear down the walls, playing the songs any way they wanted, as ‘though they had just been written for the first time.

“Landing Feet First,” which so many BAYSIDE fans have played at their weddings, is given the full “first dance” treatment, now with real strings and a fresh arrangement. “Devotion and Desire” is even more intense in this setting. “Once you hone into the percussive element of an acoustic guitar, there's a lot to discover there,” says Raneri. Vol. 2 also boasts new takes on BAYSIDE deep cuts like “I Can’t Go On” and “Howard,” songs that had never been played live, given long overdue justice here.

Since the dawn of the New Millennium, BAYSIDE has earned a reputation as top-tier songwriters, passionate performers, and high quality humans, all while headlining theaters and clubs or touring with their friends and peers in bands like Fall Out Boy, Taking Back Sunday, Say Anything, A Day To Remember, The Gaslight Anthem, Hawthorne Heights, Alkaline Trio, Saves The Day, New Found Glory, and Anberlin.

In every note of the vibrant Acoustic Volume 2, a record that conjures the spirit of classic performances like Nirvana’s MTV Unplugged or The Cure’s most adventurous outings, BAYSIDE serves up a confident reminder of their firmly established place in the rock music landscape. It’s evident - from all of the lyrics tattooed on fans, the cover version and tributes that permeate YouTube, and the obsessive supporters worldwide - why BAYSIDE continues to thrive on the strength of these very songs.
REGGIE AND THE FULL EFFECT
REGGIE AND THE FULL EFFECT
Reggie and the Full Effect have always been a mystery. Who are they? What do they want? Where do they come from? There have, of course, been explanations. Studio fires, faked deaths, cryptic bios and tall tales of many sorts were countered by rumors that James Dewees—keyboardist for rock heroes The Get Up Kids' and drummer for seminal metalcore act Coalesce—was somehow behind all the crazy characters taking credit for Reggie and the Full Effect's synth-rock goodness. First there was the enigmatic Reggie, the band's apparent namesake and protagonist in a strange musical tale beginning with the release of the band's Greatest Hits 1984-1987 in 1998, followed closely by Promotional Copy in 2000. Then there was the mustachioed frontman Paco, who came to the fore on 2003's Under the Tray, and album which also featured an ever-growing cast of characters—Finnish metal band Common Denominator, English synth-pop god Fluxuation, death growler Hungary Bear, the ubiquitous Drunk Guy at the Get Up Kids Show—increasing both the band's popularity and perplexing mystique.

However, on Reggie and the Full Effect's new record, Songs Not To Get Married To, James Dewees is ready to come clean about his role as songwriter, multi-instrumentalist and mad scientist behind Reggie and the Full Effect. "Paco's dead now," proclaims Dewees, AKA Reggie, AKA Paco, AKA Klause from Common Denominator, AKA Fluxuation. "This record's more about me getting divorced; about working really hard for a really long time, then having everything taken away from you for no reason whatsoever other than somebody has the power to do it," he says. "Big man crushes small man syndrome." Granted, the history of the band's comical antics, song titles such as "The Fuck Stops Here," and the record's seemingly too-literal-to-be-true title might lead one to believe that Dewees merely jests about his inspiration for Songs Not To Get Married To. But Dewees insists that he is all too sincere about the theme for his latest masterpiece. The album opens with "What the Hell is Contempt?" a song, he says, inspired by his divorce court proceedings. "They called me up and said that were going to sue me for contempt," remembers Dewees. "And I was like 'what the hell is contempt?'" I don't even know what it is and I'm going to get sued for it."

But don't get out your handkerchief just yet. Songs Not to Get Married To, isn't all seriousness. Songs like the grinding metal number "The Trooth,"—which Dewees says is "about me having to go get a tooth pulled in the middle of recording. I tried to save it but they threw the tooth away. It was fucking gross."— and the dance-y "Dethnotronic" featuring Common Denominator and Hungary Bear, as well as snippets like "Guess Who's Back" and "Laura's Australian Dance Party" are all classic Reggie: switching genres at the drop of a hat, mixing irreverence and humor with razor-sharp guitars and sugar-coated melodies. And like Under the Tray, Songs Not To Get Married To was recorded at producer Ed Rose's Black Lodge Studios in Kansas, and includes guest spots by what Dewees refers to as his "all star friends," including Ryan and Robert Pope of The Get Up Kids, Benjamin Perri of From Autumn to Ashes, and Sean Ingram and Cory White from Coalesce. "I can always call in my all-star friends to help me out when I need them," says Dewees with a laugh. "With everybody being from the same small scene, we're all friends. Even as the scene is getting bigger, our friendships are all still like they were before. We all go out and get drunk together and bum cigarettes and money from each other all the time."

Though there is still the requisite silliness and genre-melding that fans of Reggie and the Full Effect have come to expect, Song Not To Get Married To is nevertheless a cathartic, one might even say serious record, at least by Reggie standards. "Everybody who's heard it so far has noticed that it was more serious," agrees James Dewees. "There's actually lyrics and songs not just about girls running away." But there are also plenty of fake accents, techno dance beats and Slayer-esque metal riffs to allay any concerns that Reggie has gone totally straight. "It's still Reggie," says Dewees. "There's still the humor there, it's just taking things a little more serious, doing it a little bit more subtly."

Songs Not To Get Married To is a look at the man behind the curtain, the record that finally proves once and for all that James Dewees is Reggie and the Full Effect, and that Reggie and the Full Effect is, in fact, James Dewees. Such a personal record deserves a personal bio, or at least a personal end to a regular bio. So here is a message from James Dewees, AKA Reggie, to you, the recipient of this bio. The message is as follows: "This is my new record. It is a little less silly than the last three, but I recently got divorced and lost everything so I don't have much to celebrate these days. However, I am still a happy camper, just single camping now. I hope you enjoy the new record and if my ex-wife is one of those unknown people who gets one of these bios…wow, you scored hella good huh?"
Venue Information:
Marquee Theatre
730 North Mill Avenue
Tempe, AZ, 85281-1204